Présences du littéraire dans l’espace public canadien - Granite

Des pas sur terre

Marie-Claude Langevin — Sun, 06 Jun 2010 01:13:01 +0000

Artwork identification

Artwork creator(s):

Forget, Normand

Artwork creator(s):

Forget, Normand

Text author(s):

Forget, Normand

Text author(s):

Forget, Normand

Installation year:

2000

Remarks on location:

On the ground and on the center of the wall

Artwork description

Source: Centre d'Exposition Lanaudière (1998). L’autobus du 1%. Charlemagne: Centre d'Exposition Lanaudière

Description:

A planisphere is cast on the ground at the entrance of the school. This map of Earth is coupled with excerpts from the Charter of Rights and Freedoms. A block of letters is embedded in the wall. At first, it looks like an abstract mosaic but then words reveal themselves in the manner of a crisscross word puzzle.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

On the ground:

LE DROIT.../ AU RESPECT / AU CHAGRIN / À L'ÉGALITÉ / À L'AMOUR / D'ÊTRE DÉFENDU / LE DROIT / À L'ÉDUCATION / DE JOUER / D'ÊTRE NOURRI / D'AVOIR UN NOM / À L'ERREUR

On the wall:

CHIFFONNIER
ARUENIMNTRU
NCIREUREIEE
TRTNERUISIL
OUAEBUECSTL
NENIOEYILUI
NDNURANROA
INEREVLAAJR
EEUAIACNIR
RVRGRLBEDBE
EUOITSEMODF

Text theme:

Rights and freedoms, trades that children still practice in some parts of the world

Artwork theme:

Respect for the child, the evolution of humanity

History

History:

Celebrates the 10th anniversary of the Children's Charter of Rights and Freedoms

Dimensions

Height:

2.13m

Other information

Note(s):

The Earth map was inspired by a map drawn by Buckminster Fuller in 1927. It presents an uninterrupted view of Earth.

The mural is made of stones from different regions of the globe. The ensemble as a whole evokes a crisscross word puzzle. It contains fifteen decipherable words, written in every direction. The words are trades that children still practice today somewhere in the world.

Owner(s):

École primaire Des Grands Chemins

Perennials

Marie-Claude Langevin — Wed, 28 Apr 2010 14:29:22 +0000

Artwork identification

Artwork creator(s):

Steinman, Barbara

Artwork creator(s):

Steinman, Barbara

Text author(s):

Steinman, Barbara

Text author(s):

Steinman, Barbara

Installation year:

1997

Artwork description

Source : Photo transmited by Marc André Brouillette

Description:

A semi-circle of shattered glass screens with etched leaves is visible from the street and lit at night. In the courtyard is a 4,500 sq. ft. leaf-shaped pool; situated around it are black granite seats with a word carved into each like the title of a botanical drawing. The leaf pool is visible in it's entirety from the office suites above.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Transplanted

Wild

Perennial

Seasonal

Uprooted

Cultivated

Hybrid

Text theme:

The interactions of humans and plants in wild and urban environments

Artwork theme:

Nature, the city.

Dimensions

Other information

Note(s):

"Chance, timing and planning have brought the cultivation of new plants, residents, architecture and even art to the city of Vancouver. Perennials is a sculptural overlay, a botanical metaphor for the constant shifts in natural and cultural landscapes and for the fragility of their survival."

Source: City of Vancouver (2008). Public Art Registry.

http://vancouver.ca/publicart_wac/publicart.exe/indiv_artwork?pnRegistry_No=218

Artist's biography:

Barbara Steinman

Owner(s):

Concord Pacific Group Inc.

Source:

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

Public Art in Vancouver. Angels Among Lions

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

Bancs de pierre.. .et de paroles/ Bancos de pedra... e de palabras

Marie-Claude Langevin — Fri, 14 Aug 2009 14:42:35 +0000

Artwork identification

Artwork creator(s):

Lima, Joe; Branco, Joseph; Rebelo, Miguel; Calado, Carlos

Artwork creator(s):

Lima, Joe

Branco, Joseph

Rebelo, Miguel

Calado, Carlos

Text author(s):

Dinis, Dom; Vincente, Gil; Camoes, Luis; Vieira, Padre Antonio; Barbosa du Bocage, Manuel Maria; Quieros, Eça de; Quental, Antero de; Pessoa, Fernando; Torga, Miguel; Correia, Natalia; Saramago, José; Antunes, Antonio Lobo

Text author(s):

Dinis, Dom

Vincente, Gil

Camoes, Luis

Vieira, Padre Antonio

Barbosa du Bocage, Manuel Maria

Quieros, Eça de

Quental, Antero de

Pessoa, Fernando

Torga, Miguel

Correia, Natalia

Saramago, José

Antunes, Antonio Lobo

Installation year:

2009

Artwork description

Source : Photo transmited by Marie-Claude Langevin

Description:

