Présences du littéraire dans l’espace public canadien - Loisirs, sport et divertissement

D’eau et de glace

Marie-Claude Langevin — Fri, 21 Dec 2012 16:53:36 +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:

2011

Artwork description

metal-glace-eau.jpg

photo_1893621_resize.jpg

Description:

Œuvre métallique composée de quelques 150 expressions, lettres ou mots exprimant des éléments liés à l’eau et à la glace, en référence à la piscine et à l’aréna du lieu. Elle est composée de plusieurs séries de mots en acier inoxydable brossé, disposés en une ligne verticale. Chaque lettre est découpée individuellement et reliée à l’ensemble par une bande d’acier. Toutes les expressions choisies ont un lien avec l’eau ou la glace.

Text of the artwork:

(Incomplet)

Eau Douce

Chute d’eau

Mer de glace

Glace de cristal

Eau Bénite

Eau d'Érable

Eau

break the ice

deep water

water off a duck’s back

Text theme:

Eau, Glace, Lieu

Artwork theme:

Les éléments, La nature

Dimensions

Other information

Note(s):

L’artiste a retenu des expressions ayant une signification particulière pour les spectateurs selon leur expérience personnelle. Elle fait référence à certains éléments importants de la culture québécoise qui pourraient émouvoir ou révolter. Chaque mot doit être lisible pour susciter une réaction émotionnelle et ajouter une dimension poétique au caractère visuel de l’œuvre. De plus, il est intéressant de noter que l’œuvre, initialement composée de mots unilingues, a été modifiée, suite à la demande du responsable de la culture de la ville de Saint-Lambert, afin d’y inclure des expressions anglaises.

Propriétaire(s):

Ville de Saint-Lambert

Document(s):

Une œuvre d’art unique au centre de loisirs

D’eau et de glace : Inauguration de l’oeuvre d’art public du centre des loisirs de Saint-Lambert

FUNhouse

Marie-Claude Langevin — Thu, 29 Apr 2010 16:00:16 +0000

Artwork identification

Artwork creator(s):

Metz, Jacqueline; Chew, Nancy

Artwork creator(s):

Metz, Jacqueline

Chew, Nancy

Text author(s):

Metz, Jacqueline; Chew, Nancy

Text author(s):

Metz, Jacqueline

Chew, Nancy

Installation year:

2010

Artwork description

Source : Photo transmise par Jacqueline Metz & Nancy Chew

Description:

Trois installations permanentes. Le premier volet représente un mur de béton où l'on peut voir des ballons de soccer, de volleyball et de basketball incrustés. La finition en miroir fait référence au miroir déformant que l'on peut voir dans les fêtes foraines. Les ballons forment un mot en braille.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

FUN

Text theme:

Fête

Artwork theme:

Activités du centre sportif. Le plaisir du sport

Dimensions

Other information

Artist's biography:

Muse Atelier

Propriétaire(s):

Trico Centre

A Million Summers

Marie-Claude Langevin — Thu, 16 Jul 2009 21:12:33 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Collaborator(s):

Les enfants de la William Watson Elementary School (dessins reproduits sur tuiles en céramique)

Installation year:

1999

Remarks on location:

Quartier Fleetwood; 2 panneaux de tuiles situées sur un mur qui longe l’entrée; 4 panneaux au fond de la piscine; 12 cadres laminés sur des fenêtres donnant sur un jardin; 128 tuiles produites par des élèves de l’école primaire situées dans les toilettes/vestiaires

Artwork description

Source: Photo transmise par Blake Williams

Description:

Vaste ensemble de peintures murales évoquant le mouvement de dimension et de fuite, l'accomplissement humain et la diversité culturelle. Installées à une extrémité de la piscine, quatre fresques de carreaux illustrent des plongeurs.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

a million summers

forgotten secrets

whispered on ripples

against sand

boulder to boulder

gravity gone

garibaldi looming

volcanic heart

receding

down

through forests

of peoples ancient

scent of salt

as cedars open

granite faces

stacked above

hand holds set

Qelesilhp

water goes right by

Ta’telew

little creek

Xwthexth’exem

always nettle place

Setl’amaqemen

tides high we can go

Text theme:

Eau

Artwork theme:

Sports, santé, ambition et accomplissement, religions principales de la communauté multiculturelle de Surrey, nature, histoire

Dimensions

Other information

Note(s):

Budget: design, fabrication & installation 112 500$

Langue: Anglais et sto:lo

Artist's biography:

Blake Williams

Propriétaire(s):

