Présences du littéraire dans l’espace public canadien - Métal

Terra Incognita

Marie-Claude Langevin — Wed, 06 Oct 2010 21:01:39 +0000

Artwork identification

Alternate title:

Earth In Disguise

Artwork creator(s):

Curry, Gwen

Artwork creator(s):

Curry, Gwen

Text author(s):

Butler Yeats, William

Text author(s):

Butler Yeats, William

Installation year:

2001

Artwork description

Source: City of Surrey (2010). Public Art. (http://www.surrey.ca/files/PubArtInsert-Series9.pdf)

Description:

L'oeuvre se retrouve dans deux lieux. À l'intérieur, à côté des fenêtres, des panneaux de verres représentent la faune et la flore. À l'extérieur, on retrouve, sur le mur devant le jardin, du lettrage.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Take down this book, and slowly read

Text theme:

Temps de réflexion et repos

Artwork theme:

Monde inconnu, réflexion, littérature

Dimensions

Other information

Note(s):

Le texte vient du texte When You are Old du poète britannique William Butler Yeats

WHEN you are old and gray and full of sleep
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true;
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face.

And bending down beside the glowing bars,
Murmur, a little sadly, how love fled
And paced upon the mountains overhead,
And hid his face amid a crowd of stars.

Artist's biography:

Gwen Curry

Author's biography:

William Butler Yeats

Propriétaire(s):

Ville de Surrey

Document(s):

Public Art : Terra Incognita

Angles d'incidence

Marie-Claude Langevin — Sat, 05 Jun 2010 19:47:01 +0000

Artwork identification

Artwork creator(s):

Cotton, Claudine

Artwork creator(s):

Cotton, Claudine

Text author(s):

Hopkins, Gerard Manley

Text author(s):

Hopkins, Gerard Manley

Installation year:

1998

Remarks on location:

Rez-de-chaussée et hall d'entrée

Artwork description

Source: MCCCQ (1999). Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999. Québec: MCCCQ

Source: Photo transmise par Nathalie Villeneuve

Source: MCCCQ (1999). Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999. Québec: MCCCQ

Source: Photo transmise par Nathalie Villeneuve

Description:

L’œuvre consiste en une installation sculpturale dont une partie est située à l’intérieur et une autre à l’extérieur de l’édifice.

À l’intérieur, un grand panneau blanc est installé, sur une paroi peinte en noir, de manière à créer un triangle sur le mur, comme si le mur était en train de basculer sous l’effet du levier métallique installé sur le sol.

L’élément extérieur, qui consiste en une sculpture métallique de forme triangulaire, est installé dans la continuité de ce panneau blanc.

Au sol, le levier consiste en une barre métallique dont le point d’appui est un bras en bronze. Sur la paroi noire se trouvent vingt reliefs en forme de petites trompettes et cinq reliefs représentant des bras pliés. Sur la tranche du panneau blanc, une bande de tissus contient une inscription. Dans la fenestration sont installés deux quarts de cercle en verre encadrés de métal : dans celui du haut, on peut voir des fils métalliques; dans celui du bas, du miel – qui s’est cristallisé avec le temps. On retrouve également, éparpillés sur la fenestration, 57 reliefs en verre en forme de bouche. Finalement, au sol, un quart de cercle de couleur miel s’étend jusqu’à l’ascenseur

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

LE CERVEAU A SES MONTAGNES, SES FALAISES VERTIGINEUSES QUE NUL N'A JAMAIS TOTALEMENT SONDÉES

Text theme:

Pensée engagée comme une force agissante

Artwork theme:

Activer la connaissance, les énergies de la pensée engagée.

L'importance de savoir activer les connaissances et le travail de la pensée comme énergie tangible.

Dimensions

Height:

Width:

Other information

Note(s):

Sous l'effet du levier, où l'on retrouve enfermées des gouttes de sueur, une imposante masse murale est basculée et projetée au-dehors.

Sur la plaque:

Angles d'incidence propose la pensée engagée comme essence primordiale au
fonctionnement du lieu et lui accorde des positions stratégiques. Ainsi
cette force agissante, poétisée par la présence de "coudées franches" et de sueur de
penseurs, devient, à l'image d'un levier, capable de soulever les structures et de
les maintenir dans une position d'ouverture.
Cet exercice perpétuel qui invite à la construction et à l'audace, nous engage.

Author's biography:

Gerard Manley Hopkins

Architectes(s):

Brassard, André

Document(s):

Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999

Symbols of the Cuneiforms

Marie-Claude Langevin — Wed, 28 Apr 2010 15:39:12 +0000

Artwork identification

Artwork creator(s):

Thomas, Lionel; Thomas, Patricia; Lachnit, F.

Artwork creator(s):

Thomas, Lionel

Thomas, Patricia

Lachnit, F.

Text author(s):

Thomas, Lionel; Thomas, Patricia; Lachnit, F.

Text author(s):

Thomas, Lionel

Thomas, Patricia

Lachnit, F.

Installation year:

1960

Artwork description

Source : Photo transmise par Marc André Brouillette

Description:

Cette oeuvre est un relief en métal avec des insertions en plexiglas. Les sections blanches sont éclairées la nuit

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Écriture cunéiforme

Text theme:

Écriture développée en Mésopotamie

Artwork theme:

Écriture

History

History:

L'oeuvre a été sauvée lors des rénovations de l'ancienne bibliothèque dans le milieu des années 1990.