Twelve granite benches installed along Saint-Laurent Blvd. Portuguese and French literary quotes are engraved onto them. Each bench is decorated with ceramics created by four Montreal artists of Portuguese origins.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Al flores, ai flores do verde pino,
Se sabedes novas do meu amigo!
Ai Deus, e u é?
Las Fleurs, las! Fleurs du pin verdoyant
Donnez-moi des ouvelles de mon ami!
Las! Dieu, mais où est-il? - Dom Dinis (1261-1325)

CLÉRIGO
Ora juro a dios que bien
Yo no soy senor de ti
MOÇO
Quem nam é senhor de si
Por que o sera de ninguém?
Sede vos senhor de vos.
Em fazer o que deveis
Entam é bem que mandeis
LE CLERC
Ora juro a dios que bien
Yo no soy senor de ti
LE JEUNE HOMME
Celui qui n'est pas maître de lui-même
Pourquoi le serait-il d'un autre?
Soyez d'abord maître de vous-même
Et faites ce que vous devez.
Ensuite, il sera bon que vous commandiez. - Gil Vincente (v. 1465-v. 1536)

E, se mais muno houvera, la chegara
Et si, un autre monde avait existé, ils l'auraient découvert. - Luis de Camoes (vers 1524-1580)

Neste mundo ha muitas que nao sao ignorâncias,
e nao ha ignorância, que nao seja miséria.
Beaucoup de misères en ce monde ne sont pas dues à l'ignorance
mais toute ignorance est source de misère - Padre Antonio Vieira (1608-1697)

Fado amigo nao ha
Nem fado escuro:
fados sao as paixoes,
Sao as vontades
Il n'y a pas de destin ami
Pas plus qu'il n'y a de destin funeste
Les destins sont dans les passions,
Ils sont dans les volontés - Manuel Maria Barbosa du Bocage (1763-1805)

Montral é uma pequena cidade que se desejaria
por numa "étagère"
Pode-se dizer que em Montreal nao ha ruas-
mas alinhamentos de jardins.
É um encanto
Montréal est une petite ville qu'on voudrait ranger
sur une étagère...
On dirait qu'il n'y a pas de rues-
mais une suite de jardins.
Et cela m'enchante! - Eça de Queiros (1845-1900)

Junto do mar, que reguia gravemente
A tragica voz rouca, enquanto o vento
Passava como voo dum pensamento
Que busca e hesita, inquieto e intermitente...
Près de la mer qui gravement faisant monter
Sa voix rauque et tragique, pendant que le vent
Passait, comme le souffle d'une pensée
Qui cherche et qui hésite, inquiète et erratique - Antero de Quental (1842-1891)

Primeiro sé livre; depois a liberdade.
Commence par être libre; ensuite réclame la liberté - Fernando Pessoa (1888-1935)

Ter um destino é nao caber no berço
Onde o corpo nasceu.
É transpor as fronteiras uma a uma
E morrer sem nenhuma
Avoir une destinée c'est ne plus tenir dans le berceau
Où le corps est né.
C'est traverser les frontières une à une
Et mourir sans plus aucune... - Miguel Torga (1907-1995)

Abre as portas da Historia,
Deixa passar a Vida!
Ouvre les portes de l'Histoire
Et fais place à la Vie - Natalia Correia (1923-1993)

Hoje, uma lingua que nao se defende morre.
Aujourd'hui, une langue qu'on ne défend pas
est condamnée à mourir - José Saramago (1922-)

Um povo que lê ninca sera um povo de escravos.
Un peuple qui lit ne sera jamais une peuple d'esclaves - Antonio Lobo Antunes (1942-)

Artwork theme:

Portugal in Montreal.

History

History:

Emphasizes the 50th anniversary of the Montreal Portuguese community.

Inaugurated on April 25, 2009

Event date(s):

2009

Dimensions

Other information

Artist's biography:

Citation

Owner(s):

City of Montréal

Untitled

Marie-Claude Langevin — Tue, 21 Jul 2009 16:14:13 +0000

Artwork identification

Artwork creator(s):

Aquino, Eduardo; Sloan, Johanne; Walter, Kathryn

Artwork creator(s):

Aquino, Eduardo

Sloan, Johanne

Walter, Kathryn

Text author(s):

Aquino, Eduardo; Sloan, Johanne; Walter, Kathryn

Text author(s):

Aquino, Eduardo

Sloan, Johanne

Walter, Kathryn

Collaborator(s):

The family of defun

Installation year:

1996

Remarks on location:

In the lobby of Henry F. Hall Building

Artwork description

Source: Concordia University (2009). Public Art. (http://web2.concordia.ca/publicart/works/aquino.php)

Source: Université Concordia (2009). Public Art. (http://web2.concordia.ca/publicart/works/aquino.php)

Description:

4 structures used as tables. Engraved text appears on top.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: Detail Images 2: Overview

Text of the artwork:

(Incomplete)

Qui tacet consentit - Aaron Saber

Matthew Douglass

Michael Hogben

Phoivos Ziogas

Text theme:

Working together with the families of the victims, it was agreed to engrave the victims’ names along with quotations that their loved ones felt captured the essence of their lives.