Vill de Surrey Public and Community Art Collection

Document(s):

Public Art Program. Public & Community Art Projects & Locations

Portfolio. Public Art

Public Art : A Million Summers

Frozen Dreams

Marie-Claude Langevin — Wed, 15 Jul 2009 14:34:53 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2000

Remarks on location:

Couvre l'ensemble du corridor de l'entrée

Artwork description

Source: Photo provided by Blake Williams

Description:

Murale dans l'entrée de l'édifice. On peut voir des représentations de joueurs d'hockey.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

walking down to the pond

all the memories

came crashing back

first goal

the mountains, the sky and ice would turn red

my dad...well...he’d build boards

out of old sheets of plywood

then at night

he’d flood the backyard

we’d wake up to our own rink

where the mountains meet the plains

we’d

drive to the rink

in the dark

she’d always

make me

hot chocolate

long free days with a stick and skates

pond hockey

new skates

Text theme:

Souvenir d'enfance

Artwork theme:

Hockey, Famille, Hiver

Dimensions

Height:

9.14m

Width:

12.8m

Other information

Note(s):

Commande de la ville de Calgary par l'entremise du Public Art Program pour le Max Bell Centre.

Artist's biography:

Blake Williams

Author's biography:

Artist : Blake Williams

Propriétaire(s):

Ville de Calgary

Document(s):

Public Art : Frozen Dreams

From Frozen Ponds

Marie-Claude Langevin — Wed, 15 Jul 2009 14:02:59 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

1999

Artwork description

Source: Photo transmise par Blake Williams

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

From Frozen Ponds

On Frozen Ponds

To Spring Thaw

Lord Stanley

Oochamkanutk

Text theme:

Glace, hockey au Canada

Artwork theme:

Le développement du hockey au Canada, le hockey féminin, l'histoire et l'amour du hockey

Dimensions

Height:

7.31m

Width:

7.31m

Other information

Artist's biography:

Blake Williams

Author's biography:

Artist : Blake Williams

Propriétaire(s):

City of Surrey Public and Community Art Collection

Document(s):

Public Art Program. Public & Community Art Projects & Locations

Public Art : From Frozen Ponds

The River

Marie-Claude Langevin — Tue, 14 Jul 2009 18:40:26 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2005

Remarks on location:

Située immédiatement à l’extérieur de l’entrée

Artwork description

Source: Photo transmise par Blake Williams

Description:

The River est un banc de 60 pieds de long; c'est un lieu de rencontre et celui-ci raconte des histoires de la vie à Richmond. Grâce aux textes et aux photographies, l'oeuvre brosse un portrait de l'origine géographique du fleuve Fraser, et raconte des histoires sur les pionniers, le développement de la ville, des changements ethniques et la lutte pour la durabilité. La forme représente le fleuve Fraser, dans son ensemble, son tracé sinueux à travers la province.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

Thème du texte : histoire, usage amérindien traditionnel et origines géographiques de la rivière Fraser ; histoires des premiers pionniers ; développement de la ville ; changements ethniques ; industrie et développement durable ; mythe ; récréation ; pollution ; pêche écologique/durable

Artwork theme:

Histoire de la rivière Fraser

History

History:

Ce projet communautaire a été financé par la Thompson Community Association et la Ville de Richmond

Dimensions

Height:

0.45m

Width:

0.18m

Depth:

0.45 m

Other information

Artist's biography:

Blake Williams

Document(s):

Public Art Locations. Thompson Community Centre

Public Art : The River

Rick Hansen

Marie-Claude Langevin — Fri, 03 Jul 2009 19:35:42 +0000

Artwork identification

Alternate title:

Rick Hansen – Man in Motion Tour

Artwork creator(s):

Williams, Blake; Koochin, Bill

Artwork creator(s):

Williams, Blake

Koochin, Bill

Text author(s):

Hansen, Rick; Reid, Amanda; Tait, Cam

Text author(s):

Hansen, Rick

Reid, Amanda

Tait, Cam

Collaborator(s):

Koochin, Bill (sculpture)

Installation year:

1997

Remarks on location:

Centre-ville, coin sud de l’arena, sur le boulevard Pacific; au pied des marches

Artwork description

Source: Photo provided by Blake Williams

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Rick Hansen

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

to start over again hitchhiking home

from a fishing trip with Don in the back

of that pick up truck and not have the

accident happen. If I could just pick up

my life at that point as opposed to living

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

For the next months I lay in a

Stryker frame bolted tightly between

two hard narrow bed pads which rotated

in the middle of a large, metal framework

I was unable to move. For the first time

in my life I was alone and absolutely

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

my head pounding...my back on fire with

pain. I wanted everything to be over. At

that moment my life seemed worthless.

two more skids...tipping

bouncing...I’m gone...

black...awake...I’m alive

somethings wrong

no...can’t ...pain....I can’t move

my legs

At the age of 15 I was athlete of the year

at my High School. It was June 27 1973.

