Présences du littéraire dans l’espace public canadien - Bronze

Rosace, feuille d’acanthe, colonnes, tête d’enfant, une histoire, un lieu

Marie-Claude Langevin — Thu, 29 Jul 2010 01:24:10 +0000

Artwork identification

Artwork creator(s):

Leblanc, Pierre

Artwork creator(s):

Leblanc, Pierre

Text author(s):

Lelièvre, Sylvain

Text author(s):

Lelièvre, Sylvain

Installation year:

2009

Artwork description

Source: Page Facebook of Pierre Leblanc

Description:

Sculptural grouping of columns and benches. An acanthus leaf, a church façade and a child's head appear on the columns. The text is written on the benches.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

J'habite au cœur des cordes à linge où les oiseaux viennent quand même chanter.

Artwork theme:

Light, architectural elements: the façade of the Limoilou church and the child's head echo the Art Deco architecture of the Hôpital de l'Enfant-Jésus located just across the street.

Dimensions

Height:

4.35m

Width:

8.55m

Depth:

6.4 m

Other information

Artist's biography:

Pierre Leblanc

Author's biography:

Sylvain Lelièvre

Owner(s):

CHSLD / CLSC de Saint-Charles de Limoilou

Ce toit tranquille où marchent des petits oiseaux

Marie-Claude Langevin — Wed, 26 May 2010 19:23:23 +0000

Artwork identification

Artwork creator(s):

Purdy, Richard

Artwork creator(s):

Purdy, Richard

Text author(s):

Savard, Félix-Antoine

Text author(s):

Savard, Félix-Antoine

Collaborator(s):

Atelier Silex

Installation year:

2004

Artwork description

Source: Richard Purdy (2010). Richard Purdy oeuvres. (http://www.richardpurdy.ca/index2.php?lang=en)

Description:

A sculpture in the shape of roofs with little bronze birds. Text is written on the glass of the dormer windows, as if someone had scribbled something with their finger on the frosty glass.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Inscription 1:

Ville des soirs anciens

Ville des soirs anciens, paisible ville,
Décente, recueillie, causant à demi voix,
À l'heure où dans la nef et l'or des soirs tranquilles
Semblaient se replier sur eux-mêmes les toits!

Ayant tinté le glas d'un autre jour enfui,
Quelques cloches, au deuil entremêlant l'espoir,
Parlaient alors à l'âme apeurée par la nuit
De choses par delà l'or brunissant du soir

Inscription 2:

Et bientôt tout entrait dans un calme pareil
À quelque consolante et lointaine harmonie
Tandis que, sans troubler le rythme du sommeil,
De beaux songes passaient sur ma ville endormie,
Ville de mon enfance, aux si douces musiques,
Vers ce même or des soirs paisibles d'autrefois,
On entend de partout monter des chants lubriques.

Inscription 3:

Si calme, ce lac!

si pures, ces eaux!

si neufs, ces bords!

où, durant mon sommeil,

Dieu

a purifié, restauré

toute chose.

Inscription 4:

Ce
toit
tranquille
où marchent des
petits oiseaux

Text theme:

Birds, roofs, stillness and tranquillity

Artwork theme:

The project is invested with a memory of the original houses. The installation forms a dialogue with the inhabited houses surrounding the retirement home, allowing the residents to truly feel at home. Making optimal use of the numerous viewpoints onto the neighbourhood, the sculpture creates a link between the environment of the retirement home (interior) and that of its neighbourhood (exterior), in ways that are at once metaphorical, symbolic, spiritual and emotional.

Dimensions

Height:

2.74m

Width:

2.75m

Depth:

1.27 m

Other information

Note(s):

The artist found a handwritten copy of the poem and it was reproduced as is in the artwork, a perfect imitation of Félix-Antoine Savard's handwriting.

Text from Le choix de Félix-Antoine Savard, Aux marges du silence

Artist's biography:

Richard Purdy

Author's biography:

Félix-Antoine Savard

Owner(s):

Foyer du Clermont

Document(s):

Richard Purdy- art public 2000-2009

Nous sommes un peuple

Marie-Claude Langevin — Thu, 04 Mar 2010 15:19:22 +0000

Artwork identification

Artwork creator(s):

Archambault, Luc

Artwork creator(s):

Archambault, Luc

Text author(s):

Archambault, Luc

Text author(s):

Archambault, Luc

Collaborator(s):

Archambault, Pascale; Fonderie d'art d'Inverness

Installation year:

2000

Remarks on location:

Integrated to the front wall of the Institut Canadien

Artwork description

Source: Photo provided by Josiane Gervais

Description:

The work consists of a low relief that evokes the original purpose of the Institut Canadien, 2 bronze sculptures and of five brass plates that evoke its history. The text is engraved on the wall.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Nous. Nous sommes. Nous sommes un. Nous sommes un peuple. Nous sommes le peuple du Québec

Text theme:

Pride of a nation

Artwork theme:

Artist Luc Archambault made a proposal that, while being very contemporary, recalls historical aspects of the institution by offering a symbolic interpretation of its primary goals in its early days. Founded by young intellectuals, the Institut was a response to the Durham Report, which denied the fact that French Canadians had history and culture.

History

History:

The Place de l'Institut was created in order to increase the friendliness of Old Québec as well as attract the population and tourists to this area of the neighbourhood. The artwork was produced under the terms of the Entente sur la mise en valeur de la capitale, an agreement between Québec City and the Commission de la capitale nationale du Québec. The Place de l'Institut and La Chaussée des Écossais were inaugurated on November 22, 2000.

Dimensions

Height:

2.4m

Width:

17m

Other information

Artist's biography:

Luc Archambault

Owner(s):

Ville de Québec

Architect(s):

Plante, André

Sq’ac’ay’s

Marie-Claude Langevin — Wed, 06 Jan 2010 15:54:37 +0000

Artwork identification

Alternate title:

SQwACvAY'S

Artwork creator(s):

Kerr, Katherine

Artwork creator(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Installation year:

2005

Remarks on location:

Skytrain, Millenium Line

Artwork description

Source : Katherine Kerr (2005)Portfolio. Public Art Projects. Sq’ac’ay’s. (http://www.katherinekerrpublicart.com/)

Description:

Three totemic lanterns stand before the station.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete text)

How they swin together
It's time now
And somewhere deep greens slivered bodies unfurl toward shore

BURIED
FILED
CUT

Artwork theme:

Natural history of local territory, ecological destruction and new ecological awareness

Dimensions

Other information

Note(s):

The site is a mudflat, a memory of vanished salmon streams, a riperial railway land, an eco-sensitive greenway.