Artwork theme:

This site-specific installation was dedicated to the memories of Professors Matthew Douglass, Michael Hogben, Aaron Saber and Phoivos Ziogas who were killed in the Fabrikant Shooting in the building, on August 24, 1992.

The use of stone, metal, light and greenery in various juxtapositions sharply penetrates the public space yet invites interaction and assembly. Students who congregate and study in this area become part of a living memorial.

Dimensions

Other information

Note(s):

All three artists are affiliated with Concordia, Aquino is an artist-architect, Sloan is an art historian and critic, and Walter is a visual artist.

Artist's biography:

Eduardo Aquino, Johanne Sloan, Kathryn Walter

Owner(s):

Concordia University

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

Footnotes

Marie-Claude Langevin — Wed, 15 Apr 2009 14:39:06 +0000

Artwork identification

Artwork creator(s):

Boyle, Gwen

Artwork creator(s):

Boyle, Gwen

Text author(s):

Boyle, Gwen

Text author(s):

Boyle, Gwen

Collaborator(s):

Green, Anita; Boyle, Melanie; Lynes, Patti

Installation year:

1994

Remarks on location:

Along Northern side of Pacific Boulevard, on sidewalk between Homer and Drake Streets.

Artwork description

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Description:

Ninety-nine unpolished black granite tiles are recessed randomly into the sidewalk. Handcarved into each granite block are words or texts chosen for their specific reference to the site. The shore is the line between the sea and the land, and the shore is the mid-line in the life of the city... beneath these paving stones.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete)

SEAGULLS SLEEP

SLINTER SHENCE

SHORELINE

TIDES WEPT

MUSSELS

OOLICHAN OIL

BLACKBIRD

374

STONE SHADOWS

ANOTHER MOON

LOOK

SKY LINE

TIDEPOOL
IN A CLAMSHELL

XIWA? ESQS

BENEATH THESE PAVING STONES

THE SHORE IS THE LINE BETWEEN THE SEA AND THE LAND
AND THE SHORE IS THE MID LINE
IN THE LIFE OF THIS CITY

NOVEMBER WALK NEAR FALSE CREEK MOUTH
BORN FROM THE GLARE COME THE FREAKISH FORM
OF TUGS... ALL BOWS AND SWOLLEN FUNNELS
STRAINING TO HARBOUR IN FALSE CREEK
AND BLINDLY FOLLOWED BY MUTE SCOWS

WITH ISLETS OF GRAVEL TO THICKEN THE CITY
AND SQUARE BOWLS OF SAFFRON SAWDUST
THE GROUND MEAL OF THE MANSTRUCK FOREST
OR TOWING SHINING GRIDS OF THE TREES STRICKEN
- EARLE BIRNEY, 1961

Text theme:

City of Vancouver Archives, C.P. Railway Archives, quotes from anthropologists and poets

Artwork theme:

History of the North Shore, False Creek, from pre-settlement time onwards

Dimensions

Other information

Note(s):

Sponsoring Organization : Concord Pacific Group Inc. Private development

Artist statement: This public artwork is located on part of what was once a shoreline.... The work is site specific in that it is based on research and archival material, as well as writings about this North Shore of False Creek, from pre-settlement time onwards.... I have quoted from the City Archives, C.P. Railway Archives, anthropologists and poets to find words to sandcarve into 57 blocks of unpolished black granite. Set into pavers, they are like markers on a path (of time), an echo. Although I feel the words selected are specific to this place, they are also general, sometimes evocative, the ardent hope they will bring out a smile on a rainy day. A private moment in a public space. Assistance from Anita Green, Melanie Boyle and Patti Lynes are gratefully acknowledged.

City of Vancouver (2008). City of Vancouver Public Art Registry

http://app.vancouver.ca/PublicArt_Net/ArtworkDetails.aspx?ArtworkID=206&Neighbourhood=&Ownership=&Program=

Artist's biography:

Gwen Boyle

Owner(s):

City of Vancouver

Document(s):

City of Vancouver Public Art Walk : Downtown Shoreline

Artwork : Footnotes

Visite du Pape Jean-Paul II à Hull

Marie-Claude Langevin — Fri, 20 Feb 2009 15:41:19 +0000

Artwork identification

Artwork creator(s):

St-Martin, Marc

Artwork creator(s):

St-Martin, Marc

Text author(s):

St-Martin, Marc

Text author(s):

St-Martin, Marc

Installation year:

1991

Remarks on location:

On the property of the Sœurs Servantes de Jésus-Marie

Artwork description

Source: Ville de Gatineau (2008). Monuments. (http://www.ville.gatineau.qc.ca/page.asp?p=histoire_cartes_statistiques/monuments)

Description:

Sculpture in the shape of a cylinder, resting on a cylindrical base and featuring an engraving of Pope John Paul II.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Que votre cité soit toujours attentive à entretenir le patrimoine culturel et spirituel qui est le sien.

