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Edmonton Arts Council - Public Art Edmonton Arts Council - Public Art TITLE YEAR MEDIUM AT_A_GLANCE Mariposa 2005 Sculpture Steel sculpture that captures the grace of both a butterfly and matador Immense Mode 2009 Sculpture A two-storeys tall pair of legs with brown shoes and black and white stockings made from hand- made bricks. Page 1 of 728 09/27/2021 Edmonton Arts Council - Public Art MATERIAL INSTALLATION_ADDRESS DESCRIPTION mild steel Borden Art Park Mariposa is the Spanish word for butterfly and also refers to a particular stance adopted by a matador in the bullfight. As with many of Peter Hide’s sculptures, the image of the piece cannot be pinned down to one literal interpretation. Hide states, “Sculpture is, perhaps, the most literal of the arts, and for it to become a stimulus to imagination and feeling it has to overcome its literality. As an abstract sculptor one way I can achieve this is by using an ambiguous image or a succession of images that tend to cancel each other out.” Hand-carved bricks, glass tile 111 Street and 51 Avenue Immense Mode is an immediately recognizable work. Made from 42,000 pounds of brick and mortar, the sculpture is an expression of whimsy, which, at 20 feet tall, demands your attention. Red Deer-based artists Dawn Detarando and Brian McArthur imagined the legs to represent the Page 2 of 728 09/27/2021 Edmonton Arts Council - Public Art ARTIST_NAME ARTIST_WEBSITE Peter Hide Dawn Detarando and Bryan McArthur http://www.voyagertile.ca/ Page 3 of 728 09/27/2021 Edmonton Arts Council - Public Art ARTIST_BIO IMAGE_01 IMAGE_02 http://edmontonpublicart.ca/asset s/media/art/8f189f8a-cd62-44d5- b6c6- bbb0b9acd47d.JPG.1000x667_q 85.jpg This artist does not currently have a bio in our http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset system. s/media/art/5a7e5b84-03b9- s/media/art/f485f316-fb3a-4243- 46bb-b64f- 8316- 5609810b5f18.jpg.1000x667_q8 1e03c67c17c3.jpg.1000x667_q8 5.jpg 5.jpg Page 4 of 728 09/27/2021 Edmonton Arts Council - Public Art LONGITUD ARTS_COUNCIL_URL LATITUDE LOCATION E 53.563299999999 -113.454802 (53.5633, -113.454802) http://edmontonpublicart.ca/#!/details/148 998 53.48518 -113.51606 (53.48518, -113.51606) http://edmontonpublicart.ca/#!/details/16 Page 5 of 728 09/27/2021 Edmonton Arts Council - Public Art Edmonton Edmonton City of Public School Catholic Edmonton - Board (EPSB) School District Neighbourhood Roadway Ward Geometry Ward Ward Boundaries : Maintenance Boundaries Point Boundaries Boundaries 2019 Area Polygon (effective at (effective at (effective at 12:00 AM on 12:00 AM on 12:00 AM on Oct 16, 2017) Oct 16, 2017) Oct 16, 2017) 130 153 4 3 10 26 19 6 5 2 Page 6 of 728 09/27/2021 Edmonton Arts Council - Public Art Edmonton Edmonton City of Catholic Public School Edmonton - Wards School District Board Ward Neighbourhood Ward Boundaries Boundaries Boundaries 7 4 3 358 10 6 6 123 Page 7 of 728 09/27/2021 Edmonton Arts Council - Public Art Afghan Mural 2012 Installation Large, interactive photographic sculpture of three Page 8 of 728 09/27/2021 Edmonton Arts Council - Public Art thousands of real, human legs that will use the transit centre by standing and waiting for a bus or a train, or walking to and from the shopping centre. After all, public transit is only partly about trains and buses; the rest is up to us. Our own locomotion takes us places and transit can complete the connections along the way. It’s a symbol of that shared experience, meant to inspire a smile during an otherwise routine commute. The massive legs are a nod to the history of monumental sculpture, while at the same time representing the artwork movements of craft and kitsch — a contrast of genre and content, as well as a contrast to the sleek utilitarianism design of the station itself. Because of its size, the piece is as much a work of engineering as it is art, as the entire structure is supported by a welded metal superstructure. The artists have built the sculptural form around the engineered framework from specially fired, hand- carved bricks made at their Red Deer studio. The artists are also known for tile mosaics, such as those found at the Red Deer Recreation Centre and the Killarney Pool in Calgary. Both artists also work independently, primarily in the medium of ceramics. Digital print on vinyl, aluminum 11000 Stadium Road Made of extruded aluminum, metal box frame and Page 9 of 728 09/27/2021 Edmonton Arts Council - Public Art Instant Coffee http://www.instantcoffee.org/ Page 10 of728 09/27/2021 Edmonton Arts Council - Public Art Instant Coffee is a service-oriented artist http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset Page 11 of728 09/27/2021 Edmonton Arts Council - Public Art 53.559647200000 -113.4761333 (53.5596472, -113.4761333) http://edmontonpublicart.ca/#!