Artist's biography:

Katherine Kerr

Owner(s):

Architectura with Walter Francl of RTPO.

Source:

Katherine Kerr P.O. Box 507, Brackendale, BC V0N 1H0 Tél : 604-898-3536 fax : 604-898-3599 Courriel : kekerr@telus.net Site web : www.katherinekerrpublicart.com BC Transit, Vancouver Regional Transit System (Corporate Office) 520 Gorge Road East Victoria, BC, V8W 2P3 Phone: 250-385-2551 (8:00 a.m. to 4:30 p.m.) Fax: 250-995-5639 TransLink Head Office Monday to Friday 8:00 am to 4:00 pm 1600 - 4720 Kingsway Burnaby, BC V5H 4N2 (604) 453-4500 SkyTrain Head Office 6800 14th Ave Burnaby, BC V3N 4S7 T: 604.520.3641

Filigree

Marie-Claude Langevin — Mon, 09 Nov 2009 22:29:28 +0000

Artwork identification

Artwork creator(s):

Kerr, Katherine

Artwork creator(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Text author(s):

Kerr, Katherine

Installation year:

2000

Remarks on location:

Skytrain, Millenium Line; intersection of Brunette and Braid Streets

Artwork description

Source : Katherine Kerr (2005) Portfolio. Public Art Projects. Filigree.(http://www.katherinekerrpublicart.com/)

Description:

Filigree consists of 15,000 bronze letters cast into 50 concrete panels.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

Oral traditions, childhood

Artwork theme:

Oral traditions, childhood

Dimensions

Other information

Note(s):

A bronze filigree montage of childhood rhymes, lullabies, tongue twisters, chants and other songs and sayings from our oral traditions is cast into large concrete stones. The client for the project is Architectura with Walter Francl of RTPO.

Artist's biography:

Katherine Kerr

Source:

Éclatement II

Marie-Claude Langevin — Tue, 28 Jul 2009 15:30:16 +0000

Artwork identification

Artwork creator(s):

Daudelin, Charles

Artwork creator(s):

Daudelin, Charles

Text author(s):

Lavoie, Bernard

Text author(s):

Lavoie, Bernard

Collaborator(s):

André Laplante (Landscape)

Installation year:

1998

Remarks on location:

Opposite the Gare du Palais

Artwork description

Source : Photo transmited by Camille Crevier

Source: Fontaine Éclatement (2008).http://www.flickr.com/photos/alakazoo/2796812742/in/photostream

Description:

Colossal fountain. The text is written on its perimeter. The fountain represents tectonic plates that have been disrupted by the effects of water. It is an analogy to how natural elements are raised and thrown in the air by the power of water which, once harnessed and controlled, became essential to the transformation of the province of Quebec. Lighting and sound design reinforce the impression of disruption of the earth's crust, complementing the work.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete)

Imagine! Imagine l'aventure humaine au coeur de l'eau sauvage, apprivoisée! Nous sommes les vagues puissantes de la pensée, les torrents de l'avenir et la lumière qui jaillit du Nord. Nous changeons le monde, libres sur la toile immense de nos rêves les plus fous.

Bernard Lavoie, Québec

Artwork theme:

The sculpture shows the power of water and the importance of hydro-electricity in the economic development of Quebec City.

History

History:

Éclatement II is inspired by Embâcle, a sculpture by Charles Daudelin for the Place du Québec in Paris and installed in 1984. These two artworks create a symbolic bond between the capital of the francophone world and the capital of French America.

Dimensions

Other information

Note(s):

First, control the material, the power of water, the imposing dimensions, and then channel these forces, literally and figuratively, to find the energy deployed by man to create harmony. - Charles Daudelin (on identification plate)

Artist's biography:

Charles Daudelin

Owner(s):

City of Québec

Débordement public

Marie-Claude Langevin — Tue, 21 Jul 2009 14:14:41 +0000

Artwork identification

Artwork creator(s):

Soland, Peter; Duguay-Lefebvre Fannie; Courville, François; Loof, Alain; Blais, Marie-Claire; Vandal-Piché, Émilie

Artwork creator(s):

Soland, Peter

Duguay-Lefebvre Fannie

Courville, François

Loof, Alain

Blais, Marie-Claire

Vandal-Piché, Émilie

Text author(s):

Soland, Peter; Duguay-Lefebvre Fannie; Courville, François; Loof, Alain; Blais, Marie-Claire; Vandal-Piché, Émilie

Text author(s):

Soland, Peter

Duguay-Lefebvre Fannie

Courville, François

Loof, Alain

Blais, Marie-Claire

Vandal-Piché, Émilie

Installation year:

2006

Remarks on location:

Between Queen Mary Road and Jean-Talon Street. The installation is deployed in five public places, including three main ones: École Notre-Dame-des-Neiges, the Jewish General Hospital and Kent Park.

Artwork description

Source: L'Association des architectes paysagistes du Québec (2008). Projects. (http://www.aapq.org/index.php5)

Description:

Furniture set: large tables in front of the school, great set of stairs in front of the hospital and large benches in the park. Forty-something apples are affixed to the furniture. Each apple features sentences commemorating the multi-ethnic culture of the neighbourhood.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: Detail; Image 2-3: Front Kent Park; Image 4: At the Jewish General Hospital; Image 5: In front of École Notre-Dame-des-Neiges;

Text of the artwork:

In front of École Notre-Dame-des-Neiges

Bench #1

«CÔTES-DES-NEIGES...Y CROQUER À BELLES DENTS»
«UN QUARTIER AUX MILLE ET UN VISAGES»
«CÔTES-DES-NEIGES...UN LIEU DE TOUTES LES CULTURES»

Bench #2

«MÉMOIRE D'UNE CULTURE SUR LA CÔTE»
«CÔTES-DES-NEIGES...UN LIEU DE TOUTES LES CULTURES»
«UN QUARTIER AUX MILLE ET UN VISAGES»

Bench #3

«MÉMOIRE D'UNE CULTURE SUR LA CÔTE»
«CÔTES-DES-NEIGES...Y CROQUER À BELLES DENTS»
«CÔTES-DES-NEIGES...UN LIEU DE TOUTES LES CULTURES»

Text theme:

Multi-ethnic culture of the neighborhood.

Artwork theme:

Deployed strategically at the top, center and bottom of the hill, the main sites constitute a family of public places identified by the use of tectonics and identical materials, as well as by the presence of a commemorative program recalling the identity of a former commune that defined the area at the time of its first subdivision. Together, the three sites anchor the improvement program of public spaces. Throughout the entire course, they are also intended as an affirmation of the value of street space within the collective sense of community.