Dimensions

Other information

Artist's biography:

Lionel Thomas

Propriétaire(s):

Ville de Vancouver

Document(s):

Public Art in Vancouver. Angels Among Lions

Ayarak

Marie-Claude Langevin — Mon, 20 Jul 2009 15:39:07 +0000

Artwork identification

Artwork creator(s):

Bourgault, Pierre

Artwork creator(s):

Bourgault, Pierre

Text author(s):

Bourgault, Pierre

Text author(s):

Bourgault, Pierre

Collaborator(s):

Bourgault, Maxime; Bourgault, Che; Riopelle, Jean-Paul

Installation year:

1999

Remarks on location:

La première sculpture se situe dans le hall d'entrée de l'édifice, la seconde se situe près des ascenseurs

Artwork description

Source: Saint-Jérôme (2009).Circuit d'art public de Saint-Jérôme. (http://www.d4m.com/soluss/musee/web/document/Circuit_web.pdf)

Source: Pierre Bourgault (2008). Pierre Bourgault artiste. (http://pierrebourgault.org/index.php)

Description:

Ensemble sculptural composé de deux éléments reproduisant à grande échelle des motifs particuliers d'un jeu de ficelle inuit et d'une incrustation en laiton dans le revêtement du sol. Dans la langue inuit, le mot Ayarak signifie La ficelle dont les deux bouts sont attachés ensemble et qui sert à fabriquer les différentes figures.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Le Renard l'emporte, le suit à la trace

Ce qui ressemble à un nuage

Artwork theme:

L'oeuvre exprime la socialisation, l'opposition, la complémentarité, la différence et tout ce qui nous lie.

Dimensions

Other information

Note(s):

Le présence de panneaux didactiques dans la salle d'attente a pour but de familiariser les usagers du lieu avec la tradition de ces jeux de ficelle.

Artist's biography:

Pierre Bourgault

Propriétaire(s):

Palais de justice de Saint-Jérôme

Architectes(s):

Birtz, Côté, St-Gelais, Maillé (Architectes)

Document(s):

Intégration des arts à l’architecture et à l’environnement. Bilan 1998-1999

Art pour tous. Capitale culturelle du Canada en 2005, Saint-Jean-Port-Joli souligne l'apport des artistes de la région dans la réalisation d'oeuvres publiques

Anti Totem Pole

Marie-Claude Langevin — Sat, 04 Jul 2009 21:08:00 +0000

Artwork identification

Artwork creator(s):

Morrison, Phil

Artwork creator(s):

Morrison, Phil

Text author(s):

Morrison, Phil

Text author(s):

Morrison, Phil

Installation year:

2001

Artwork description

Source: Photo provided by Phil Morrison

Description:

Totem fait de laveuses-sécheuses

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

the vancouver airport and the prince george art gallery are just two examples of how art and politics then I was thinking about telephone booths totem poles the truth got the dryers for nothing when joe lent me his plasma cutter some of it happened around bear lake and we must thank Jim

Text theme:

Pensées aléatoires de l’artiste sur la création de l’oeuvre

Artwork theme:

Perte de droits et de cultures autochtones; portrait de la culture amérindienne selon la culture occidentale en Colombie-Britannique; domination de la culture occidentale sur celle des Amérindiens; déchets; technologie

Dimensions

Height:

Other information

Note(s):

• Construit en guise de protestation silencieuse de l'installation du totem Crest à la Two Rivers Gallery
• Initiative des projets: Phil Morrison
• Partenaire / Mécénat d'entreprise: Jim Brinkman, des Livres & Co.
• Courant Dépositaire: Books & Co.

Artist's biography:

Morrison, Phil

Propriétaire(s):

Jim Brinkman, propriétaire de Books & Co.

Flood of Memories

Marie-Claude Langevin — Tue, 07 Apr 2009 16:02:22 +0000

Artwork identification

Artwork creator(s):

Anholt, Jill

Artwork creator(s):

Anholt, Jill

Text author(s):

Anholt, Jill

Text author(s):

Anholt, Jill

Installation year:

2005

Remarks on location:

Située à l’entrée du Musée et de la Discovery Centre

Artwork description

Source: City of Surrey (2008). Public Art Program. (http://www.surrey.ca)

Source: Jill Anholt Studio (2008). Projects. Flood of Memories. (http://www.jillanholt.ca/projects/flood-of-memories)

Source: City of Surrey (2008). Public Art Program. (http://www.surrey.ca)

Description:

Ensemble sculptural avec un mur avec du texte et des photographies. De l'autre côté, on retrouve un jardin de plantes.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

En français, chinois, allemande, hindou, Punjabi et anglais:

rivière = river
terre fertile = fertile land
eau salée = saltwater
inondation = flooding
construction de digue

Text theme:

Eau

Artwork theme:

Longue histoire des efforts communautaires à maîtriser les rivières locales; souvenirs multiculturels sur plusieurs générations d’expériences vécues de résidents de Surrey en rapport aux digues; fertilité des terres de Surrey en résultat des digues

Dimensions

Other information

Note(s):

•Budget: 38 000$

Artist's biography:

Jill Anholt

Propriétaire(s):

City of Surrey Public and Community Art Collection

Dyke House

Marie-Claude Langevin — Tue, 24 Mar 2009 20:01:48 +0000

Artwork identification

Artwork creator(s):

Holman, Shaira; Jones, Lizard; Sui, River

Artwork creator(s):

Holman, Shaira

Jones, Lizard

Sui, River

Text author(s):

Le Public

Installation year:

1992

Remarks on location:

4 emplacements : 1204 Georgia, Est de Vancouver, 303, 8th Avenue, front ouest, Mount Pleasant, Vancouver; 4000 Manchester Drive, New Westminster; 1100 rue Burnaby Street, Ouest de Vancouver

Artwork description

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

Description:

Il s’agit d’une installation posée dans la boîte arrière d’un camion. L’installation a été déplacée à 4 endroits différents au cours de l’été 1992.