/details/72 Page 12 of728 09/27/2021 Edmonton Arts Council - Public Art 367 130 4 5 9 Page 13 of728 09/27/2021 Edmonton Arts Council - Public Art 6 4 5 219 Page 14 of728 09/27/2021 Edmonton Arts Council - Public Art afghan blankets. Page 15 of728 09/27/2021 Edmonton Arts Council - Public Art digital printed graphics, Afghan Mural is a large photographic mural/sculpture with a structure based on typical, rotating, commercial advertising billboards. These signs normally incorporate two to three advertisements that rotate at paced intervals. Instant Coffee used this basic principle to create a kinetic mural with three sides, but their version functions more like a puzzle that the community centre’s users will be able to move by hand. Each side of the rotating wall mural depicts one special afghan blanket. “The sixties and seventies were the primary time when Afghan blankets were made and circulated. They were normally homemade, rarely sold commercially and likely gifted items. Currently, they have found a secondary market are readily available in thrift stores. Economics, accessibility, colour and their relationship to do-it-yourself culture has led Instant Coffee to consistently use afghan blankets we find. They have a ubiquitous sentimentality that draws us to them, and certainly carry with them nostoglia. It is their vernacular aesthetic, punctuated by extreme colour that puts them into the realm of pop and op art. “Most North Americans have a relationship to this mid 20th century domestic craft. They likely have or have had one draped over their sofas, or know Page 16 of728 09/27/2021 Edmonton Arts Council - Public Art http://www.instantcoffee.org/ Page 17 of728 09/27/2021 Edmonton Arts Council - Public Art collective based in Vancouver and Toronto; http://edmontonpublicart.ca/asset http://edmontonpublicart.ca/asset they produce artworks, exhibition installations s/media/art/bffd8636-6b78-42ba- s/media/art/bf92d09e-9c9b-4b3c- and events. 8bd6- ad1e- 5ede461b3bcf.jpg.1000x667_q85 361a2cfeb877.jpg.1000x667_q85 .jpg .jpg Page 18 of728 09/27/2021 Edmonton Arts Council - Public Art 001 http://edmontonpublicart.ca/#!/details/72 Page 19 of728 09/27/2021 Edmonton Arts Council - Public Art Page 20 of728 09/27/2021 Edmonton Arts Council - Public Art Page 21 of728 09/27/2021 Edmonton Arts Council - Public Art Roadside Turnout 1992 Painting Painting of a roadside turnout that emphasizes the prairie horizon. The Circle of Life 1976 mural A 60-foot long mural that depicts the cycle of life. Page 22 of728 09/27/2021 Edmonton Arts Council - Public Art someone who made them. For our project for the recreation centre we wanted to tap into this personal, yet shared memory.” – Instant Coffee Acrylic on Canvas 1 Sir Winston Churchill Square Painting of a roadside turnout that emphasizes the prairie horizon. Acrylic Paint 9626 96A Street Winding around all four walls of the Muttart Conservatory’s main rotunda, which connects the four glass pyramids, is The Circle of Life , a mural by Cold Lake First Nations artist, Alex Janvier. Beginning at the south wall, the work is meant to represent the cycle of life, from the energy of the sun, to the growth of plant, animal, and human from generation to birth, maturity. There is struggle, challenge to tradition, finding one’s role in society, which turns to a settling down, wisdom, spirituality. The cycle ends with death, which returns its energy to the Sun—the beginning. The piece is a 60-foot long acrylic painting on white latex. Like his other works, Janvier draws from various aboriginal cultures, but interprets the imagery in a completely contemporary manner. Janvier is regarded as one of Canada’s most significant abstract painters, having been awarded the 2008 Governor General’s Awards for Page 23 of728 09/27/2021 Edmonton Arts Council - Public Art Jim Stokes Alex Janvier http://www.alexjanvier.com/ Page 24 of728 09/27/2021 Edmonton Arts Council - Public Art http://edmontonpublicart.ca/asset s/media/art/55ad0600-a06d-49cf- b35e- adeca4d1d24f.jpg.1000x667_q85 .jpg Born of Dene Suline and Saulteaux descent in http://edmontonpublicart.ca/asset 1935, Alex Janvier was uprooted from his s/media/art/71a73e68-af27-403f- home at the age of eight and sent to the Blue a069- Quills Indian Residential School near St. Paul, 3ceecf48f718.jpg.1000x667_q85. Alberta. Although Janvier speaks of having a jpg creative instinct from as far back as he can remember, it was at the residential school that he was given the tools to create his first paintings. Unlike many aboriginal artists of his time, Janvier received formal art training from the Alberta College of Art in Calgary and graduated with honours in 1960. Janvier is regarded as one of Canada’s most significant abstract painters. He was awarded the 2008 Governor General’s Award for Visual and Media Arts.
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