History

History:

Monument erected on the occasion of Pope John Paul II's visit to the city of Hull, on September 19, 1984.

Dimensions

Height:

1.8m

Diameter:

7.5m

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

Untitled

Marie-Claude Langevin — Sun, 19 Oct 2008 04:36:03 +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:

2003

Remarks on location:

Disc at Rideau and George Streets; Situated at (George Street?) end of the pedestrian mall, connecting Rideau and George (South end) Streets; End of pedestrian mall connecting Rideau Street and George Street in Byward market.

Artwork description

Source: Justin Wonnacott (2008). Disc on Waller Street. (http://www.aregeebee.net/rgb/disc.htm)

Description:

Circle embedded into the ground. In the middle, there is an image of a rabbit; on the perimeter, flames and text.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Photo 1: 2nd version; Photo 2: 3rd version

Text of the artwork:

The tin mug, the only tea cup, went round til all had drunk and each with his bush knife cut toasted meat on a shive of bread. A tot or two of weak grog finished the feast then some would fall asleep. Reclining thus like a parcel of spoons, our feet to the fire we foten foudn the hair of our heads frozen to the place where we lay. Thus we spent our Merry Christmas in 1826.

Artwork theme:

Historical narrative

History

History:

This work was built three times:

The first version was rebuilt because it was not in very good condition.

The second version was damaged by construction to the sidewalk in 1999.

The third version was built in 2003.

Dimensions

Diameter:

2.75m

Other information

Note(s):

The first version was made of 400 cast concrete letterforms embedded in a concrete matrix, brass flames, hand-made aluminum bunny embedded in terrazzo; assisted by Wiley Thomas.

The text is taken from a surveyor’s journal written on Christmas in 1826. Gives a pithy account of camping in Dow’s great swamp, describing a meal among fellows and how they all shared a drink in a single tin cup. Funds came from city staff, obtained from insurance policy on the work; combined with global budget for the city’s improvement of the Waller street pedestrian mall. Flush with the pavement: third version.

Also, small amount of money available to pay for a new complementary work on North end of the street mall.

Made of one solid piece of gray Barre granite

Constructed by Colonial Granite led by Tom Cole, who had also made earlier work (A Monument to a Lost Opportunity, 1992)

Artist's biography:

Justin Wonnacott

Source:

Justin Wonnacott portable : 613 798 3858 domicile : 613 725 2680 justinwo@rogers.com 1. Ville d’Ottawa 110, av. Laurier Ouest, Ottawa (Ontario) K1P 1J1 Renseignements généraux : 311 (ou 613-580-2400) Sans frais : 866-261-9799 https://ottawa.ca/cgi-bin/serviceaccounts/email_search.pl?lang=fr 2. Commission de la capitale nationale (collection d’art public de la région de la capitale) 40, rue Elgin, pièce 202 Ottawa, Canada K1P 1C7 613-239-5555 ou 1 800 704 8227 info@ncc-ccn.ca 3. Karen Nesbitt Cultural Planner, Commissions City of Ottawa 613-244-4429 karen.nesbitt@ottawa.ca

Stillness

Marie-Claude Langevin — Wed, 01 Oct 2008 02:23:17 +0000

Artwork identification

Artwork creator(s):

Campbell, J. Lynn

Artwork creator(s):

Campbell, J. Lynn

Text author(s):

Campbell, J. Lynn

Text author(s):

Campbell, J. Lynn

Installation year:

2007

Remarks on location:

On the field. Carrying Place is located in Prince Edward County (Prince Edward County)

Artwork description

Source: Photo provided by J. Lynn Campbell

Description:

Plate of granite resting on a wooden structure. A word appears on the granite.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

STI

LLN

ESS

Artwork theme:

Rest, harmony, nature

History

History:

Exhibition: This Is Not a Renaissance Garden, Oeno Gallery, Prince Edward County, June 2-October 15, 2007. Stored in a private collection of the artist (Fall 2008).

Event date(s):

2007

Dimensions

Other information

Note(s):

"I chose black granite as the material for this work because of its colour and reflective quality. Using a portrait format measuring 2 feet by 4 feet, its placement is 1 inch above the gallery floor so as to give the illusion of the stone floating. Cut into the polished surface, the word ‘stillness,’ divided below the level of syllables, is done so to suggest layers. It requires one to slow down when attempting to sound the word. The gold and silver circles above and below the letters symbolize the dualism found in nature. The use of the word ‘stillness’ here does not mean motionless, rather it includes motion. Where stillness includes motion, there exists a repose that is an inner concentration of motion. The colouration of black granite gives a sense of depth and suggests concealment. The gravity of the stone comes to bear and rest, and pulls one towards earth’s solidity. When I speak of earth, I am referring to what is natural to earth, not the world as defined by culture and human action. All things of earth, and earth itself as a whole, flow together into a reciprocal accord. Earth is present as the sheltering agent that nourishes and protects in this unanimity. It unfolds itself in an inexhaustible multiplicity of modes and shapes. Each of its elements holds a deep level of intimacy known in the earth’s timelessness. This intimacy is the result of opposing elements letting go into a simple belonging to one another. The earth reveals a capacity and endurance reflected in its ongoing reconciliation of the heterogeneous forces within. Stillness is where differences rest in unity."