Mention(s) légale(s) des illustrations:

Remarques sur l'image:

Image 1. Détail. «domicile lesbienne; Image 2. Détail. Figures («résidentes») en bois aggloméré

Text of the artwork:

[Au début:]

This looks like a nice neighbourhood
Yeah, I feel safe here.

[Ajouté, jour 3:]

I don’t think people mind that we’re together.
well, we should still be careful about kissing
in the street.

[Ajouté, jour 5:]

I met a lesbian who lives down the block
Great! This is becoming a dike neighbourhood.

Text theme:

Homophobie, homosexualité (lesbienne)

Artwork theme:

Homophobie, homosexualité (lesbienne) : visibilité, identité et sécurité des homosexuelles dans un contexte urbain et résidentiel.

History

History:

Exposition «Out of Place», organisée par l’Association for Noncommercial Culture
Exposition du 1 juillet 1992 au 30 juin 1993. Œuvre exposée comme suit:

4 au 11 août 1992: 1204 Georgia, East Vancouver;
12 au 19 août 1992, 303, 8th Avenue, Western Front, Mount Pleasant, Vancouver;
20 au 26 août 1992: 4000 Manchester Drive, New Westminster;
27 août au 4 septembre 1992: 1100 Burnaby Street, West End Vancouver.

Event date(s):

1992

Dimensions

Other information

Artist's biography:

Jones, Lizard

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca 2. Shaira Holman 604-408-0118 shaira@vcn.bc.ca

Document(s):

Out of Place

As one

Marie-Claude Langevin — Sat, 07 Mar 2009 23:46:44 +0000

Artwork identification

Artwork creator(s):

Plensa, Jaume

Artwork creator(s):

Plensa, Jaume

Text author(s):

Plensa, Jaume

Text author(s):

Plensa, Jaume

Installation year:

2003

Remarks on location:

Dans l'aire de réclamation des bagages

Artwork description

Source: Jaume Plensa (2009). As One. (http://www.jaumeplensa.com/)

Source: Hébert, Natasha (2005). Jaume Plensa: Le Sphinx catalan. Espace. no. 71, p. 36-39

Source: Jaume Plensa (2009). As One. (http://www.jaumeplensa.com/)

Description:

Des lettres de néon attendent le passager qui récupère ses bagages. À partir des chaos des lettres, les mots America, Europa, Asia, Oceania, Africa apparaissent tour à tour, mettant en lumière les concordances entre les lettres des mots. En formant un nouveau mot, ils ouvrent des portes sur un continent encore inexistant.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

America, Europa, Asia, Oceania, Africa

Dimensions

Height:

Width:

100m

Other information

Note(s):

Plensa has captured all of the emotions, anticipation and anxiety people feel upon landing in a new country. He has strung together the words "Asia," "Africa," "Oceania," "Europe" and the "Americas" into one neon superword, 100 meters in length. "I feel today that all the continents are moving to become one again, as they once were," Plensa says drawing parallels to technology's globalization of the world and the Pangaea of 200 million years ago. "So I have transformed all the 31 letters of the continents into one long word. The thing is, we don't know how to read it yet. We don't have the experience." The words will be illuminated selectively, creating both recognizable and undecipherable text. In as much as the work incorporates the familiar, there is also the unexpected, again mirroring the experience of a traveler arriving in a foreign land.

Natasha Hébert (2005). "Jaume Plensa: Le Sphinx catalan". Espace, no. 71, p.36-39

Artist's biography:

Jaume Plensa

Document(s):

Jaume Plensa: Le Sphinx catalan

Airport art

Poems for a Small Park

Marie-Claude Langevin — Thu, 19 Feb 2009 15:22:11 +0000

Artwork identification

Artwork creator(s):

Blodgett, E.D.

Artwork creator(s):

Blodgett, E.D.

Text author(s):

Blodgett, E.D.

Text author(s):

Blodgett, E.D.

Installation year:

2008

Remarks on location:

Sur 40 poteaux

Artwork description

Source: The Places (2008). Poems. (http://www.theworks.ab.ca/placesfolder/tour/pages/16.html)

Description:

Écrit en Anglais, Français, Chinois, Ukrainien, Cree, Métis

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

beginnings just appear
so like a drowsy eye
suddenly awake
where a river wells up
uncoiling from the ice
where snug beside the land
it lay dreaming at
our feet in quiet sleep

tread lightly on
the new grass
it is not ours
breathe in the air
with awe
it is the spirit’s breath

pi aku´ pi ak pa wa k´an
ki ihtamaka ta pimatisewin
nat a kam ta la riyver
ki itote maka ki kispanouhk
ekwa ka sekc´ouwahk kakiyaw diloo
ta koc´ipaik
ka kiskac´wak ki kisipanouk
le mama ochi diloo
ekota sokkan ekwa ka kiki kanatan

un seul rêve
nous habitait le corps
le long de la rivière
celui d’aller au bout
et puiser toute cette eau
de sa source
de saisir enfin
la mère des eaux
dans sa pureté primesautière

as from beads of rain
the early light glances off
the wakened river toward
the dazzled children who
wait beside the bank
their eyes frozen fountains

but where is to be found
the dream of rivers exhaled
free from winter ice
in willow tufts perhaps
or the breath of clean birds
come back pursuing the sun

late in the afternoon
deer drift toward the bank
gazing with wakeful eyes
at houses that throughout
the day start to rise
as if the wind among the leaves
the river flowing past
had strangely come to rest
no farther place to reach