History

History:

Produced as part of the Renouveau urbain program, which aims to revitalize urban neighborhoods physically and socio-economically.

This project aims to give an identity to the street, making it a place for commercial trade and an event destination to celebrate the cultural diversity of the neighbourhood.

Dimensions

Other information

Note(s):

Prix d'excellence, Association des architectes paysagistes du Canada, 2007; Prix d'excellence from the Ordre des architectes du Québec, 2007

Owner(s):

City of Montreal

Architect(s):

Schème Consultant Inc.

Rêver le nouveau monde

Marie-Claude Langevin — Mon, 29 Jun 2009 16:58:01 +0000

Artwork identification

Artwork creator(s):

Goulet, Michel

Artwork creator(s):

Goulet, Michel

Text author(s):

Various (Claude Beausoleil, Michel Bibaud, Nicole Brossard, Paul Chamberland, Cécile Cloutier, Leonard Cohen, Hugues Corriveau, Louise Cotnoir, Octave Crémazie, Jean-Paul Daoust, Normand de Bellefeuille, Denise Desautels, Alfred Desrochers, Kim Doré, Hélène Dorion, Louise Dupré, Madeleine Gagnon, St-Denys Garneau, Claude Gauvreau, Roland Giguère, Charles Gill, Gérald Godin, Alain Grandbois, Anne Hébert, Dany Laferrière, Gatien Lapointe, Irving Layton, Félix Leclerc, Marc Lescarbot, Paul Chanel Malenfant, Rita Mestokosho, Gaston Miron, Émile Nelligan, Pierre Nepveu, Emily Novalinga, Pierre Perrault, Joseph Quesnel, Jean Royer, Gilles Vigneault, Yolande Villemaire)

Text author(s):

Beausoleil, Claude

Bibaud, Michel

Brossard, Nicole

Chamberland, Paul

Cloutier, Cécile

Cohen, Leonard

Corriveau, Hugues

Cotnoir, Louise

Crémazie, Octave

Daoust, Jean-Paul

De Bellefeuille, Normand

Desautels, Denise

Desrochers, Alfred

Doré, Kim

Dorion, Hélène

Dupré, Louise

Gagnon, Madeleine

Saint-Denys Garneau, Hector de

Gauvreau, Claude

Giguère, Roland

Gill, Charles

Godin, Gérald

Grandbois, Alain

Hébert, Anne

Laferrière, Dany

Lapointe, Gatien

Layton, Irving

Leclerc, Félix

Lescarbot, Marc

Malenfant, Paul Chanel

Mestokosho, Rita

Miron, Gaston

Nelligan, Émile

Nepveu, Pierre

Novalinga, Emily

Perrault, Pierre

Quesnel, Joseph

Royer, Jean

Vigneault, Gilles

Villemaire, Yolande

Installation year:

2008

Artwork description

Source: Michel Goulet (2008); Michel Goulet. (http://www.michelgoulet.ca/fr/oeuvrespub/index.htm)

Description:

The artwork is formed by a total of forty-four stainless steel chairs. The House-Chair and the World-Chair are strategically placed at the front of the work, welcoming passersby. On the seat of one of the chairs, we can read the following inscription: "Rêver le nouveau monde." Under these chairs, a house and a bronze globe illustrate the extreme poles of public and private spaces. Forty other chairs follow, all placed in pairs in a variety of configurations. Each is inscribed with one of forty fragments of chosen texts written by forty poets, from the first days of the founding of Quebec to today. The Montreal-Chair and the Québec-Chair complete the work. A small scale illustration of the River is cast in bronze into the seats of the chairs, its direction following the same axis as the St. Lawrence River.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Là où ses petites histoires,

mine de rien, s’emboîtent

les unes dans les autres

- Denise DESAULTELS

Chacun se débrouille seul

à rafistoler des bouts de rêve.

La table est mise.

Voyez. Venez

- Paul CHAMBERLAND

Seulement près de toy en cette saison dure.

- Marc LESCARBOT

(1570-1642)

Hold me close

and tell me what the world is like

I don’t want to look outside

I want to depend on your eyes

and your lips

- Leonard COHEN

Petit jardin que j’ai planté,

Que ton enceinte sait me plaire !

- Joseph QUESNEL

(1746-1809)

je traversais sa nuit

et j’en rêvais le jour

je ne sais plus ce soir où va la poésie

mais je sais qu’elle voyage

rebelle analogique

- Claude BEAUSÉJOUR

Il ne sait plus si sa mémoire

le garde vivant, si ses rêves

le nourrissent ou le dévastent.

- Pierre NEPVEU

La nuit est une neige

qui tombe à l’envers.

- Jean-Paul DAOUST

Pleurez, oiseaux de février

Au sinistre frisson des choses,

Pleurez, oiseaux de février,

Pleurez mes pleurs, pleurez mes roses

Aux branches du genévrier

- Émile NELLIGAN

(1879-1941)

L’homme…

Il a construit

Des milliers

Des millions

De milles

De câble blond

Et il leur a donné

Des millions

Des milliers

Des nœuds

Pour attacher la mer

- Cécile CLOUTIER

Le travail n’est pas liberté

Le travail est dans la liberté

- Claude GAUVREAU

(1925-1971)

tu es la ville engloutie

sous les rumeurs pourtant je vois

il n’y a que toi parlant

et la passion que tu y mets

- Hugues CORRIVEAU

Je n’ai pas appris de Poucet

Le secret de marquer la route

Qui reconduise où l’on passait

- Alfred DESROCHERS

(1901-1978)

La Mer navigue

La Terre marche

Le Ciel vole

et moi, je rampe pour humer la vie…

- Rita MESTOKOSHO

Un enfant est en train de bâtir un village

C’est une ville, un comté

Et qui sait

Tantôt l’univers

Il joue

- Hector de Saint-Denys GARNEAU

(1912-1943)

Nous écrivons

dans la grande noirceur

d’un siècle qui siffle

en s’écroulant

Nous écrivons

en guise d’accompagnement

de la terre.