Exhibition essay, In Absentia by Catherine Elliot Shaw, curator. Situating the Body, McIntosh Gallery, University of Western Ontario, London, 2008

Artist's biography:

J. Lynn Campbell

Owner(s):

J. Lynn Cambpell

Source:

1. J Lynn Cambpell 416-516-9188 jlynn@interlog.com 2. Oeno Gallery 316 Old Orchard Rd RR#1 Carrying Place, ONT K0K1L0 Phone: (613) 394-2216 Fax: (613) 394-6806 Email: cmoulton@oenogallery.com

I looked for Sarah everywhere

Marie-Claude Langevin — Fri, 26 Sep 2008 16:54:00 +0000

Artwork identification

Artwork creator(s):

Boyer, Gilbert

Artwork creator(s):

Boyer, Gilbert

Text author(s):

Boyer, Gilbert

Text author(s):

Boyer, Gilbert

Collaborator(s):

Diamond, Ann (Translator)

Installation year:

1992

Remarks on location:

Subway Station: King Street – Yellow Line Yonge-University-Spadina

Artwork description

Source: Photo provided by Gilbert Boyer

Source: Photo provided by Marc André Brouillette

Description:

Installation of six paintings on the lawn. The paintings feature an image with text.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

The room of Sarah 1 september unexpected trip. For me. I came to her apartment directly fro helped her move last year when I lived warm. She seemed quite happy with was no answer at the door. I remember under the flower pot. The key was still there although the geranium had dried out. couldn’t hear a sound shouted big pile of bills and between my letters dying on long time grom room to room perfume first night. I had nowhere stayed there would be a phone call or some new come home. I lay untill sunri thinking of her daughter

2- The province of Manitoba without a last few months, her less frequent, she was overloaded . I knew her mother had died from a Maybe she decided to go to Manitoba a left behind a clouded mirror. her two daughters, Lucy D. and Eva we while we wandered around and hung faded away. Later I looked in the di Dunn Ave. hospital elderly aunt Soph deaf. They hours with their ha funny and she loved her very 12-note song whistled or played seen her most 3 weeks . I didn’t want to picture of

3- Allan Garden I walked haphazardly ; I took would bring us together in one of our for her in many places. My memor Allan Gardens and the statue of Burn relationship was beginn under the glass dome kissed her for the first tim bloom. My face turned would be too long to expla I felt like a deserted island there an hour or two, hoping th numb. Hard to understand the m my way back to the hotel. I foun a silver medal in the n with me

4- Streetcar no 504 was the second week all the places, the few friends the parks she liked to walk in she frequented, Chinatown , Little Then I took the streetcar, the 504 occured to me that I might find with her. Or maybe I’d see someone restaurant on Davenport eating an apple pie half-brother Blythe Prospect or around there but I did’nt dare to he told me that he had lost touch unable to tell her story. He was in transit Maybe I should’nt have left her.

5- The public Library cross instead of very secretive right from the start we Anyway did I really know that Sarah wasn’t her real name. books on poetry, pastry-making and politic full of dreams for her many passions studied at Queen wrote almost every By choice and nec cook at a big luckyly enough I the few people I when I was with Sarah printed some poem magazine. The library closed. The sky poured his car. He gave me the phone number used to see her a lot. After m came back back with a bad cold spent some time it all leads touch

6- The room of l’AGO nothing much time to think about us moment, Toronto wasn’t the same a llowing day. I continued my wanderin contact all those peo nown getting desperate. I days essages on answerin switch still hopeful, I decid AGO favourite places closed told me what was so special about gustus John, The Marchesa Casati. Her lone, she would make a visit to admire a reproduction in her bedroom. The day after the writing of this received news from Sarah. She heard folds the secre

Text theme:

Feelings of loss, loneliness of an individual searching for a loved one

Artwork theme:

Feelings of loss, loneliness and isolation of an individual lost in the urban landscapre, desire for intimacy out in public

History

History:

Toronto Sculpture Garden, July 23-September 30, 1992

Acquisition of the work by the city of Toronto for its collection (artwork donated by the artist). Permanent exhibition in St. James Park, adjacent to St. James Cathedral, North end, Toronto

Dimensions

Other information

Note(s):

The text was written in English. Fluidity corrections and edits were carried out with Ann Diamond.