but swallows so swift
trace their curves across
the sky and close to banks
happy with the eaves
they find to shelter from
the ruthless noon-day sun

as if unmoved by sun
the shy retreats of deer
and birds in high suspense
the river dreams of its
descents yet to come
and never to be known

and as we walk here
let us remember them
whose dreams created in
the depths of human flesh
never rose in flight
but stood beside these shores
reaching with longing for
the other bank that rose
forever beyond their grasp

beauty from summer falls
unnoticed through ravines
that from the river reach
deeper through the earth
where silence unadorned
rises in our hands

the leaves that now fall here
have fallen here before
anyone knew that leaves
in such infinities fall
and how the heavens exhale
their long sighs of stars

transparent in the late
light that falls across
the river slowing down
every tree becomes
the perfect dream of trees
and there divinity
close to the end of day
silence on its knees
takes up residence

the last to find sleep
in the longer nights of fall
the coyotes fill the air
with sharp cries of glee
that summon stars and moon
the river suddenly
overcome with dreams
echoes of fading song

the time of legend falls
slowly on this place
everywhere unseen
but each return of snow
the moon settling on
the river like a leaf
composed of silence and
unfathomable light
are the only tales it tells

autant de fois
que tombent les feuilles
avons-nous flâné ici
pour les contempler
telles des rêves qui
flottent en dérive vers la mer

winter falls at length
through darkness and the snow
unable to go on
unable on the still
river to return
making this the last home
all elsewhere now
the dream that is to come
unable to take shape

now let us salute
all children who
never saw the light
and all mothers whom
winter took away
and all who have stood here
their names written in
the wind that falls without
a trace across the ice

and let us turn our heart
to old trees that through
the many winters of
their lives have reached forth
to greet the passing birds
and in their branches held
the winds that went astray
beneath the frozen moon
and solitary stars

quelqu’un dans l’obscurité
murmurait adieu
tel le son
de la rivière gelée

and so the last dream
is what the river dreams
asleep beneath the ice
of its invisible
descent from glaciers
beyond sight to seas
and where at last it wakes
soundless it disappears

nothing lay so clear
before those who stood
on these banks than the great
canopy of sky
that spread above them and
poured forth its endless light
and everything it seemed
stood eternal here
all that was laid bare

et tous qui ont suivi
sont entrés dans la lumière
comme si c’étaient une mer
qui les engloutissait
une mer pleine
de grands oiseaux
qui les menaient
plus profondément
vers la source des étoiles

or the golden light
of grain heading out
in summer calls them all
and gazing into it
they see summers spread
everywhere before
them flowing through the air
generations of
the sun standing in sheaves

while over all of them
the silent river and
the grass against their feet
a star unmoving stands
beyond anyone’s grasp
this is the light that draws
them all into the dream
of what will be when they
no longer walk here

possibility
rises in the light
as if every dawn
turned departure toward
endless arrivals where
only the rising sun
holds time in its light
asleep upon our hands

Text theme:

Des poèmes sur le North Saskstchewan et la river valley

Dimensions

Height:

15m

Width:

15m

Other information

Note(s):

Commandité le Art & Design du Public Place

"I took the river as a metaphor … for moving through time," he told CBC News. "As the poems move through the seasons, they move through the elusive history of the city, the growth of the city. There's a sense of time flowing through it and flowing away."

- CBC website (2008). Poetry to be a walk in the park for Edmonton.

<http://www.cbc.ca/arts/books/story/2008/09/04/edmonton-poetry.html>

Artist's biography:

Poems for Small Park

Document(s):

Riverfront park with a view and poetry, too

Poetry to be a walk in the park for Edmonton

Poems for a Small Park

The Raven

Marie-Claude Langevin — Wed, 21 Jan 2009 18:33:15 +0000

Artwork identification

Artwork creator(s):

Koh, Germaine

Artwork creator(s):

Koh, Germaine

Text author(s):

Poe, Edgar Allan

Text author(s):

Poe, Edgar Allan

Installation year:

2003

Artwork description

Source: Germaine Koh (2009). GERMAINE KOH. (http://www.germainekoh.com/ma/projects_mainpage.cfm?pg=projects)

Description:

Poème inscrit sur un panneau qui tourne continuellement.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

NEVER MORE

Text theme:

The Raven, Edgar Allan Poe

Artwork theme:

La perte perpétuelle

History

History:

1. Museum of Contemporary Canadian Art (MOCCA), Toronto, 2005
2. Art Gallery of Greater Victoria (AGGV), Victoria, Colombie-Britannique, 2005
3. Yukon Art Centre, Whitehorse, 2005
4. Art Forum, Berlin 2003
5. Toronto International Art Fait (TIAF), Toronto, Ontario 2003

Dimensions

Height:

0.89m

Width:

0.46m

Other information

Note(s):

•Cette œuvre existe en édition de trois.

Artist's biography:

Germaine Koh

Author's biography:

Edgar Allan Poe Society of Baltimore

Source:

1. Germaine Koh, artiste101 Niagara Street, Box 28, Toronto, M5V 1C3416-365-7056 website@germainekoh.commail@germainekoh.commobile +1(778)3179745Germaine Koh peut être jointe en communiquant avec la galerie qui la représente - Catriona Jeffries Gallery2. Charo NevilleAssociate CuratorCatriona Jeffries Gallery274 East 1st Ave., Vancouver V5T1A6 CanadaTél : 604-736-1554cat_jeffries_gallery@telus.net

Document(s):

Germaine Koh : works

Koh signage works

Still Life

Marie-Claude Langevin — Mon, 01 Dec 2008 20:32:27 +0000

Artwork identification

Artwork creator(s):

Skelton, Carl

Artwork creator(s):

Skelton, Carl

Text author(s):

Skelton, Carl

Text author(s):

Skelton, Carl

Installation year:

2006

Remarks on location:

Côté nord de l'autoroute 401 entre Renforth Drive et Dixie Road.