My friend and I were hitchhiking back

from fishing when we caught a ride with

a guy in a pick up.

a man came alongside me in a red

convertible. “ I hear you were a good

athlete. Why not get back in a little

competition?” He had his own wheelchair

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

pioneer in wheelchair sports, recipient of

the Order of Canada, a friend who changed

my life by being there for me, he helped

me realize the value of helping others.

Then in 1980 Terry Fox came striding along

on a prosthetic leg with his Marathon of

Hope. I watched how people responded

to him and later after his death, how they

continued to honor his spirit. They

acknowledged how much good can come

from one young man and a dream. In a world

in which people with disabilities felt

invisible Terry Fox made people see the

invisible. I decided Terry’s theme to

raise awareness would be the focus of

my wheelchair journey around the world.

When I come back and it’s all over

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

a picture of me in the wheelchair,

sitting on the Great Wall of China.

Amanda is the reason I am

on the road, she has taken

the challenge.

tremendous reception everywhere

between Split and Dubrovnik, the

best in any country to date....

climbing a steep hill I was followed

until dark by about a hundred

young children.

People don’t understand what the tour

is about yet, even most of us who were

on it. Rick was off in right field with his

reality which was the pursuit and the

the preservation of his dream. We were in left

field with our own reality, the day to day grind

working in the outside world to make it as

easy as possible for him to do that and

somehow we all had to get together in the

centre.

Amanda Reid

to see the little kids in their

chairs with the fire in their

eyes ... it touched all of us

incredible things were starting to happen

the tour was opening doors

it was my job to get through

them and have the issues

heard

against advice the decision is made

to wheel through the Canadian Winter

beyond expectations...10,000 people

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

donations build...media attention

...are we increasing awareness?

back in the US ...nothing much

had changed...fundraising dismal

...I had to find my own personal

victories in order to carry on. So I

looked for a smile from a passerby

searched for a wheeling stroke that

felt good

eastern US...devastating failure

perhaps low point of the tour

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

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

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

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

stories of a big reception, brass band

thousands of people...fifteen people

national anthem on a cassette.

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

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

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

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

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

reactions was fear, frustration and the overwhelming

sense of responsibility.

Don’t look down at the road...just

wheel one session at a time, three

hours and 23 miles every session,

three sessions every day. Don’t think

about 24,901.55 miles...think about

push...push...focus

Siskyou Summit, Oregon

push...push...focus

push...two miles...push

push...push...tow more

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

push...push...push

focus...pain...SUMMIT

second day, completely overwhelmed

by doubt and uncertainty, had developed

tendonitis in my wrists, elbows and shoulders

the result of 70 miles of wheeling into 60

mile per hour headwinds with the temperature

resting around freezing.

when your dream and reality

actually meet...thousands cheering, leaning out of

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

and sirens blasting, sensory overload...

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

until one is committed there is uncertainty

for the crew, long, tiring days

with little relief

power words

I view this tour like trying to push a boulder

up a steep hill. Lately alot of people have

tried to take me from behind that boulder

and set me on top of it, make something

special out of me. please put me

back behind the boulder, and let me try to

push it a little bit further.

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

longer going away from home...we’re

going home...one year on the road.

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

47 pairs worn out gloves...300 rolls

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

wheelchair...59 official receptions

...7,180,800 wheelchair strokes

we reached all levels

of society...we were treated

with respect and dignity

Heroes welcome

China promised a glimpse of

the dream coming true

The wind is relentless, fine

eye burning dust

Listen, Ive had parents come and

snatch their children away from in front of me

because my voice is strange and

my arms wave around a lot. I’ve had

other children laugh at me. That’s not an

easy thing to accept. Rick has changed that

in Newfoundland. I saw parents running

down the highway with their children, trying

to get a handshake or autograph.

And the kids? They love him. You think

that isn’t going to make a difference.

Cam Tait

Text theme:

Surmonter une déficience physique

Artwork theme:

Le trajet pancanadien de Rick Hansen en fauteuil roulant, la tournée "Man in Motion"; capacité de chacun/e à surmonter les défis et les épreuves grâce à sa persévérance et à sa confiance en soi.