It is a work of fiction, not the commemoration of a real Sarah.

Keywords from the artist: sculpture, installation, sarah, journal, public art, writing, privacy, narrative fragments

Artist's biography:

Boyer, Gilbert

Owner(s):

City of Toronto

Source:

1.Gilbert Boyer5238 Rivard, Montréal (Québec) H2J 2P1514-270-1199gboyer@sympatico.ca2.Rina (directrice) et William (photographe et architecte) GreerToronto Sculpture Garden115 King Street East, Toronto, ON M5C 1G6T : 416.515.9658info@torontosculpturegarden.com

Document(s):

Gardens for the People : Gilbert Boyer and The Urban Paradise

Gilbert Boyer: le langage de l’art : pour une langue en migration/The Language of Art - For a Language in Migration

Boyer, Gilbert. I looked for Sarah everywhere. Toronto Sculpture Garden. Toronto

Sculpture In The Garden: Sanctuary Or Exile?

CANADA. Gilbert Boyer. Toronto Sculpture Garden, Toronto

Gilbert Boyer delves into public art and spaces

ART ABOUT Snow's tree stands out and blends in

Gilbert Boyer. I looked for Sarah everywhere

Double Word Score

Marie-Claude Langevin — Fri, 26 Sep 2008 14:39:20 +0000

Artwork identification

Artwork creator(s):

Jurakic, Ivan

Artwork creator(s):

Jurakic, Ivan

Text author(s):

Jurakic, Ivan

Text author(s):

Jurakic, Ivan

Installation year:

2005

Artwork description

Source: Photo provided by Ivan Jurakic

Description:

Double Word Score features a set of seven engraved granite paving stones that spell RISE and IRIS. The shape, font and scoring reference Scrabble tiles.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

IRIS RISE

Artwork theme:

Rest, knowledge, life and death

Dimensions

Height:

2.45m

Width:

2.45m

Depth:

0.05 m

Other information

Note(s):

To rise alternately means to awaken, to appear above the horizon or to return from death. Iris is the botanical name for the genus of flower, but more importantly, it also refers to the act of seeing. In both the eye and the camera, it is the iris that regulates the amount of light entering the lense. Situated at a crossroads of nature and tourism, with several prominent cemeteries nearby, the engravings suggest the cycle of life and death as an unwinnable game.

Source:

1. Ivan Jurakic 23 Murray Street West Hamilton, ON L8L 1B1 905.523.8865 ivanjurakic@sympatico.ca 2. TH&B (Simon Frank, Dave Hind, Ivan Jurakic, Tor Lukasik-Foss) tor@sympatico.ca 3. Royal Botanical Gardens 680 Plains Road West, Burlington ON L7T 4H4 T : 905-527-1158 sans frais 1-800-694-4769 F: 905-577-0375 info@rbg.ca www.rbg.ca

Nef pour quatorze reines

Marie-Claude Langevin — Tue, 17 Jun 2008 03:07:06 +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.

Collaborator(s):

Robert, Marie-Claude (landscape architect)

Installation year:

1999

Remarks on location:

The square is located between Decelles, Troy and Gatineau Avenues, and Queen Mary Road.

Artwork description

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

Description:

This commemorative work is part of Place du 6 décembre 1989, a memorial public place dedicated to the fourteen victims of the École Polytechnique de Montréal Massacre. Seven granite arches are installed next to each other at irregular intervals, on either side of the footpath. Visitors can read the name of one of the deceased written in inverted letters. The first letter of each name consists of a stainless steel '"commemorative stone". At the base of each of these monuments, the date of birth and date of death of the young woman is written. Two rows of trees are aligned parallel to this memorial.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Maryse Laganière

Barbara Daigneault

Maryse Leclair

Maud Haviernick

Anne-Marie Lemay

Anne-Marie Edward

Sonia Pelletier

Barbara Daigneault

Michèle Richard

Nathalie Croteau

Annie St-Arneault

Hélène Colgan

Annie Turcotte

Geneviève Bergeron

Text theme:

Victim name

Artwork theme:

The work is part of the commemorative Place du 6 décembre 1989, dedicated to the fourteen victims of École Polytechnique Massacre

Dimensions

Width:

21m

Depth:

1.13 m

Other information

Artist's biography:

Rose-Marie E. Goulet

Owner(s):

City of Montréal

Document(s):

Remembering Dec. 6 : City unveils plans for tree-lined park near cemetery

So people will remember, Monument's unveiling marks 10th anniversary of massacre

Dans le sommeil des noms

Projets, archives et documents

À la mémoire des victimes du 6 décembre 1989

Monument au poète inconnu

Marie-Claude Langevin — Wed, 11 Jun 2008 04:14:01 +0000

Artwork identification

Artwork creator(s):

Koch, Érik (design)

Artwork creator(s):

Koch, Érik

Text author(s):

Koch, Érik (design)

Text author(s):

Koch, Érik

Collaborator(s):

Atelier Silex de Trois-Rivières (production)

Installation year:

1994

Remarks on location:

The artwork is installed at Place Alphonse-Piché, between J.-Antonio Thompson Hall and the Trois-Rivières City Hall, facingrue des Volontaires.