Artwork description

Source: Artstage (2008). Artstage. (http://www.artstage.ca/index.htm)

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

STILL --- LIFE

Artwork theme:

Nature morte, changement, instabilité, le quotidien

History

History:

Exposition «Artstage», Toronto, ON, 28 septembre 2006

STILL LIFE is intended to respond to its circumstances: long sightlines, a drive-by experience that is by and large going to be experienced many times by people who travel that road on a daily basis, albeit at very different speeds according to traffic conditions, and in very different states of mind, not to mention from a wide variety of cultural perspectives.

In the first instance, STILL LIFE is a gentle pun on the situation: a work of art where a billboard would normally be. Any number of artists have pastiched or deconstructed Billboard advertising… this is simpler, a play on the ironies of the phrase’s constituent parts, “still” and “life”.

STILL Under these viewing conditions, anything ARTSTAGE includes will be un-still: the works of art may not be “kinetic” in their construction, but they certainly must be in their public’s experience. If you only see the work from the highway, it’s effectively kinetic unless you stop the car. On the other hand, the work is hyper-still too: it is a regular reminder that no matter what else has happened since the last time you drove by, this pocket of reality is “still” what it was, unchanged at least provisionally. That characteristic, of anticipating and yet stepping out of the flux of change surrounding us, is fundamental to art’s role in both public and private spheres.

LIFE “Still life” is a simple tag line, but it has a lot of layers to play with. At one level, the aggregate of all the installations that add up to ARTSTAGE itself will be a large-scale still-life arrangement. At another, the phrase will evoke an incredible variety of specific experiences of works of art in the minds of drivers and passengers on the 401. One can almost see a cloud of memories of still life paintings forming in the minds of people as they pass, and then dispersing through all the different trains of thought down the road. As the genre most typically associated with details of daily life, and most broadly experienced as historical “ART” in mainstream culture, “still life” will be just about the exact contrary of most of the genre and associations it names… the other end of the spectrum of what a work of art can be in relation to time, space, and place.

STILL LIFE What proportion of the millions who will drive by, how many times, will the reading actually not even register as an “Art Thing”? Out of context, the simple reminder that whatever you think is all change, speed, instability… something in the way of the world is actually not changing. In some small measure, the piece responds to Heraclitus - where his saying that “you never step twice into the same river” describes the instability of the phenomenal world as an absolute, STILL LIFE implies something quite different. The viewing of it will unfold differently every time, for every person, from the first sight of “STILL” in the distance, to the breaking-up and re-resolving of the letters and words across the lenticular surface, to the much shorter span of time “LIFE” can be read at the other end of the viewing sequence. In some of the minds, all of the time, the question will seem to come from nowhere: what HASN’T changed since the last time you passed this way?

Source : Artstage (2008). Cark Skelton.

http://www.artstage.ca/

Dimensions

Other information

Artist's biography:

Cark Skelton

Source:

1. Carl Skelton 362 West 30th Street #1, New York, NY 10001 USA (917)601-7122 c a rl@ultratopia.com (personnel) Carl Skelton, directeur Intigrated Digital Media Institute at Polytechnic University, Brooklyn. +1-718-260-4018 cskelton@poly.edu (lieu de travail) 2. Artstage PO Box 356 Station 'A' Toronto Ontario M5W 1C2 TEL (416) 690-3622

Document(s):

Cark Skelton

Used cars

Marie-Claude Langevin — Sat, 29 Nov 2008 17:40:11 +0000

Artwork identification

Artwork creator(s):

Carlson, Corinne

Artwork creator(s):

Carlson, Corinne

Text author(s):

Carlson, Corinne

Text author(s):

Carlson, Corinne

Installation year:

1995

Remarks on location:

Au centre-ville, quatre sites différents

Artwork description

Source : Photo transmise par Corinne Carlson

Description:

Des mots orange vif de paroles de chansons d'amour sont suspendus au-dessus de voitures.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

site 1:

ALL RICHT

site 2:

OKAY

site 3:

YOU WIN

site 4:

I'M IN LOVE WITH YOU

Text theme:

«Alright, Okay, you Win», chanson populaire par Dorothy Fields and Jimmy McHugh

Artwork theme:

Déclarations d’amour, jeux de mots

History

History:

1. Niche (public installations, interventions and performances), Guelph, 22 avril-20 mai 1995

2. off\site@toronto (urban intervention project), Toronto, 25 sep-31 oct 1998

Dimensions

Other information

Artist's biography:

Carlson, Corinne

Source:

1.Pruesse, Kym, éd., Accidental Audience : Urban Interventions by Artists, Toronto : Off\Site Collective, 1999, p.80 2. Jennifer McMackon, «Corinne Carlson @ Mercer Union, Toronto». Sur le site Big, RED And Shiny. An art journal http://www.bigredandshiny.com/cgi-bin/retrieve.pl?issue=issue66&section=out-of-town&article=corinne_carlson_at_2213256 (Consulté le 30 octobre 2008). Corinne Carlson onertwons@interlog.com

Document(s):

Niche: installations, interventions, performances. April 22-May 20, 1995

Taking it to the Streets

Niche: Art Outside of The Gallery

Niche : installations publiques, interventions et performances/Public Installations, Interventions and Performances

Normal

Marie-Claude Langevin — Fri, 28 Nov 2008 04:10:14 +0000

Artwork identification

Alternate title:

The New Normal

Artwork creator(s):

Yanover, Shirley

Artwork creator(s):

Yanover, Shirley

Text author(s):

Yanover, Shirley

Text author(s):

Yanover, Shirley

Installation year:

2003

Remarks on location:

Installée au dessus de l’entrée de l’édifice et sur le domaine.