- Paul Chanel MALENFANT

…

veaux vache cochon couvées

et préoccupations fi de vous et fi d’elles

à mon pays seul je suis fidèle

- Gérald GODIN

(1938-1994)

Heureux qui dans ses vers sait, d'une voix tonnante,

Effrayer le méchant, le glacer d'épouvante;

Qui, bien plus qu'avec goût, se fait lire avec fruit,

Et, bien plus qu'il ne plaît, surprend, corrige,

instruit

- Michel BIBAUD (1782-1857)

Il est sur le sol d'Amérique

Un doux pays aimé des cieux,

Où la nature magnifique

Prodigue ses dons merveilleux

- Octave CRÉMAZIE (1827-1879) Le Cap Éternité

Témoin pétrifié des premiers jours du monde,

Il était sous le ciel avant l'humanité

- Charles GILL (1871-1918)

Nous avons partagé nos ombres

Plus que nos lumières

Nous nous sommes montrés

Plus glorieux de nos blessures

Que des victoires éparses

- Alain GRANDBOIS (1900-1975)

The hills

remind me

of you

Not because they curve soft and warm

lovely and firm

But because

a long time ago

you stared at them

as I am staring now

- Irving LAYTON (1912-2006)

Le plus difficile c'est le premier siècle

Rendu à trois, la racine est profonde

Voilà ce que chantent les enfants

l'été

- Félix LECLERC (1914-1988)

Ce soir

Le monde est vieux

Et je m'ennuie

- Anne HÉBERT (1916-2000)

au bout de ce grand bout de terre

de peine et de misère

dis-moi

marie

pourquoi le silence s'agrandit

- Pierre PERRAULT (1927-1999)

Sous le manteau de la prudence

qu'on prend parfois pour sagesse,

on reconnaît souvent la peur

- Gilles VIGNEAULT

Le monde ne vous attend plus

il a pris le large

le monde ne vous entend plus

l'avenir lui parle

- Gaston MIRON (1928-1996)

J'aimerais rester dans l'ombre

dans ton ombre familière

le temps d'un hiver au moins

sinon d'une vie entière

- Roland GIGUÈRE (1929-2003)

Toutes les couleurs effacées

Tous parfums supprimés,

Toutes paroles étouffées;

Muet et blanc,

Intolérablement blanc,

Ce pays ne retient

Que les éclats du sang

- Gatien LAPOINTE (1931-1984)

Tu me manques

De toujours

Tu es l'ombre de l'Absente

Tu es ce passé sans toi

- Jean ROYER

une acceptation de l'absence

un renoncement à l'explication

une connaissance du vertige

un bonheur de la rencontre

- Madeleine GAGNON

ne touchons pas au silence

il est notre réserve d'espoir

- Nicole BROSSARD

Malgré l'effarement

Malgré la lassitude

Des voix s'arrachent

Y a-t-il une façon simple

D'ouvrir l'Histoire

D'assécher les bourbiers

- Louise COTNOIR

Dans les yeux s'allume une ville,

qu'on n'a jamais pris la peine de visiter

- Louise DUPRÉ

Mon désir parfois

ressemble aux dernières phrases

d'un livre

les livres n'ont pas de fin

les livres s'arrêtent

- Normand DE BELLEFEUILLE

Elle ferme les yeux et rerêve:

c'était avant l'invention de l'écriture

- Yolande VILLEMAIRE

Je dois tout dire dans une langue

qui n'est pas celle de ma mère.

C'est ça, le voyage.

- Dany LAFERRIÈRE

Sons de vent, bruits de tempête

J'entends tout, j'entends le bonheur

Puisque j'entends les aurones boréales

(en écriture syllabique)

- Emily NOVALINGA

Vient le jour où la beauté

borde notre chemin

On se penche sur la vie, et aussitôt

on se relève, le coeur tremblant,

plus fort d'une vérité ainsi effleurée

- Hélène DORION

j'attends de naître

pour répondre à tes lettres

j'attends tes lèvres pour parler

- Kim DORÉ

Text theme:

The forty fragments of the chosen works and the name of their authors stand as cultural and historical artifacts that offer a sensitive insight into personal concerns, invented languages and individual testimonies. These texts are not complete texts but rather textual dust; passers-by who come upon these memories will have to imagine the source, complete the texts and re-contextualize them.

History

History:

Legacy of the City of Montreal to Quebec City on the occasion of its 400th anniversary.

Dimensions

Other information

Artist's biography:

Michel Goulet

Owner(s):

City of Québec

Source:

courrier@michelgoulet.ca

Document(s):

Rêver le nouveau monde

Make West

Marie-Claude Langevin — Wed, 15 Apr 2009 15:55:44 +0000

Artwork identification

Artwork creator(s):

Pechet, Bill; Robb, Stephanie

Artwork creator(s):

Pechet, Bill

Robb, Stephanie

Text author(s):

Pechet, Bill; J. Leclip, Dr. Elizabeth

Text author(s):

Pechet, Bill

Leclip, Dr. Elizabeth J.

Installation year:

1997

Remarks on location:

Bronze shards pave 3 small ground level alcoves (or plazas) at the foot of a luxury condominium complex.

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Source: Photo provided by Marc André Brouillette

Description:

The piece can be found along the foundation of the building, on the waterfront walkway between Nicola and Cardero Streets. It is made of stones, plaques and objects cast in bronze that refer to the history of the area and act as a puzzle. Recently, the strata council has posted privacy signs in the 3 alcoves - however, the artwork is visible from the sidewalk.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Incomplete

Chase not the goose but find solace
in the downy underlay of her
migrational desire. While we, earth-
bound (in the gravity of progress)
continue to segment our greatest o
mothers into cartesian nomenclatur
her wings cast after-images on our
rails, roads and ports
What systems, both major and
minor are complicit in this
symphony of locus-notion?

Text theme:

Official and unofficial local history (of Vancouver); urban geography; architecture; deployment of technology and measurement in the construction of Western Canada; displacement of flora and fauna in the wake of progress

Artwork theme:

Epic history of railway building in British Columbia; official and unofficial local history (of Vancouver)

History

History:

Installed in summer 1997.

Dimensions

Other information

Note(s):

Sponsoring Organization: ASPAC Development

Artist Statement: "Make West is an attempt to represent the history of Coal Harbour and, by extension, Vancouver and Western Canada. It does so in the form of a series of shards, or extractions, which constitute a game." - The artist

City of Vancouver (2008) City of Vancouver Public Art Registry
http://app.vancouver.ca/PublicArt_Net/ArtworkDetails.aspx?ArtworkID=217&Neighbourhood=&Ownership=&Program=

Artist's biography:

Bill Pechet

Owner(s):

Private Collection

Source:

1. Bill Pechet PECHET and ROBB studio limited 102 2524 Cypress Street, Vancouver, C-B V6J 3N2 Tél: 604 732 0697 fax: 604 733 0697 www.pechetandrobb.com pechet_robb@telus.net

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

Portfolio. Public Art

Public Art. Make West

Community Services. Cultural Services. Public Art Registry. Artwork: Make West

Street Light

Marie-Claude Langevin — Sun, 12 Apr 2009 17:00:07 +0000

Artwork identification

Artwork creator(s):