Artwork description

Source: Trois-Rivières (2006). Elles nous encerclent : l’art public trifluvien. Trois-Rivières: Corporation de développement

Description:

The artwork consists of a granite monolith anchored to the ground and of a metal structure. This structure, which is attached to the top of the monolith, is composed of seven cubic frames. The cubes are arranged to form two letters "X" nestled one into the other, so as to form a hyper-cube. Two polished granite slabs, each bearing an inscription, are attached to the front and rear of the monolith. The work illustrates a reflection on the poetic approach. The plaque affixed to the rear side of the monolith celebrates the poet Alphonse Piché (1917-1998), who studied at the Séminaire de Trois-Rivières.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

Poet Alphonse Piché

Artwork theme:

The work illustrates a reflection on the poetic process

History

History:

The work was unveiled on September 21, 1994, the year of the 10th anniversary of the Festival international de la poésie de Trois-Rivières and the 360th anniversary of the city of Trois-Rivières.

Event : Festival international de la poésie de Trois-Rivières

Dimensions

Height:

2.44m

Width:

0.76m

Depth:

0.76 m

Other information

Note(s):

The following text is engraved on the granite plaque affixed to the front side of the monolith:

Au poète inconnu
premier monument au monde
qui rend hommage au poète inconnu
10^e Festival International de la Poésie
et
360^e anniversaire de Trois-Rivières
le 21 septembre 1994
[drapeau du Canada] Développement des
ressources humaines Canada
Human Resources
Development Canada
Canada
erik koch

Document(s):

Festival international de la poésie

Elles nous encerclent : l’art public trifluvien 2006

Triptyque

Marie-Claude Langevin — Wed, 11 Jun 2008 02:51:01 +0000

Artwork identification

Artwork creator(s):

Goodwin, Betty

Artwork creator(s):

Goodwin, Betty

Text author(s):

Forché, Carolyn; Wiesel, Élie

Text author(s):

Forché, Carolyn

Wiesel, Élie

Installation year:

1991

Remarks on location:

The artwork is installed in the atrium (passage Hydro-Québec). It is visible from the basement level 1 to the 3rd floor.

Artwork description

Source: MCCCQ (1999). Intégration des arts à l’architecture et à l’environnement. Bilan 1991-1992. Québec: MCCCQ

Description:

Giant ears with engraved text on the ground. The installation consists of a sculpture and mirrors attached to the wall, as well as inlays on the ground. Asculpted bronze ear is reflected in the angled mirrors. Two polished aluminum plates, behind which two steel pipes are installed, represent a "megaphone". The text is engraved in the ground. Both quotes are written in stainless steel and refer to "language difficulties."

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

COMBIEN DE TEMPS
FAUT-IL POUR
QU’UNE VOIX
ATTEIGNE L’AUTRE ?

CHAQUE QUESTION POSSÈDE
UNE FORCE
QUE LA RÉPONSE
NE CONTIENT PLUS.

Text theme:

Language difficulties

Artwork theme:

Language difficulties

Dimensions

Other information

Note(s):

The first excerpt is from The Country Between Us by Carolyn Forché, Harper and Row, 1981. The second excerpt is from The Night by Elie Wiesel, Éditions de Minuit, 1958.

Artist's biography:

Betty Goodwin

Owner(s):

The Montreal Museum of Fine Arts

Architect(s):

Lanken, Peter (architect)

Document(s):

Betty Goodwin, Guy Pellerin

Intégration des arts à l’architecture et à l’environnement. Bilan 1991-1992

L'îlot

Marie-Claude Langevin — Wed, 11 Jun 2008 01:29:35 +0000

Artwork identification

Artwork creator(s):

Dutkewych, Andrew

Artwork creator(s):

Dutkewych, Andrew

Text author(s):

Dutkewych, Andrew

Text author(s):

Dutkewych, Andrew

Installation year:

2002

Artwork description

Source: MCCCQ (2004). Bilan 2002-2004 : L’intégration des arts à l’architecture et à l'environnement. Québec: MCCCQ

Description:

A promontory features a cylindrical tower with an open sphere and a sculpture in the shape of a dog. Three reflexive, black granite slabs are also included, featuring the nomenclature of indigenous aquatic species.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Barbue de Rivière

truite mouchetée

méné d'argent lamproie

poisson armé

perche blanche

achigan à grande bouche

maskinongé

triute de lac

crapet arlequin

Text theme:

Aquatic species

Artwork theme:

Nature, Knowledge, Water

Dimensions

Other information

Artist's biography:

Andrew Dutkewych

Owner(s):

COmmission scolaire des Trois-Lacs

Architect(s):

Leclerc et cie/Massicotte-Dignard

Document(s):

L’intégration des arts à l’architecture et à l'environnement. Bilan 2002-2004

Autour et de très près

Marie-Claude Langevin — Wed, 11 Jun 2008 01:18:39 +0000

Artwork identification

Artwork creator(s):

Dutkewych, Andrew

Artwork creator(s):

Dutkewych, Andrew

Text author(s):

Dutkewych, Andrew

Text author(s):

Dutkewych, Andrew

Installation year:

1992

Remarks on location:

The sculpture is located at Pavillon Thérèse Casgrain

Artwork description

Source: Galerie UQAM (2008). Art public de la Galerie UQAM. (http://www.galerie.uqam.ca/Collection/art-public.htm)

Description:

Sculpture and fountain incorporating a circular basing and four elements carved in granite, all of which are topped with a slab. The base of each element is an upside down face, carved in bas-relief. According to the artist, this refers to what is "intelligible and sensitive." A light system is integrated to the basin. The water flows continuously from the top slab. Four other blocks of granite, arranged around the basin, bear an inscription.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Vertu Mémoire Union Harmonie

Text theme:

In Roman mythology, the terms were the protectors of bounds. Four blocks of stone around the fountain and each carries a inscription that reflect the scope of this monument: Memory, harmony, unity, virtue.

Artwork theme:

Emotion

Dimensions

Height:

2.15m

Width:

1.8m

Diameter:

1.8m

Other information

Note(s):

Engraved on the basin :

AUTOUR ET DE TRÈS PRÈS 1992
ANDREW DUTKEWYCH

Artist's biography:

Andrew Dutkewych

Owner(s):

UQAM

Stèle

Marie-Claude Langevin — Tue, 10 Jun 2008 19:31:25 +0000

Artwork identification

Artwork creator(s):

Bergeron, Sylvie L.

Artwork creator(s):

Bergeron, Sylvie L.

Text author(s):

Bergeron, Sylvie L.

Text author(s):

Bergeron, Sylvie L.

Installation year:

1993

Remarks on location:

The work is located on the shore of Sayat Nova pond, at the Centre d'arts Orford, in the Parc du Mont Orford (Eastern Townships).

Artwork description

Source: ND (1993). Jardins in situ, Orford 1993. Orford : Collectif Art in situ et Centre d’Arts Orford

Description:

The artwork consists of a tombstone featuring a poem. Words are written on a plaque on the ground.

Text of the artwork:

MON DÉSIR
EST GRAND
DE VIVRE
SANS CESSE

DÉSIR
VIVRE
MOURIR

Text theme:

Life

Artwork theme:

Life

History

Event date(s):

1993

Dimensions

Height:

0.9m

Width:

0.6m

Depth:

1 m

Other information

Note(s):

The theme of the event was entitled Cadre et socle. D'un pont à l'autre. Sur les bords de la Rivière-aux-Cerises. Seven artists took part in the event.

Source:

Alexandre Bailleul, Responsable des arts visuels Centre d'arts Orford 3165, chemin du Parc Orford, Québec J1X 7A2 abailleul@arts-orford.org www.arts-orford.org Téléphone:819-843-3981 poste 242 Cellulaire:819-674-1404 Télécopie:819-843-7274

Document(s):

Jardins in situ, Orford 1993

Monument aux braves

Marie-Claude Langevin — Tue, 10 Jun 2008 03:06:29 +0000

Artwork identification

Artwork creator(s):

Silvercruys, Suzanne

Artwork creator(s):

Silvercruys, Suzanne

Text author(s):

Hugo, Victor

Text author(s):

Hugo, Victor

Installation year:

1948

Artwork description

Source: War monuments in Canada (2005) Monument aux braves.(http://www.cdli.ca/monuments/pq/shawini.htm)

Description:

This monument commemorates the brave Shawinigan men who fell in the fields of Flanders during the two wars of 1914-1918 and 1939-1945. The monument is modeled on tombstones of ancient Greece. A bronze sword is mounted on each side of the monument, under which three crowns of laurel lie. A bronze statue of a woman carrying a dying soldier in her arms is installed at the foot of the monument. The soldier's face is partially hidden by the hands of the woman, rendering the dying man more anonymous.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Erigé par la Cité de Shawinigan Falls
à la mémoire de ses chers fils,
artisans de la Victoire.

Ceux qui pieusement sont morts pour la patrie
ont droit qu'à leur tombeau la foule vienne et prie

Text theme:

The last sentence is by Victor Hugo

Dimensions

Other information

Note(s):

Facing the St. Maurice River in downtown Shawinigan, this Monument des Braves was inaugurated in September 1948. Work by Suzanne Silvercruys. The bronze statue at the foot of the monument was cast in Belgium in 1939 but the war started, and then disputes erupted about where it should be installed and about the project costs. These delayed the installation of the statue.