Artwork description

Source : Photo transmise par Shirley Yanover

Description:

Cette exposition a comporté deux autres volets : «New Normal», un tableau peint en acrylique a été accroché dans la cafeteria. «Normal Graduation 23» était une intervention de douze pendules ovales plastifiées, suspendues sur des chaînes métalliques sur le lustre dans l’entrée. Les pendules contenaient les éléments suivants : portraits provenant des annuaires de 1913-1973, de découpures de journaux locaux de Stratford, et du papier peint évoquant l’époque propres aux portraits, une copie de la peinture «New Normal» et le logo de l’école normale.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

NORMAL -- THE NEW normal

Text theme:

Appartenance et identité sociales

Artwork theme:

Histoire du lieu

History

History:

Normal Resonance. Gallery 96, Stratford, Ontario, 5 juillet-28 septembre 2003 [commissaire : Cindy Hubert].

Dimensions

Height:

0.92m

Width:

0.6m

Depth:

0.6 m

Other information

Note(s):

Cette exposition a eu lieu à la galerie 96, qui était une école normale (un institut universitaire de formation des maîtres) jusqu’en 1973 («normal school»). Le texte fait donc référence au lieu.

Artist's biography:

Yanover, Shirley

Propriétaire(s):

Collection de l’artiste

Source:

1. Shirley Yanover, artisteshirley.yanover@rogers.com2. Cindy Hubert, directriceGallery 96Stratford, ON(519) 271-4660info@gallery96.comgallery96@orc.ca

Duet

Marie-Claude Langevin — Thu, 27 Nov 2008 23:45:08 +0000

Artwork identification

Alternate title:

duet choosing the water’s edge

Artwork creator(s):

Brandl, Eva

Artwork creator(s):

Brandl, Eva

Text author(s):

Brandl, Eva

Text author(s):

Brandl, Eva

Installation year:

1987

Artwork description

Source: Eecloo, Robin, Hennie L. Wolff (1987). Sans Démarcation, Toronto : Visual Arts Ontario

Description:

Panneau-réclame posé contre la façade de l’Art Gallery of Algoma qui se pose devant un champ longeant la rivière St-Mary dans lequel sont installés 16 panneaux-texte.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarques sur l'image:

Image 1 et 2: Détails de l'oeuvre, vues de l'élément II (16 enseignes); Image 3: Détail de l'oeuvre, vue de l'élément

Text of the artwork:

(Élément II : 10/16 inscriptions sur enseignes étalées dans un champ au bord de la rivière St-Mary):

eaux fugitives
nocturnal waters
ophélia
eaux dormantes
eaux de sang
eaux mortes
eaux d'artifice
silent waters
eaux mouvantes

[Élément I : diapositive montée sur échafaudage en acier]

fire of illumination
fire of fate
fire of exaltation
fire of eternity

ethereal fire

[Élément III : Poème. Paraît seulement dans le catalogue]

The work begins with the choice of a place…

     a wild growing meadow
                        the water’s edge

off shore
up river
Lake freighter passage
daily
down river
The Middletown
The Burns Harbour                with empty holds

The Belle River                with full holds

The Falkön                            carrying                   grain
      fuel
      coal
                   and various ores
…as to the destination of the cargo

coastal towns and other ports of entry

Is there anything that is not about moving
      Something from one place to another?

water’s uninterrupted flow
fire’s endless consumption
   during night

   overture on our own endless changes
    or day
to the west
six oil reservoirs painted stark white covered by the shade of trees at 7 pm

in between
sixteen markers painted while speaking of water and related tales

to the east
a night picture speaking of fire and its guardians

Text theme:

Les éléments (eau et feu) ; industrie, nature menacée, combustibles, transport marin, cargaison et consommation de ressources naturelles

Artwork theme:

Les éléments (eau et feu); industrie, nature menacée, combustibles, transport marin, cargaison et consommation de ressources naturelles

History

History:

Exposition «Sans Démarcation», Projet d'échange culturel Québec-Ontario. Date: 1 juillet-30 septembre

Event date(s):

1987

Dimensions

Other information

Source:

Eva Brandl Department of Studio arts Concordia Universityevbrandl@yahoo.com1. Visual Arts Ontario215 Spadina Avenue, Suite 225Toronto ON M5T 2C7Tél : 416.591.8883 Fax :416.591.2432 <a href="mailto:info@vao.org">info@vao.org</a>2. Art Gallery of Algoma10 East StreetSaultSte Marie, ONP6A3C3705-949-9067<a href="http://maps.google.ca/local_url?q=http://www.artgalleryofalgoma.ca/&dq=art+gallery+of+algoma+ontario&f=q&source=s_q&output=js&hl=fr&geocode=&vps=4&jsv=155c&sll=45.479156,-73.585178&sspn=0.090273,0.149345&abauth=b2c27662:HeK2_ccwAshQEV33leXkx8FLayQ&absince=235&oi=miw&sa=X&ct=miw_link&cd=1&cad=homepage,cid:18046753650357131546&ei=1Q7ySaO7KYa8NumwlNcH&s=ANYYN7mB4VYT8dlZNNxGMvd3K759A8xZFQ" target="_blank">artgalleryofalgoma.ca</a>‎