History

History:

Cette murale a été commandée par Orca Bay Sports. Elle commémore le 10^e anniversaire de la tournée «Man in Motion» de Rick Hansen dont le but était d’éveiller la conscience et de ramasser des fonds pour la recherche sur les blessures à la colonne vertébrale.

Dimensions

Height:

3.65m

Width:

12.19m

Other information

Artist's biography:

Blake Williams

Document(s):

Public Art : Rick Hansen

Body, Mind, Spirit

Marie-Claude Langevin — Tue, 30 Jun 2009 15:47:42 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2009

Artwork description

Source: Photo provided by Blake Williams

Source: Photo transmise par Blake Williams

Description:

L'artiste a installé une série de carreaux de céramique contenant du texte et des images tirées de photographies dans le hall principal de Southland Leisure Centre. L'intention de l'œuvre d'art est de capter l'esprit du Centre en reflétant les activités qui s'y déroulent, et l'esprit du lieu de rassemblement des communautés qu'elle dessert.

La superposition d'images et de glacis crée un sentiment de mouvement et de rythme. Les images représentent le bien-être, l'accessibilité, la participation et la diversité culturelle des communautés environnantes.

La bande rouge qui traverse la pièce comme une métaphore fluviale, de concert avec la trentaine de traductions du mot "bienvenue" et la symbolique des mains, reflète les concepts de l'interconnexion universelle, du respect et de l'acceptation.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

mind

body

spirit

elan

ethos

balance

Mercurius

all things

separate

yet

intertwined

[ «bienvenue» en diverses langues ]

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

Text theme:

Salutations

Artwork theme:

L'esprit du Southland Leisure Centre, Communautaire

Dimensions

Other information

Artist's biography:

Blake Williams

Propriétaire(s):

Ville de Calgary

Building Bridges

Marie-Claude Langevin — Thu, 16 Apr 2009 00:30:41 +0000

Artwork identification

Artwork creator(s):

Hoffman, Vallalee

Artwork creator(s):

Hoffman, Vallalee

Text author(s):

Public

Text author(s):

Public

Collaborator(s):

• Building Bridges» Project Proposal Collaborative • Élèves de l’école primaire de Bridgeview (4e à la 7e année): fabrication de tuiles en céramique (en atelier)• Participants de la communauté de Bridgeview : construction de mosaïques (en atelier) • Howard Hoffman Construction : construction du chemin de béton

Installation year:

2004

Remarks on location:

Située à l’entrée; la murale orne l’extérieur des toilettes adjacentes dans le champ

Artwork description

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

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

Description:

Chemin de mosaïques et murales

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplet)

[bancs du chemin en mosaïque 1/5]

SkyTrain

[bancs du chemin en mosaïque 2/5]

Alex Fraser

[murale. Côté 1/4]

Come together
Share our dreams
thankful hands

[murale. Côté 2/4]

Building
Bridges
nature
neighbours

[murale. Côté 3/4]

create mosaic

(Possiblement sur le même mur)

history
hearts and hands

Text theme:

Histoire et environnement locales; communauté, valeurs communautaires (partage, buts communs, etc)

Artwork theme:

Rapports entre résidents et voisins de la communauté; environnement et histoire de la communauté; mosaïques : 5 ponts majeurs de la région de Surrey représentant l’industrie; flore et faune indigène de la région (oiseaux, poissons, animaux, fleurs, arbres, insectes et la rivière)

History

History:

The City of Surrey's Community Art Matching-funds Program (CAMP) and the Bridgeview Community Association partnered with artists Vallalee Hoffman and Claire Cilliers along with the Surrey Environmental Education Centre. Staff and volunteers from BCA and Surrey Environmental Education Centre were present assisting the artists and participants during the creation of the tiles. BCA and SEEC provided information and presentations to participants.

The concept for the mosaic walkway with pillar seating was proposed by Vallalee Hoffman. The original design ideas were fine tuned by the members of the "Building Bridges" Project Proposal Collaborative. Hoffman fabricated the pillar seats and hand-made clay tiles. She was employed from 2003-2004. The project took 1 year from planning to installation. This project provided a focus for the Bridgeview Community Association's 60^thAnniversary Celebration in July 2004.

Vallale Hoffman (2008). Public Art Commissions. Bridgeview Project.