Miller, Bernie; Tregebov, Alan

Artwork creator(s):

Miller, Bernie

Tregebov, Alan

Text author(s):

Miller, Bernie; Tregebov, Alan

Text author(s):

Miller, Bernie

Tregebov, Alan

Installation year:

1997

Remarks on location:

Southwestern end of the traffic circle

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Description:

Each of six twelve-meter high, bronze I-beam towers hold an image cut into a metal plate that illustrate the history of the area. The plates cast the shadow of the image onto the street. Texts etched in the limestone bases refer to the events relevant to the site. The positioning of the panels has been carefully calculated so that their optimum contrast and focus on the street is the month, date, and time that the event occurred. For example, if the sun is shining just before noon on June 17, the projected image of Vancouver's "Great Fire" will be visible on the promenade below

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

GRANDVILLE BRIGE, NOVEMBER 17, 1953

"First beam to complete span". This is the third Granville Street brigde. The first, built in 1889, made Granville Street the heart of the newly built city of Vancouver.

City of Vancouver archives

False Creek Shacks, 1934

"Fire wood cost nothing save the labour of sawing; fish for the catching, fresh water from a neaby water tap. Gradually they crowded out. By 1936 they had completely disappeared..." J.S.M. City archives

Burrad bridge, opened Dominion Day, July 1, 1932

In 1913. the Squamish people acquiesced their long established village of Snauq at the foot of the bridge on the Kitsilano side. When the Squamish surrendered remaining parcels to the federal government in 1946, 45 years of controversial property dealings were over.

City archives

Artwork theme:

Anecdotal and unofficial local history of Vancouver

Dimensions

Height:

12m

Other information

Note(s):

Sponsorising organisation: Concord Pacific Group Inc.

Private development.

Street Light is the third of a four-part public art series called Illuminating Roundhouse, designed to celebrate the False Creek redevelopment that surrounds it.

Artist statement: "An aspect of the work is meant to produce a light and shadow play… The bronze panels cast shadows of the captured (historical) images… References in the work are hybrids [influenced by] historic railway trestles, the Roundhouse turntable, a railway hand-car, billboard-like sign supports which were on the South shore of False Creek until the 1950s, drive-in movie theatre screens..." (From press release) Some of the residents in the condominiums next to the artwork started a campaign against the piece when it was installed, calling it a "malignant monstrosity." The piece had its supporters and detractors, and in the end, City Council supported the public art selection process and the work has survived the tests of time. At the South foot of Davie Street, bronze I-beams support images taken from Vancouver’s archives. The sculpture is carefully aligned to cast shadow images onto the sidewalk on the anniversary of the selected historical event. At night, from the tilted traffic circle opposite the sculpture, a light illuminates the panels. The form of the sculpture quotes a mixture of objects: railway trestles, hand-cars, turntables, billboards, drive-in movie screens, movie cameras, and suggests Vancouver’s transformation from an industrial centre to an information age economy.

John Steil, Aileen Stalker (2009). Public Art in Vancouver. Angels Among Lions. Vancouver: TouchWood Editions.

Artist's biography:

Bernie Miller

Owner(s):

City of Vancouver

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

A Walk with Barbara Cole. Art public

Towards a Public Narrative

Jon Bird talks to Katherine Gretzinger about three public art projects in Vancouver

Vancouver International Sculpture Project 2000

Sculpture lights up Vancouver’s forgotten history

Artwork : Street Light

New Currents, An Ancient Stream

Marie-Claude Langevin — Sun, 12 Apr 2009 02:28:22 +0000

Artwork identification

Artwork creator(s):

Boyle, Gwen

Artwork creator(s):

Boyle, Gwen

Text author(s):

Da Vinci, Leonardo

Text author(s):

Da Vinci, Leonardo

Collaborator(s):

Green, Anita

Installation year:

1994

Remarks on location:

At the southwest corner of Bute and Alberni Streets; runs alongside the ground floor of the Palisades Apartments.

Artwork description

Source: Photo provided by Marc André Brouillette

Description:

A series of connecting high and low pools, with a waterfall made of overlapping black slate. A large glacial boulder sits in the upper pool and an identical cast bronze replica sits in the lower pool. Inscription cast in concrete beside the waterfall.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

In rivers, the water you touch is the last of what has passed, and the first of that which comes; so with time present.

Text theme:

Flow of time

Artwork theme:

Symbolic reclamation of the past and recognition of change

History

History:

The artwork took almost two years to complete.

Dimensions

Other information

Note(s):

This work marks the site of one of 49 salmon rich streams that once flowed through Vancouver to the sea. Time is symbolized by an "erratic" - a boulder formed by magma and sea water - and its doppleganger cast in bronze.

Private development

Sponsoring organization: Westbank Projects (real estate developer)

Donor: Monterey Properties Ltd. / Pacific Palisades Hotel Ltd.

Artist's biography:

Gwen Boyle

Author's biography:

Leonardo da Vinci

Owner(s):

City of Vancouver

Document(s):

New current, an ancient stream: a water project at 1200 Alberni Street, Vancouver, BC

Community Services. Cultural Services. Public Art Registry. Artwork: New Currents, An Ancient Stream

Sliding Edge

Marie-Claude Langevin — Fri, 10 Apr 2009 00:54:59 +0000

Artwork identification

Artwork creator(s):

Metz, Jacqueline; Chew, Nancy

Artwork creator(s):

Chew, Nancy

Metz, Jacqueline

Text author(s):

Birney, Earle

Text author(s):

Birney, Earle

Installation year:

2003

Remarks on location:

Two locations: one along the seawall and one along West Hastings Street

Artwork description

Source: Photo provided by Marc André Brouillette
Source: Photo provided by Marc André Brouillette
Source: Photo provided by Marc André Brouillette
Source: Photo provided by Jacqueline Metz & Nancy Chew
Source: Price, Gordon (2005),  A Walk with Barbara Cole. Art public, Price Tags Magazine, no. 77, (9 october), p. 28
Source: Photo provided by Jacqueline Metz & Nancy Chew
Source: Photo provided by Jacqueline Metz & Nancy Chew
Source: Urban Art Management (2008). Portfolio.Sliding Edge. (http://www.urbanartmanagement.com/portfolio.html)
Source: Photo provided by Marc André Brouillette

Description:

Along the seawall, a rough yet elegant waterfall made of black rundle stone is installed; the stacked, linear, irregular stone edges are abstractions of geological layers. Standing on top of the waterfall is an iconic, enigmatic human figure - Man in the landscape, poised between Earth and Sky. The text is an excerpt from a poem by Earle Birney, November Walk Near False Creek Mouth. There is another waterfall along Hastings Street, along with black stone benches that are scattered along the pool edge. Cast iron tree grates are shaped like saw blades to remind viewers of the historic use of the area.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

on the sliding edge of the beating sea

Text theme:

Poem: Earle Birney, November Walk Near False Creek Mouth. Dusk, the tide

Artwork theme:

This work involves two streetscapes and refers to the site’s natural and industrial context: a waterfall of stacked stone, an abstraction of the coal cliffs of Coal Harbour, both organic and ordered; sawblade treegrates; long narrow custom concrete pavers and inset wild grasses echo the slip and slide of a waterfront edge. At the waterfall along the seawall is a figure looking North to the wilderness. Text is carved into the stone face, revealed through a moving film of water. At the urban street, an empty stone plinth projects into the pool, while steel text hovers in front of falling water. The text and the figure, both present and absent, revealed and concealed, reflect on a past landscape, or one that can still be found farther along the coast, and at the intersection of nature and culture.

Dimensions

Other information

Note(s):

Budget: Art Design, Fabrication and Installation $200,000

Artist's biography:

Muse Atelier

Author's biography:

Earle Birney

Owner(s):

City of Vancouver

Source:

Jacqueline Metz & Nancy Chew, 106-1956 Haro St, Vancouver V6G 1H6 T604.685.6184 museatelier@shaw.ca

Document(s):

A Walk with Barbara Cole. Art public

Community Services. Cultural Services. Public Art Registry. Artwork : Sliding Edge

Portfolio. Public Art

Weave

Marie-Claude Langevin — Wed, 08 Apr 2009 03:04:13 +0000

Artwork identification

Artwork creator(s):

Senft, Douglas

Artwork creator(s):

Senft, Douglas

Text author(s):

Senft, Douglas

Text author(s):

Senft, Douglas

Installation year:

2002

Remarks on location:

Downtown, on the Northwest side of the building adjacent to the seawall

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Urban Art Management (2006). Portfolio. Scopes of Site. (http://www.urbanartmanagement.com/portfolio.html)

Source: Photo provided by Marc André Brouillettee

Description:

The work addresses the history of Coal Harbour and is comprised of four parts. 1) Three bronze rings (8' diameter) and one bronze half-ring (15' in diameter) are cast into the paving stones that show the pattern of Douglas Fir bark. The size of the rings represents the size of old-growth trees. 2) Three steel benches with text cut into the seats are installed in the periphery. Text is in Spanish, English and First Nations languages, and include names of people, industries, plants and aquatic life relevant to the area. 3) Seven cast aluminum tree grates depict hydrographic maps and the aviation history of Coal Harbour. 4) Bronze panels depict the annual growth patterns of the trees installed on the seven columns.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Bench 1

Vancouver - 1798     deadmans     Skwatsaw’s='island'
Empress Ships     flying boat     Maberly    Burnaby
Halibut=scha7th     nine o’clock gun     sawmill
Khwaykhway='masks'     Osborne     Galiano-1792
Morton, Brighouse, Hailstone     "Three Greenhorns"

Bench 2

Simdon-Maxwell 'bent end' = Pahpeyuk   DL 185
Lost Lagoon octopus = st'elxwets'    Richards
Sangsters shipyard ch'eshay' = Douglas fir
Anderson Point Easthrope   HMCS Discovery
Skwxwu7mesin - Squamish forge Hallelujah Point

Bench 3

Punta de la Bodega - Stanley Park Boeing Aircraft
chelwhah'ulch = 'dry at low tide ' Narvaez - 1791
Hoffar - Beeching blacksmith Benon Bros. coal
Spratt's oilery herring = slhawt Brockton Point
Kanaka Ranchiere C. P. R. # 374 W.r. Menchions.

Text theme:

Coal Harbour region; historical personalities; local flora and aquatic life (existing and extinct); the aviation and lumber industries that flourished in Coal Harbour.

Artwork theme:

History and industrial transformation of Coal Harbour and its surrounding area.

Dimensions

Other information

Note(s):

Sponsoring Organization: ASPAC Development

Private development

Artist's biography:

Senft, Douglas

Owner(s):

City of Vancouver

Source:

1. Douglas Senft sculpture@douglasenft.com 2. Office of Cultural Affairs Community Services Group City of Vancouver 453 West 12th Avenue Vancouver, BC, Canada V5Y 1V4 Tel: 604-871-6434 Fax: 604-871-6005 E-mail: oca@vancouver.ca Web: www.vancouver.ca/culture • Barabara Cole, Public Art Consultant for the Public Art Program, Cultural Services Public Art Program 604.871.6002 barbara.cole@vancouver.ca • Karen Henry, Public Art Consultant karen.henry@vancouver.ca • Bryan Newson, Public Art Program Manager bryan.newson@vancouver.ca

Document(s):

Portfolio. Public Art

Public Art. Weave

Community Services. Cultural Services. Public Art Registry. Artwork: Weave

Memorial Fountain

Marie-Claude Langevin — Tue, 07 Apr 2009 22:00:54 +0000

Artwork identification

Artwork creator(s):

Davis, Brett

Artwork creator(s):

Davis, Brett

Text author(s):

Davis, Brett

Text author(s):

Davis, Brett

Installation year:

2005

Remarks on location:

Facing Grafton Street and Veterans Affairs Canada's national head office in Charlottetown.

Artwork description

Source: Brett David (2008). Age of Bronze. (http://www.ageofbronze.ca/default.aspx)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

To you from failing hands we throw the torch be yours to hold it high

Artwork theme:

Honours the men and women who gave their lives in the line of duty, for the service members of the police, the fire department, the military and corrections services.

Dimensions

Other information

Artist's biography:

Age of bronze

Document(s):

Charlottetown Dedicates New Service Memorial Fountain

Lookout

Marie-Claude Langevin — Wed, 01 Apr 2009 15:03:16 +0000

Artwork identification

Artwork creator(s):

Best, Noel (architect by profession); Dikeakos, Christos (artist by profession)

Artwork creator(s):

Best, Noel

Dikeakos, Christos

Text author(s):

Best, Noel (architect by profession); Dikeakos, Christos (artist by profession)

Text author(s):

Best, Noel

Dikeakos, Christos

Collaborator(s):

Blaser, Robin (poet)

Installation year:

1999

Remarks on location:

False Creek North shore on the seawall, East of Davie Street.

Artwork description

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 Marc André Brouillettee

Source: Photo provided by Marc André Brouillette

Description:

A sculptural installation consisting of two glass-roofed pavilions separated by approximately 120 metres. The elliptical roof of each pavilion is supported by two walls made of stainless steel with cut-out silhouettes of industrial and natural forms. A second component of Lookout is a perimeter railing with cantilevered glass panels. The panels are inscribed with sandblasted words, written especially for this site in consultation with poet Robin Blaser. Midway between the two pavilions, the cut-out images are cast into the concrete walkway. Also, the artists have placed 13 simple bronze chairs throughout the site. The artwork has an accompanying Website

As part of the urban plan for this area, the artwork sited along Marinaside Crescent also had to provide shelter from the rain. The selected artist team of Noel Best and Chris Dikeakos met this challenge by providing two glass-roofed sculptural pavilions that act as portals to the view looking out over False Creek.

Best and Dikeakos consulted with Vancouver poet Robin Blaser for the text piece sandblasted into the glass balcony surrounds. A third component, 13 beautifully designed plywood chairs reminiscent of the economy of lunchroom furniture, were cast in bronze and distributed throughout the three balcony lookouts

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: details. Pavilion 1. Homeless; Image 2: detail. Pavilion 1. Balustrade; 3 Image: detail. Pavilion 1. Homeless.; 4 Image: detail. Pavilion 1. Shelter and balustrade.

Text of the artwork:

installation 1."shelter"

MUDFLATS EXPO
INDY BUSHLAND
“HOLE IN BOTTOM”
IS “SKWACHAYS”
STURGEON SOLE
BEEHIVE BURNER
SLOP & SHALLOW
HARBOUR SEALS
CANRON & V.I.E.W.
WOODPIPE TANK
CRAB SHIPWORM
SMELT FLOUNDER
SLEEPING CARS
ROUNDHOUSE
A RED CABOOSE

Installation 1. Balustrade. Text incomplete . Shuffle

MARSHLANDS

TIDAL FLATS

ALL FILLED UP

SEA GRASSES

CRAB

ALL BUILT AND ALL REBUILT

[…]LUMBER CO. YARDS

THINGS LEAVE

[…]RD MASTER

[…]TRAIN

Installation 2. "shelter"

ASPHALT LUMBER
OILER COOPER
BLACKSMITH CPR
YARDS SQUATTER
BOAT BUILDER
WATCHMAN SAW
WHEEL PIT COAL
SHED TAR DIPPER
SALMON COD ELK
DINING CARS
“ACRES OF DUCKS”
TOWN AND MILL
HOUSES PACIFIC
OCEAN FLOATING
DOCKS & PILING

Text incomplete. Shuffle

TIME AND TIME AGAIN

TWO
OR
THREE

PLACE
OF…

LABOUR…

GREEN
WHITE AND
RED

DOGWOOD

Text theme:

Industry, flora and fauna

Artwork theme:

Local cultures (native and non-native), celebration of the site

History

History:

Proposal of the Lookout installation is submitted by Dikeakos competition and Best Public Art (Vancouver) in 1998. Commissioned by Concord Pacific Group in the framework of public art in the city of Vancouver (Private Development Program). Construction in progress in 1999. Inaugurated on June 15, 2000.

Dimensions

Other information

Note(s):

• Artist statement: "…As a public quay and access way, Marinaside Crescent is the site of a deep native and non-native knowledge, memories and history. We wanted our work to act as a 'marker' that would reflect the events and cultures of this neighbourhood and, as well, be 'of our time' and of the future. … Lookout is meant to be many things: a shelter from rain, a viewing portal, an archway, a framing device, a 'light projector' that recalls the activities that have occurred here since human occupation, a celebration of a place."

• Sponsoring Organzation: Concord Pacific Group Inc.

City of Vancouver (2009). City of Vancouver Public Art Registry.

< http://app.vancouver.ca/PublicArt_Net/ArtworkDetails.aspx?ArtworkID=64&Neighbourhood=&Ownership=&Program= >

Artist's biography:

Best, Noel

Author's biography:

Dikeakos, Christos

Owner(s):

City of Vancouver

Source:

1. Ville de Vancouver E-mail: publicart@vancouver.ca 2. Christos Dikeakos (représenté par la Catriona Jeffries Gallery) Catriona Jeffries Gallery 2555 West 3rd Avenue Vancouver, B.C. Canada V6A 1M2 274 East 1st Avenue Vancouver, B.C. Canada V5T 1A6 Cell Phone: 604-230-1022 Res Phone: 604-731-9054 Phone: 604-736-1554 FAX: 604-736-1054 Email: christosd@shaw.ca Website: www.catrionajeffries.com

Document(s):

Christos Dikeakos, Noel Best : Lookout

Art on the street: it comes in all shapes and sizes. So does its audience. Judith Mastai looks at several recent major exhibitions of public art in Vancouver and asks: who is it for, and why?

Artwork : Lookout

Our Land - Our Future

Marie-Claude Langevin — Thu, 19 Feb 2009 15:02:44 +0000

Artwork identification

Artwork creator(s):

Zach, Vilem

Artwork creator(s):

Zach, Vilem

Text author(s):

Zach, Vilem

Text author(s):

Zach, Vilem

Installation year:

1986

Artwork description

Source: Waymarking (2007). Our Land - Our Future. (http://www.waymarking.com/waymarks/WM20QC)

Description:

Sculpture of a man and a woman representing the farmers.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

With hope and apprehension they
survey their new land,
brought from afar by its lure.
We depend on the farm familly’s stewardship
of our most precious renewable resource.

Artwork theme:

Land, Family

History

History:

There are 24 replicas of the sculpture. Sponsored by Bank of Montreal to celebrate the 100th anniversary of the BMO.

Dimensions

Other information

Document(s):

Our Land- Our Future- The Alberta Farm Family

Rune

Marie-Claude Langevin — Wed, 14 Jan 2009 03:20:22 +0000

Artwork identification

Artwork creator(s):

Randy and Berenicci (Randy Gledhill and Berenicci Hershorn)

Artwork creator(s):

Gledhill, Randy

Hershorn, Berenicci

Text author(s):

Randy and Berenicci (Randy Gledhill and Berenicci Hershorn)

Text author(s):

Gledhill, Randy

Hershorn, Berenicci

Installation year:

2001

Remarks on location:

Hart House (address provided refers to the Justina M. Barnicke Gallery)

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Description:

Installation of walls made of assembled letters.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

R HS EMF UTN --- GX ZL AEBWTCK YTMQHDRN VOEHBVAXZ JSWCKM […]ND --- H SX BZ TW LQM AKT XNO […]E --- R YL DN GYA SRO RZF HEB M[…] --- NR EHX

Dimensions

Other information

Note(s):

Purchased by the Art Committee & Hart House with the support of the Canada Council for the Arts Acquisition Programme, 2001

Artist's biography:

Randy & Berenicci

Source:

1. Randy & Berenicci (Randy Gledhill et Berenicci Hershorn) randyandberenicci@rogers.com 2. Justina M Barnicke Gallery (Hart House), University of Toronto 7 Hart House Circle. Toronto, Ontario M5S 3H3 Telephone: 416-978-8398 Fax: 416-978-8387

L’Île des Commencements

Marie-Claude Langevin — Thu, 08 Jan 2009 02:25:30 +0000

Artwork identification

Artwork creator(s):

Racine, Rober

Artwork creator(s):

Racine, Rober

Text author(s):

Racine, Rober

Text author(s):

Racine, Rober

Collaborator(s):

Société du Vieux-Port de Montréal and a dozen private consulting engineers

Installation year:

1995

Remarks on location:

Quai des Écluses or "Place du Génie", next to the Maison des Éclusiers, in Old Montreal

Artwork description

Source: Vieux-Montréal (2007). Vieux-Montréal. (http://www.vieux.montreal.qc.ca/inventaire/fiches/fiche_art.php?id=11)

Description:

The artwork consists of a granite bench, 26 slabs embedded in the ground and 4 small bronze pieces grafted to the Maison des Éclusiers. The bench reproduce the shape of Ilot Normandin, a small island which was located in the River at about 100 meters from Pointe à Callière, before a dirt jetty was built to link it to the island of Montreal in 1834. It then disappeared gradually over time, absorbed into the harbour developments. The tiles around the "island bench" each contain 2 words, creating a set of 52 words chosen to illustrate the various engineering fields. The words are etched in 9 languages, reflecting the international aspect of the Port of Montreal. Lastly, four small bronze islands, representing the evolution of the connection of Ilot Normandin to the Port of Montreal, are attached to the railing of the rotunda of the Maison des Éclusiers. An information panel, installed on the front of the building, accompanies this illustration.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete)

Île des Commencements

Oyster Island

Ilot Normandin

Market Gate Island

Fondation

Artwork theme:

The artwork speaks of the origins of the Port of Montreal. The four small bronze islands represent the Ilot Normandin from 1760 until it was integrated into the harbour. The bench-island recalls this ancient islet, but is surrounded by slabs that show the shape that it was given as it was linked to the river bank. The words that are written around this become a metaphor for the harbour-in-the-making. The multilingual slabs are both a symbol of the ships from various countries and a tribute to the achievements of engineers. Through the lexicon they present, they illustrate the various facets of the profession. This lexicon brings to mind multiple paths of reflection while marking the path between the Île des Commencements and the birth of the Port of Montreal. This multifunctinoal artwork can be considered in several ways: as a piece of furniture in the middle of an agora where several pedestrian paths converge; as a doubly commemorative reminder of both the Ilot Normandin and its transformations in relation to engineering works; lastly, as a work integrated to public space that interacts with pedestrians, delivering a vocabulary and ideas for reflection. Despite its commemorative aspect, the work remains discreet, devoid of reference to complex technologies, which does not alter its evocative power.

Dimensions

Other information

Artist's biography:

Rober Racine

Owner(s):

Société du Vieux-Port de Montréal

Document(s):

L'Île des commencements

Vytaieno

Marie-Claude Langevin — Thu, 08 Jan 2009 01:45:55 +0000

Artwork identification

Artwork creator(s):

Mcnutt, Dawn

Artwork creator(s):

Mcnutt, Dawn

Text author(s):

Mcnutt, Dawn

Text author(s):

Mcnutt, Dawn

Installation year:

1992

Remarks on location:

Northeast corner of South and Hollis Streets

Artwork description

Source: Multicultural Trails (2008). Early Ukrainian Settlers Monument. (http://www.multiculturaltrails.ca/level_3/number134)

Description:

The statue displays the 1891 and 1991 Canadian flags as a display of past, present and future. The bread and the salt placed on an embroidered towel is a traditional Ukrainian welcome representing life, and the new life Canada had to offer.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Vytaiemo

Text theme:

The traditional Ukranian greeting of welcome.

Artwork theme:

It is dedicated to the centenary celebration of the Ukrainian immigrants who came to Canada in 1891-1892.

History

History:

This monument was sponsored by the Ukrainian Canadian Congress.

Dimensions

Other information

Owner(s):

City of Halifax

Document(s):

Early Ukrainian Settlers Monument

Public Art - Vytaiemo

Robert Burns

Marie-Claude Langevin — Wed, 07 Jan 2009 18:44:54 +0000

Artwork identification

Artwork creator(s):

Lawson, George A.

Artwork creator(s):

Lawson, George A.

Text author(s):

Burns, Robert

Text author(s):

Burns, Robert

Installation year:

1919

Artwork description

Source: Halifax (1998). Public Art- Burns Halifax Regional Municipality. (http://www.halifax.ca/Community/PublicArt/burns.html)

Description:

A bronze statue representing the standing figure of Robert Burns with his arms folded. The figure is mounted on a Nova Scotia granite pedestal with bronze plaques embedded on each side.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Burns, a man's a man for a that.

Dimensions

Other information

Note(s):

Robert Burns is a replica of a piece that stands in Ayr, Scotland.

Song by Robert Burns, 1795

Author's biography:

Robert Burns

Owner(s):

City of Halifax

Document(s):

Public Art- Burns Halifax Regional Municipality

Présences du littéraire dans l’espace public canadien - Bronze

Rosace, feuille d’acanthe, colonnes, tête d’enfant, une histoire, un lieu

Ce toit tranquille où marchent des petits oiseaux

Inscription 1:

Inscription 2:

Inscription 3:

Inscription 4:

Nous sommes un peuple

Sq’ac’ay’s

(Incomplete text)

Filigree

Éclatement II

(Incomplete)

Débordement public

In front of École Notre-Dame-des-Neiges

Bench #1

Bench #2

Bench #3

Rêver le nouveau monde

Make West

Incomplete

Street Light

New Currents, An Ancient Stream

Sliding Edge

(Site 1: Under the waterfall)

Weave

Bench 1

Bench 2

Bench 3

Memorial Fountain

Lookout

installation 1."shelter"

Installation 1. Balustrade. Text incomplete . Shuffle

Installation 2. "shelter"

Text incomplete. Shuffle

Our Land - Our Future

Rune

L’Île des Commencements

(Incomplete)

Vytaieno

Robert Burns