Document(s):

Reactions to Artwork Range Wide

Outdoor artworks displayed

Art in the Soo: Sans Demarcation

Outdoor artworks displayed

Counting Crows

Marie-Claude Langevin — Sun, 16 Nov 2008 18:24:19 +0000

Artwork identification

Artwork creator(s):

Grant, Evelyn

Artwork creator(s):

Grant, Evelyn

Text author(s):

Grant, Evelyn

Text author(s):

Grant, Evelyn

Installation year:

2001

Artwork description

Source: 4th Street (2008). Counting Crows. (http://www.4streetcalgary.com/publicart/crows/)

Description:

Sur une girouette, on retrouve plusieurs corbeaux. Sous cet ensemble, on retrouve un cercle où le poème est inscrit.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Counting Crows. Evelyn Crant 2001. Bart Haber Miller. Twelve is for joy tomorrow. Eleven is for love. Ten is for sorrow. Nine is a secret. Eight is for grief. Seven is a journey. Six is a Thief. Five is for riches. Four is a birth. Three is a wedding. Two is for mirth news. One is for bad.

Artwork theme:

Counting Crows est basé sur une comptine traditionnelle anglaise, que l'on utilisait pour prédire la bonne aventure en fonction du nombre de corbeaux que l'on avait comptés La rime est présentée en mode circulaire, imprimée sur les carreaux incrustés à la base de la pièce.

Dimensions

Other information

Artist's biography:

Evelyn Grant

Propriétaire(s):

Ville de Calgary

Book Tower

Marie-Claude Langevin — Wed, 12 Nov 2008 05:18:57 +0000

Artwork identification

Artwork creator(s):

Johnston, Byron

Artwork creator(s):

Johnston, Byron

Text author(s):

Johnston, Byron

Text author(s):

Johnston, Byron

Installation year:

2003

Artwork description

Source: University of Lethbridge (2008). Art Gallery. (http://www.uleth.ca/artgallery/)

Description:

Tour de livre

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

Évolution des valeurs des livres et de ce qu'il advient de ces objets importants à long terme.

Dimensions

Height:

Other information

Note(s):

Book Tower comments on the changing values of books and what happens to these important objects over time. “As students who buy expensive texts and faculty who dedicate years to writing them, we are all aware that books can go from high financial value to occupying a recycling bin with incredible speed,” says Dr. Josephine Mills, Director/Curator, U of L Art Gallery.

Source: University of Lethbridge (2004). U of L Art Gallery. Alumi magazine, vol. 8, no.1 (spring)

http://www.uleth.ca/alumni/files/alumni_journal/Spring04_AlumniJournal.pdf

Artist's biography:

Byron Johnston

Document(s):

New Sculpture "Tower" Over Campus

Chinook

Marie-Claude Langevin — Sat, 08 Nov 2008 04:53:28 +0000

Artwork identification

Artwork creator(s):

Ouellet, Pascale (Bigoudi)

Artwork creator(s):

Ouellet, Pascale

Text author(s):

Ouellet, Pascale

Text author(s):

Ouellet, Pascale

Collaborator(s):

Lumid

Installation year:

2006

Artwork description

Source: Pascale Ouellet (2008). Chinook Sculpture. (http://www.bigoudi.ca/portfolio/chinook.htm)

Description:

Chinook représente un ruban flottant sous le vent, le Chinook, ce vent chaud qui souffle de la montagne en hiver et qui peut réchauffer la température en une seule journée.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Le vent qui me transporte sans bouger
Celui qui fait danser les arbres
Et du silence des montagnes
Fait un grand bruit

C'est le Chinook et son arc
Qui est venu tel un ami
Réchauffer les âmes engourdies
Par la magie, la pluie et le froid

Et quand il ne peut contrôler sa puissance
Il ne faut pas lui en vouloir
Car c'est un géant maladroit
Au grand cœur immense

The wind which elates me without moving
Which makes the trees dance
And of the silence of the mountains
Make a great noise

He is the Chinook and his arc
Came as a friend
To warm up the souls numbed
By the snow, the rain and the cold

And when he cannot control his power
One should not be upset with him
Because he is a clumsy giant
With an immense heart

Text theme:

Chinook

Dimensions

Height:

Other information

Note(s):

L'artiste a gagné le concours d’Art public de la Ville de Canmore (après avoir présenté un concept contre 2 autres artistes) et le prix était une bourse d’une valeur de 20 000 $. Elle n’a pas fabriqué la sculpture elle-même, mais c’est Lumid, manufacturier de Montréal, qui l’a fabriquée (coût total avec les taxes et incluant la livraison: 20 000$). Elle a été livrée à Canmore et la base a été dessinée par un ingénieur de Calgary et coulée par une équipe de Canmore.

Artist's biography:

Pascale Ouellet

This Thing

Marie-Claude Langevin — Wed, 01 Oct 2008 03:39:13 +0000

Artwork identification

Artwork creator(s):

Lexier, Micah

Artwork creator(s):

Lexier, Micah

Text author(s):

Jackson, A.Y.

Text author(s):

Jackson, A.Y.

Installation year:

1991

Artwork description

Source : Photo transmise par Micah Lexier

Description:

Lettrage sur la bordure du toit

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

I feel this thing is of too great an importance to miss

Text theme:

Débat en faveur de la création du Tom Thomson Memorial Art Gallery

Artwork theme:

Hommage à l’histoire du Tom Thomson Memorial Art Gallery

History

History:

Commande publique (Tom Thomson Memorial Art Gallery, Owen Sound). Acquise au printemps 1991. Installation permanente sur les lieux depuis. Collection permanente du Tom Thomson Memorial Art Gallery, Owen Sound.