<http://www.vallalee-hoffman.com/public_art_page.html>

Dimensions

Other information

Artist's biography:

Vallalee Hoffman

Propriétaire(s):

Ville de Surrey Public et Community Art Collection

Document(s):

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

Public Art Program. Public & Community Art Projects & Locations

Public Art Commissions. Bridgeview Project

Moving

Marie-Claude Langevin — Wed, 25 Mar 2009 02:40:53 +0000

Artwork identification

Artwork creator(s):

Leigh Butler, Margot

Artwork creator(s):

Leigh Butler, Margot

Text author(s):

Leigh Butler, Margot

Text author(s):

Leigh Butler, Margot

Installation year:

1992

Remarks on location:

Dépliants placés dans le présentoir de dépliants sur le British Columbia Ferries, au centre d’information touristique de la Ville de Vancouver, comptoirs postaux, centres communautaires et garderies

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

Mention(s) légale(s) des illustrations:

Remarques sur l'image:

Détail. Intérieur du dépliant.

Text of the artwork:

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

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

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

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

Text theme:

S’occuper de ses proches

Artwork theme:

Réalité et stéréotypes et banalisation du labeur maternel et domestique; émotions associées à la tâche d’élever des enfants; questionnement des mythes autour de la maternité

History

History:

Exposition «Out of Place», organisée par l’Association for Noncommercial Culture

1er juillet 1992 au 30 juin 1993

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.27m

Other information

Artist's biography:

Butler, Margot

Document(s):

Out of Place

Letters From Home

Marie-Claude Langevin — Tue, 24 Mar 2009 20:23:54 +0000

Artwork identification

Artwork creator(s):

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

Artwork creator(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Text author(s):

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

Text author(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Leach,Penelope

Installation year:

1992

Remarks on location:

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[carte pour la lettre «A»]

A a

AWORK

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

Apple

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

snAke

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

Fig leAf

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

[carte pour la lettre «B»]

B b

Birth

Bread

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

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

[carte pour la lettre «C»]

C c
Claire
A Tale of Right And Wrong.

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

[carte pour la lettre «D»]

Dd

A puppy’s mother
Is called a dog bitch

[carte pour la lettre «E»]

Ee

Experience
(Work Rleated)

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

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

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

[carte pour la lettre «F»]

Ff

Foot
of the household

[carte pour la lettre «G»]

Gg

Glove

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

[carte pour la lettre «H»]

Hh

ours

Cut along dotted lines
Punch holes
Attach to circle at dot

[carte pour la lettre «I»]

Ii

you are here

[carte pour la lettre «J»]

Jj

Job

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

[carte pour la lettre «K»]

Kk

Kitchen

konstant klutter
kareworn klown
kneads kouch

[carte pour la lettre «L»]

Ll

Life

[carte pour la lettre «M»]

Mm

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

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

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

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

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

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

[carte pour la lettre «N»]

Nn

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

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

[carte pour la lettre «O»]

Oo

One

Connect the dots.

[carte pour la lettre «P»]

Pp

Picnic

Table

[carte pour la lettre «Q»]

Qq

Quiet

[carte pour la lettre «R»]

Rr

Rashes

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

Penelope Leach
Your Baby And Child
From Birth To Age Five

[carte pour la lettre «S»]

Ss

Stress

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

[carte pour la lettre «T»]

Tt

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

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

[carte pour la lettre «U»]

Uu

UNSNA

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

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

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

[carte pour la lettre «V»]

Vv

Vote

Ballot

Universal Health Care

Pensions for Homemakers

National Day-care Strategy

Foreign Domestics Program consistent with
Canada’s cultural multicultural policies

Enforcement of Employment
Standards Act for all workers

[carte pour la lettre «W»]

Ww

WORK

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

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

[carte pour la lettre «X» ET «Y»]

XxYy

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

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

from Monday to Friday

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

Why

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

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

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

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

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

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

[carte pour la lettre «Z»]

Zz
Zeitgeist

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

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

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

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

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

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

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

Text theme:

réalité et stéréotypes et banalisation du labeur maternel et domestique; émotions associées à la tâche d’élever des enfants; questionnement des mythes autour de la maternité

Artwork theme:

Réalité et stéréotypes et banalisation du labeur maternel et domestique; émotions associées à la tâche d’élever des enfants; questionnement des mythes autour de la maternité

History

History:

Exposition «Out of Place», organisée par l’Association for Noncommercial Culture

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.88m

Other information

Source:

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

Document(s):

Out of Place

Letters from Home

Close Your Eyes...

Marie-Claude Langevin — Tue, 17 Mar 2009 20:03:53 +0000

Artwork identification

Artwork creator(s):

Edelstein, Susan

Artwork creator(s):

Edelstein, Susan

Text author(s):

Edelstein, Susan

Text author(s):

Edelstein, Susan

Installation year:

1992

Remarks on location:

L’œuvre a été installée dans le présentoir de dépliants touristiques sur les traversiers de la Colombie-Britannique, au centre d’information touristique de Vancouver et d'autres endroits

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

Mention(s) légale(s) des illustrations:

Photo credits:

Remarques sur l'image:

Détail. Deuxième et troisième segments d’une série de six images accompagnées de textes dans le dépliant.

Text of the artwork:

Close your eyes and count to 100...

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

nine, ten...

---

Ready or not here I come.

She represented a map of meanings to

both sides of her family.

Always careful to conceal or reveal the

tiny silver pendant when she would visit

them.

Making the wrong move could result in broken codes.

---

Step on a crack and break

your mother’s back.

She had been told both families

were fractured by this union.

Marrying outside of the chosen faith

was forbidden.

It broke their mothers’ hearts.

---

Step on a line and break your

mother’s spine.

She remembered walking a fine line

between their beliefs.

One slip would break the connection.

---

Step on a stone and break your

mother’s bones.

She became an expert on navigating

between the obstacles in her path.

She always remembered to wear a

smile.

---

Cross my head and hope to die.

They never spoke about the presence

of difference.

The weight of the chains

made it difficult to breathe.

Artwork theme:

Mariage mixtes, religion, sentiment d’appartenance, racisme

History

History:

Exposition Out of Place, organisée par l’Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.71m

Other information

Artist's biography:

Edelstein, Susan

Source:

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

Document(s):

Out of Place

Canboulay

Marie-Claude Langevin — Tue, 10 Mar 2009 03:03:58 +0000

Artwork identification

Artwork creator(s):

Mollineaux, Melinda

Artwork creator(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Installation year:

1992

Remarks on location:

L’œuvre est installée dans le présentoir de dépliants touristiques sur les traversiers de la Colombie-Britannique, au centre d’information touristique de Vancouver et d'autres endroits.

Artwork description

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

Description:

Dépliants placés dans divers présentoirs

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[recto]

can·bou·lay

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

1.Orig. a celebration of freedom from slavery.

2. A traditional nighttime procession with

Costumes, drumming&music to announce the

Beginning of Carribbean Carnival Masquerade.

Var. Mardi Gras, Caribana, Caripeg, Carifest,

Cariwest.

---

At the time carnival flourished the

elite of society was masked or

disguised. The favorite costume of

the ladies was the graceful and costly

'mulatress' of the period, while

gentlemen adopted that of the garden

Negro, in Creole, negue jardin, or

black field slave. At carnival time

our mothers and grandmothers have

even danced the belair to the African

drum whose sound did not offend

their dainty ears, and our fathers and

grandfathers danced the bamboula,

the ghouba and the calinda…Sometimes

also the negue jardin united in bands would

proceed on evenings to the cannes brulees.

Their splendid march with torches through

the town streets imitated what actually took

place on the estates when a plantation was

on fire. In such cases labourers on the

neighbouring estates were conducted there

alternately, day and night, to assist in

grinding the burned canes before they went

sour, thus the cannes brulees.

---

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

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

Castries · Kingstown · Bridgetown · Scarborough

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

New Orleans · London · New York · Toronto

Winnipeg · Calgary · Edmonton · Vancouver

[verso]

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

OUT OF

PLACE

A project with the Vancouver Association for Non Commercial Culture.

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

Text theme:

Définition étymologique de Canboulay, rendu encyclopédique ou anthropologique de Canboulay; destinations touristiques d’ici et d’ailleurs

Artwork theme:

Hybridité entre l’exotique et le domestique et entre le familier et l’autre; ethnocentrisme, passivité et commercialisation du tourisme et du loisir

History

History:

Exposition Out of Place, organisée par l’Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.1m

Other information

Note(s):

Dans le texte, certains caractères spéciaux, présents dans l’œuvre en la forme de carte postale, sont omis, en l’occurrence des précisions phonétiques sur la première lettre «a» et sur les deux «o» dans «(kan-boo’lă)» (second récit du texte).

Artist's biography:

Mollineaux, Melinda

Document(s):

Out of Place

Déplacements et autres mouvances

Marie-Claude Langevin — Sat, 07 Mar 2009 20:53:39 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Installation year:

2000

Remarks on location:

Invention temporaire, cap d'Ours et sur un terrain de baseball, Rouyn-Noranda

Artwork description

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

Description:

Des flèches peintes sur un promontoire rocheux au centre de la ville nous guident vers le sommet du cap, d'où l'on découvre le paysage urbain dominé par l'infrastructure minière. Les flèches formées de noms à consonance étrangère évoquent les nombreux immigrants venus chercher fortune dans cette région aurifère et qui durent se résoudre à travailler dans les mines. Sur le sol, au sommet du cap, on découvre un anneau composé de mots façonnés à partir de roches.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Suivivre à l'exploitation

Artwork theme:

La vulnérabilié de la présence humaine dans le cycle implacable de la productivité

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Save Me

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

Artwork identification

Artwork creator(s):

Wonnacott, Justin

Artwork creator(s):

Wonnacott, Justin

Text author(s):

Wonnacott, Justin

Text author(s):

Wonnacott, Justin

Installation year:

1993

Remarks on location:

Ciné-terrasse (l'écran de cinéma monté à même le mur adjacent à la terrasse, projections à tous les étés, dès juin.)

Artwork description

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

Description:

Projection d'images à l'extérieur

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Save me

Text theme:

Appel à l’aide

Artwork theme:

Interprétations d’images animées (exploration de)

History

History:

Exposition «Ex site, Axe Néo-7=Outside Gallery 101», Ottawa, ON-Hull, QC, du 9 juillet au 31 août 1993. (Artistes : Pierre Dalpé, Diane Génier, André Martin, Richard Nigro, Michael Robinson, Justin Wonnacott, Anne-Marie Zeppetelli.) Commissaire: Richard Gagnier. Commissaire: Cindy Deachman. Onze artistes ont été invités à investir 6 sites urbains pour créer des œuvres in situ. Les projections avaient lieu à l’entracte, une fois par semaine, au cours de l’été.

Event date(s):

1993

Dimensions

Other information

Note(s):

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

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

Artist's biography:

Justin Wonnacott

Source:

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

Document(s):

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

More Public Art. Public Art Commissions. Save Me

Spitfire Heroes

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

Artwork identification

Artwork creator(s):

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

Artwork creator(s):

Foley, Paul

Golden, Cheryl

Kaiser, Melissa

Milne, Andrea

Moffatt, Lynda

Morrell, Kelley

Weston, Jo Anne

Text author(s):

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

Text author(s):

Foley, Paul

Golden, Cheryl

Kaiser, Melissa

Milne, Andrea

Moffatt, Lynda

Morrell, Kelley

Weston, Jo Anne

Collaborator(s):

Mayne, Donna; Pearson, Ryan

Artwork description

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

Description:

Murale en 3D honore la communauté et l'esprit d'équipe.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

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

Text theme:

Noms de joueurs et d’entraîneurs de l’équipe des Spitfires

Artwork theme:

Travail d’équipe

History

History:

Cette oeuvre fait partie du quatrième volet du projet de murales du Wyandotte Towne Centre, subventionné en partie par le gouvernement du Canada, avec l’appui du Wyandotte Towne Centre BIA ainsi que de la ville de Windsor. Ce projet est réalisé dans le cadre du programme Job Creation Partnerships.

Dimensions

Other information

Source:

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

Document(s):

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

Circle of Words, Garden of Thought

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

Artwork identification

Artwork creator(s):

Covit, Linda

Artwork creator(s):

Covit, Linda

Text author(s):

Covit, Linda

Text author(s):

Covit, Linda

Installation year:

2002

Remarks on location:

Certaines des pierres se situent au sein du cercle, d’autres sont placées sur le domaine boisé

Artwork description

Source : Photo transmise par Linda Covit

Source : Photo transmise par Marc André Brouillette

Source : Photo transmise par Linda Covit

Description:

Chemin menant à un banc de pierre et des poteaux lumineux. Sur le terrain des pierres ont été disposées.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarques sur l'image:

Image 1: Détail; Image 2 : vue d’ensemble, vue de côté; Image 3 : vue d’ensemble en contre-plongée

Text of the artwork:

heritage

community

trust

friendship

unity

caring

gathering

peace

nurture

diversity

neighbourhood

embrace

belonging

home

traditions

memory

support

harmony

Text theme:

Valeurs communautaires

Artwork theme:

Communauté

History

History:

Une fusillade a lieu en 1999. En réaction, le conseil municipal adopte une stratégie et décide d’engager la communauté Jane-Finch.
Mars-octobre 2000 : le conseil établit des fonds de 150,000 $ pour la création d’une œuvre d’art public pour encourager l’esprit communautaire, célébrer de la diversité culturelle et pour servir de lieu de rencontre aux membres de la communauté Jane-Finch. Suite à une consultation publique, un comité de pilotage, formé de résidents et de fonctionnaires, choisit le site du Driftwood Community Centre (centre communautaire Driftwood) pour l’œuvre en devenir.
Le 12 octobre 2000, on annonce Linda Covit comme gagnante du concours d’art public («Jane-Finch Public Art Competition»).
La conception finale de l’œuvre se concrétise en hiver de l’an 2000.
Le projet débute en octobre 2001.
Des arbres sont plantés sur le site en printemps 2002.
L’œuvre est inaugurée le 8 juin 2002 au Driftwood Community Centre.

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 ephemoral 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.»

Conservation avec l'artiste

• Les mots figurant dans l’œuvre ont été sélectionnés en collaboration avec le centre communautaire de Dritfwood

Artist's biography:

Linda Covit

Propriétaire(s):

Ville de Toronto

Source:

1. Linda Covit Phone: 514 - 890 - 6243 Fax: 514 - 890 - 6120 Email: lcovit@hotmail.com 2. Sarah Lougheed Conservator Outdoor Public Art City of Toronto Culture Division 55 John Street 24th floor, Metro Hall Toronto, Ontario M5V 3C6 t -416-392-4218 f- 416- 392-3355

Document(s):

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

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

City of Toronto unveils Jane-Finch community art project

Linda Covit

The Lethbridge Wind Gauge

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

Artwork identification

Artwork creator(s):

Henry, James

Artwork creator(s):

Henry, James

Text author(s):

Henry, James

Text author(s):

Henry, James

Installation year:

1985

Artwork description

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

Description:

Anémomètre géant

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

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

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

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

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

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

Artwork theme:

La température

History

History:

Pour souligner le 100^e anniversaire de Lethbridge en 1985.

Dimensions

Height:

5.2m

Diameter:

1.3m

Other information

Note(s):

Il a été érigé par General Stewart Branch No. 4 Royal Canadian Legion en collaboration avec la Société Lethbridge Centennial.

La balle était autrefois utilisée pour flotter dans l'océan pour éviter que les sous-marins se rapprochent des côtes. La chaîne est la chaîne d'ancre.

Vitesse moyenne du vent à Lethbridge est de 20,6 km / h ou 12.7 mph.

Lorsque l'oeuvre a été construite, elle était située sur un pont. La Ville a installé trois capsules temporelles sous la sculpture. Les capsules vont être ouvertes en 2010, 2035, et en 2085.

Celebrations

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

Artwork identification

Artwork creator(s):

Amos, Barbara

Artwork creator(s):

Amos, Barbara

Text author(s):

Amos, Barbara

Text author(s):

Amos, Barbara

Installation year:

2004

Artwork description

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

Description:

Tableaux aux couleurs éclatantes, cette composition montre des images figuratives (les activités pratiquées dans le lieu) et abstraites. Des marques de calligraphie et des rayures sont intégrées dans les panneaux.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Marques de calligraphie

Artwork theme:

Illustre l’impression de célébration qui règne dans le bâtiment

Dimensions

Height:

7.3m

Width:

27.4m

Other information

Note(s):

Le buget pour le projet a été de 26 000$

Artist's biography:

Barbara Amos

Document(s):

The City of Calgary: Celebrations

Wins/Losses/Ties

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

Artwork identification

Artwork creator(s):

Lexier, Micah

Artwork creator(s):

Lexier, Micah

Text author(s):

Lexier, Micah

Text author(s):

Lexier, Micah

Installation year:

1999

Remarks on location:

Dans l'entrée

Artwork description

Source : Photo transmise par Micah Lexier

Source : Photo transmise par Marc André Brouillette

Source : Photo transmise par Micah Lexier

Source : Photo transmise par Marc André Brouillette

Source : Photo transmise par Micah Lexier

Description:

201 barres d'acier inoxydable représentant les statistiques des Toronto Maple Leafs des années 1931 à 1998

Mention(s) légale(s) des illustrations:

Photo credits:

Artwork theme:

Hockey

History

History:

• Commande d’art public passée par le Maple Leaf Sports & Entertainment Limited & Air Canada, pour l’Air Canada Centre à Toronto.

• Installation permanente en 1999. Sur les lieux de l’Air Canada Centre à Toronto depuis.

Dimensions

Other information

Artist's biography:

Micah Lexier

Propriétaire(s):

Maple Leaf Sports; Entertainment Limited & Air Canada

Architectes(s):

Brook, Brisbin; Beynon Architects

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