Dimensions

Width:

12.2m

Other information

Note(s):

Le texte consiste d’une citation d’A.Y.Jackson, tiré d’un journal local d’Owen Sound, publié en 1953. L’article présentait le débat en faveur de la création du Tom Thomson Memorial Art Gallery. Les mots de Jackson se réfèrent à l’importance qu’aurait cette institution.

Artist's biography:

Micah Lexier

Propriétaire(s):

Tom Thomson Memorial Art Gallery

Source:

1. Micah Lexier 464 W23rd St. Apt.#5F New York, NY USA 10011 Phone (212) 243-4028, Fax (212) 243-4032 mail@micahlexier.com 2. Rachel Monckton Collections Manager 519-376-1932 x 228 rmonckton@e-owensound.com Tom Thomson Art Gallery 840 First Avenue West Owen Sound ON Canada n4k 4k4 www.tomthomson.org

Document(s):

A Project for Surrey and Other Site-Specific Works

Glimmer

Marie-Claude Langevin — Fri, 26 Sep 2008 16:17:37 +0000

Artwork identification

Artwork creator(s):

Belcourt Salem, Jocelyne

Artwork creator(s):

Belcourt Salem, Jocelyne

Text author(s):

Belcourt Salem, Jocelyne

Text author(s):

Belcourt Salem, Jocelyne

Installation year:

2000

Remarks on location:

Région de Muskoka. Adresse postale à Toronto (1444 Dupont Street, Unite 11A, Toronto, Ontario, M6P 4H3

Artwork description

Source : Photo transmited by Jocelyne Belcourt Salem

Description:

80 plaques vissées à des troncs d’arbres

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Sugar Maple

Red Maple

Yellow Birch

White Ash

White Pine

Red Oak

Balsam Fir

Eastern Hemlock

American Beech

Trembling Aspen

White Oak

Juniper

Black Spruce

Black Ash

Silver Maple

White Cedar

Tamarack

Speckled Alder

Striped Maple

Beaked Hazel

Service Berry

Trillium

Trout Lily

Maidenhair Fern

Christmas Fern

Baneberries

Virginia Sweet Fern

Staghorn Sumac

Sheep Sorrel

Saxifrage

Red Osier Dogwood

Bunch Berry

Yellow throated Vireo

Cerulean Warbler

Black Crowned Night Heron

Eastern Fox Snake

Black Bear

Fisher

Raccoon

Red Fox

Skunk

Coyote

Weasel

White Tailed Deer

Pheasant

Gray Jay

Sharp Tailed Grouse

Bobwhite Quail

Black-backed Wood Pecker

Bay-breasted Warbler

Red Shouldered Hawk

Beaver

Map Turtle

Black Squirrel

Grey Fox

Chipmunk

Rabbit

Snapping Turtle

Duck

Muskrat

Bullfrogs

Moose

Common Raven

Lt.J.P.Catty,R.E., 1819

Explorer

Lt.Henry Briscoe, R.E., 1826

Explorer

Ensign Durnford, R.E., 1826,

Surveyor

Alexander Shirreff, 1829

Surveyor

Lt.J.Carthew,R.N.

and

Lt.F.H Baddeley, R.E.

Surveyors, 1835

David Thompson, 1837

Owner

William Tinguey, 1870

Owner

Walter Tinguey, 1920

Owner

Salvation Army, 1950’s

Loggers

Hatherley and Nephew

Owners

Lubovitch Community 1989

Owners

Mentor College, 1997

Current Owner

Text theme:

Disparition d’espèces locales, flore et faune, identité et histoire locales

Artwork theme:

Disparition d’espèces locales, flore et faune, identité et histoire locales.

History

History:

The Tree Museum, Gravenhurst, depuis l’été 2000

Dimensions

Other information

Note(s):

«The work is permanent-and intended to be as long as the trees remain. Proper arboreal practice was used to affix the plates -using only stainless steel hardware in contact with the trees… The plates are drilled in the 4 corners and screwed to the tree with stainless steel screws and spaced from the bark with stainless steel springs to allow for growth.»

Source: Jocelyne Belcourt-Salem. Échange avec l’artiste, mars-avril 2008

Artist's biography:

Jocelyn Belcourt Salem. Glimmer

Source:

«Jocelyn Belcourt Salem. Glimmer». Sur le site The Tree Museum. http://www.thetreemuseum.ca/treemuseum/pages/ind_artist.php?RECORD_KEY%28artist_list%29=id&id(artist_list)=22 (consulté le 12 mars 2008).

Document(s):

Tenth Annual Exhibition. September 16 to October 28 2007. What Is Place, Doe Lake

Jocelyn Belcourt Salem. Glimmer

The Tree Museum 2000. Site specific installations 24 October to October 30, 2000

The Tree Museum. The Tenth Annual Exhibition. September 16 to October 28, 2007. What Is Place

Volatiles

Marie-Claude Langevin — Tue, 17 Jun 2008 03:33:22 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Installation year:

1997

Remarks on location:

Au-dessus du bassin d’eau

Artwork description

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

Description:

L’œuvre est constituée des structures de mots qui surplombent le bassin. Ces structures sont ajourées et colorées. Les mots composent en quelques sortes des volatiles.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Les mots sont empruntés à la taxinomie des oiseaux aquatiques

Text theme:

Oiseaux aquatiques

Artwork theme:

Faune

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents