DOCSLIB.ORG

Edmonton Arts Council - Public Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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.
Recommended publications
  • Public Art in European Cities

    Public Art in European Cities

    Version ‘State of the public art’ in European cities: trends and support actions April 2018 Contents About EUROCITIES ..................................................................................4 Our actions on culture .........................................................................4 Our public art working group .................................................................4 Executive summary .................................................................................4 I. Introduction ..................................................................................... 5 Defining public art ..............................................................................5 Actors of public art .........................................................................6 Why is research on public art important? ...............................................6 II. The state of the public art in European cities ........................................... 7 Methodology and participants of EUROCITIES’ survey .....................................7 1) How do European cities understand public art? .....................................8 Concept and wording of public art ...................................................8 Functions of public art .................................................................9 2) How do European cities support public art? ....................................... 10 City administrations as managers of public art .................................. 10 Internal cooperation between city administrations’
  • Split Diamond Paintings to Present 1978 –2011 Douglas Haynes Split Diamond Paintings to Present 1978 –2011

    Split Diamond Paintings to Present 1978 –2011 Douglas Haynes Split Diamond Paintings to Present 1978 –2011

    Douglas Haynes Split Diamond Paintings to Present 1978 –2011 Douglas Haynes Split Diamond Paintings to Present 1978 –2011 James Rot tman Fin eArt www.jamesrottmanfineart.com [email protected] 416-893-5784 Douglas Haynes Split Diamond Paintings to Present Douglas Haynes works have challenged and engaged his audience for over five decades as a celebrated senior Canadian artist. This exhibition, curated by James Rottman Fine Art, features the Split Diamond series of the late 1970’s, the Toledo series works from the 1990’s and more recent works up to 2011. Haynes’ Split Diamond paintings are a highlight of this exhibition. When Doug allowed me to represent and exhibit his work in Toronto, I was ecstatic. I have always been a huge fan of his works and own a number of his works in my own inventory. However, the fun really began when our agreement was finalized. I then found myself with the opportunity to view forty years of works produced by a nationally celebrated artist. What a thrill! One by one the paintings were being pulled off their racks for me to view. My objective was to become more familiar with his large body of work, as well as choose fifteen or so of my favourite works for the exhibition. It was amazing to see the depth, the evolution and the originality of Doug’s work in the scope of Canadian art. When Haynes works were being pulled off the racks I immediately recognized the beauty and importance of these large format works from the late 1970’s in to the early 1980’s, known as the “Split Diamond Paintings”.
  • Material Discoveries

    Material Discoveries

    Tony Urquhart Henry Saxe Douglas Haynes MATERIAL DISCOVERIES 2 T ony Urquhart | Henry Saxe | Douglas Haynes | MATERIAL DISCOVERIES C over: Tony Urquhart, My Garden 111, 1964. Left: Douglas Haynes, XWP, 1991 Douglas Haynes Henry Saxe Urquhart Tony DISCOVERIES MATERIAL The Robert Mede Gallery Robert The James Rottman Fine Art Fine James Rottman www.jamesrottmanfineart.com | [email protected] |416-893-5784 | [email protected] www.jamesrottmanfineart.com www.mede-gallery.com | [email protected] |416-966-9362 |[email protected] www.mede-gallery.com Tony Urquhart MATERIAL DISCOVERIES T ony Urquhart astonishes us with his creativity, vitality and fantastic creations. Urquhart’s creativity in his most recent work continues to be provocative, challenging and acutely fine tuned. The recent works in this exhibition are mysterious and thoughtful, hallmarks of his work throughout his long, celebrated career. In this series of hand coloured etchings created in 2017, Tony explores the ideas of metamorphosis and immortality through hinting at comparative illustrations of the anatomy, physiology and brain structure of prehistoric cats and humans. What questions does Urquhart raise in this series of etchings? The unique hand coloured etchings in the series appear to build on and subsequently further develop ideas through the series. When asked to explain the intent of these etchings Tony takes a moment to respond and states that he is really not sure how to answer except to say that Goya has always influenced his work. Urquhart’s creativity in his most recent work Often, Tony needs to reflect for a period of time continues to be provocative, challenging and before he can provide rigorous answers about even acutely fine tuned.
  • PDF Inges Idee: Projects 2002–2007

    PDF Inges Idee: Projects 2002–2007

    inges idee Projekte 2002–2007 Projects Projekte 2002–2007 Projekte inges idee inges Verlag für moderne Kunst Nürnberg ï ISBN 978-3-939738-83-1 ISBN 978-3-939738-83-1 Verlag für moderne Kunst Nürnberg Herausgeber / Editor : inges idee : Institut für moderne Kunst Nürnberg Hans Hemmert, Axel Lieber, Thomas A. Schmidt, Georg Zey Distributed in the United Kingdom Cornerhouse Publications Redaktion und Lektorat / Editing and Proof-Reading : www.ingesidee.de 70 Oxford Street, Manchester M1 5 NH, UK Petra Reichensperger phone +44-161-200 15 03, fax +44-161-200 15 04 Texte / Texts : Distributed outside Europe inges idee D.A.P. Distributed Art Publishers, Inc. 155 Sixth Avenue, 2nd Floor, New York, NY 10013, USA Interview : phone +1-212-627 19 99, fax +1-212-627 94 84 Harald Fricke Übersetzung / Translation : Mitch Cohen Gestaltung / Graphic design : Knut Bayer, elfzwei.com Fotonachweis / Photo credits : Hohe Kante : Ulrich Schwarz, inges idee / Realtime : Jan Svenungsson / Im selben Boot : Jens Ziehe / In internationalen Gewässern : aib Bauplanung Rostock, bbl-mv / On Tour : Donat Kubrinski (Illustration), Anders Jirås, Michael Perlmutter / Schmuck : Peter Stumpf / Beschränkte Haftung : Eberhard Franke / Growing Gardener : atelier G&B / Snowman : Ernest Goh, Nacása & Partners Inc / 3D2 : inges idee, Andreas Garkisch / Langer Bänker : Vossberg / Flaneur : Anna M. Tränkner Alle anderen / All others : inges idee Animation : Georg Zey Lithographie / Reprographics : dietsche/gebhardt, Berlin Druck / Print : Medialis, Berlin © Nürnberg 2007, Verlag für moderne Kunst Nürnberg und inges idee Alle Rechte vorbehalten / All rights reserved Printed in Germany Auflage / Edition : 2.500 Exemplare / copies ISBN 978-3-939738-83-1 Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar.
  • Annual Report 2011 the Work of Art Depicted in This Business Report, Entitled “Aufschwung” (Upswing), Is by the Circle of Artists Known As “Inges Idee” from Berlin

    Annual Report 2011 the Work of Art Depicted in This Business Report, Entitled “Aufschwung” (Upswing), Is by the Circle of Artists Known As “Inges Idee” from Berlin

    Annual Report 2011 The work of art depicted in this business report, entitled “Aufschwung” (Upswing), is by the circle of artists known as “Inges Idee” from Berlin. Photographer: Gregor Ruster, Munich. Foreword 5 Shareholder Structure of the LHI Group 6 Strategy and Positioning 8 LHI Leasing GmbH’s Company History 11 Human Resources 13 LHI’s Code of Ethics 14 LHI Data 16 Key Figures 17 Business Development Report 19 Overall economic development 19 Developments in the leasing industry 20 Development of the business – asset, financial and income situation 21 Risk report 22 Outlook 24 Annual Financial Statements on 31 December 2011 26 Balance sheet 26 Statement of income 28 Notes 29 Schedule of fixed assets 29 Information on liabilities on 31.12.2011 29 I. General information on the annual financial statements 30 II. Explanations of the annual financial statements 32 III. Other information 36 IV. Appropriation of results 37 Auditor’s certificate 38 4 Foreword Dear Reader New ways of thinking. We are continually increasing our skills in the field of renewable energy sources. LHI has in the An eventful 2011 lies behind us. But in spite of sovereign meantime almost 150 MW of installed solar power stations debt crisis and uncertainties on the financial markets, LHI is connected to the network. Our ambition is to continuously able to look back on a successful year. develop new products and models. The product novelty of the year in 2011 was the co-investment. Here, product charac- All the funds we issued in 2011 were fully placed. With an teristics similar to leasing are combined with a fund concept.
  • Architecture and Art in Public Space

    Architecture and Art in Public Space

    The foundation stone of the project was the construction of the Grand Duchess Charlotte Bridge in 1963, based on plans drawn up by the German architect Egon Jux (1927-2008). It is ARCHITECTURE also called “Red Bridge” because of its vermillion hue. The firmly modernist work of metallic art is today a classic of the AND ART IN genre. It straddles the Alzette valley to link the Plateau with the city centre. With the planned construction of a tramway right across Luxembourg’s capital city, the bridge was widened and PUBLIC SPACE equipped with a new parapet designed by the engineering bureau Laurent Ney & Partners. KIRCHBERG PLATEAU The early town-planning in Kirchberg was purely functional. The road infrastructure was an expressway with two intersections providing access to secondary roads serving the new buildings. The European Institutions were established at the approach to the bridge at the western end of the Plateau, with the buildings centred on their plots of land. Later, the “Foires Internationales ARCHITECTURE AND ART IN PUBLIC SPACE de Luxembourg” (now Luxexpo The Box) and a residential district IN KIRCHBERG PLATEAU were built at the eastern end of the Plateau, while an Olympic- size swimming pool was built at the Plateau’s centre. The historical evolution of the Kirchberg The beginning of the 1990s saw the head offices of several banks The Kirchberg Plateau was originally an agricultural area. The being set up in Kirchberg. These were mainly German banks at “Plateau” is formed by the deep encircling valleys which create first and they were built at the opposite end from the European this unique topography.
  • PRESS RELEASE Axel Lieber – ILLICIT

    PRESS RELEASE Axel Lieber – ILLICIT

    PRESS RELEASE Axel Lieber – ILLICIT CONSTRUCTIONS 28 April – 30 June 2018 taubert contemporary is pleased to present works by Axel Lieber in the gallery for the first time during the Gallery Weekend Berlin 2018. The exhibition titled Illicit Constructions presents pieces of various work groups from recent years around a central, space-filling sculpture that was developed by the artist for this exhibition. The title of the exhibition already refers to the fragility of some of the exhibited objects, but especially to the new sculpture, an intricate structure with architectural references. Source material for this are commercial comics which Lieber deprived of their narrative elements by removing the image information and blackening the speech bubbles, which elevates the remaining material, the leftovers, to actual "building material". The previously inconspicuous frames of the panels now become structural, constructive components that, when assembled continuously, generate a monumental architectural model. Through the perforated facade, another structure becomes visible inside, which is a smaller version of the outer one. Depending on how and from which perspective the visitor approaches the sculpture, his or her perception shifts between model and monument, with the inside and outside interweaving and forming a complex tapestry. Axel Lieber always searches for the most distant point, the point at which his objets trouvés are still recognisable, but nevertheless receive an autonomous reality through a transformative act of reduction. He hollows out concrete objects semantically and fills the resulting gaps with new content and cavities in order to make the unknown visible in the familiar. By deliberately reducing and eliminating everyday objects, Lieber gives his sculptures and installations a specific, humorous-laconic serenity, which contrasts the horror vacui, the ubiquitous fear of emptiness in the visual arts, with its own artistic attitude.
  • The Everyday Artefacts of World Politics: Why Graphic Novels, Textiles and Internet Memes Matter

    The Everyday Artefacts of World Politics: Why Graphic Novels, Textiles and Internet Memes Matter

    The everyday artefacts of world politics: why graphic novels, textiles and internet memes matter in world politics Caitlin Hamilton A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences Faculty of Arts and Social Sciences December 2016 3 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hamilton First name: Caitlin Other name/s: n/a Abbreviation for degree as given in the University calendar: PhD School: Social Sciences Faculty: Arts and Social Sciences Title: The everyday artefacts of world politics: why graphic novels, textiles and internet memes matter in world politics Abstract World politics has conventionally been a realm of ideas, instead of things. While ideas matter, the paucity of research into the artefacts of world politics and particularly the everyday artefacts of world politics represents a gap in how we know the world. By developing a form of artefact analysis specifically designed to study the things of world politics, I examine what three types of everyday artefacts – graphic novels, textiles and internet memes – can tell us about world politics. Graphic novels, for example, show how conflict and the everyday co-exist in a curious mash-up of banality and violence; they also complicate narratives of world politics with which we may be more familiar, highlight the fundamental importance that everyday makers play in the lived experience of world politics, and they have significant parallels with the research processes involved in producing scholarship. Textiles are a vehicle for everyday makers to explore and express their ethnic and national identities and can function as a form of documentation.
  • Annotated Bibliography of The

    Annotated Bibliography of The

    Annotated Bibliography of the Cultural History of the German-speaking Communities in Alberta Seventh Up-Date: 2012-2013 © 2014 Compiler: Manfred Prokop Annotated Bibliography of the Cultural History of the German-speaking Communities in Alberta: 1882-2000. Seventh Up-Date: 2012-2013 Compiler: Manfred Prokop 209 Tucker Boulevard, Okotoks, AB, T1S 2K1 Phone/Fax: (403) 995-0321. E-Mail: [email protected] ISBN 978-0-9687876-9-4 © Manfred Prokop 2014 TABLE OF CONTENTS Overview and Quickstart ............................................................................................................................................. 1 Description of the Database ......................................................................................................................................... 2 Brief history of the project ............................................................................................................................... 2 Materials ........................................................................................................................................................... 2 Sources ........................................................................................................................................................... 3 Location and availability of materials .............................................................................................................. 3 Specialized keyword lists ................................................................................................................................
  • 50Art &Design @ Department of Art & Design University of Alberta • 2015

    50Art &Design @ Department of Art & Design University of Alberta • 2015

    department of art & design university of alberta • 2015 art & design @ 50Edited by M. Elizabeth Boone 50 years of history in the department of art and design 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 A timeline grew in response to the demand for fne arts and design degree in the history of art, design, and visual culture in the The Department of Fine Arts, encompassing Art, Drama education in the province of Alberta. prairie provinces. and Music, was created shortly after World War II by Comprised in 1965 of two bachelor degree programs— The department has also undergone radical changes in English-born painter H.G. Glyde. Jack Taylor and Al Forbes the bfa and the Bachelor of Arts (ba) with a concentration terms of its location and facilities. In 1971 ground was bro- were hired in 1947 and 1948 respectively, and Norman in the history of art—the department’s oferings have ken on the current Fine Arts Building, which houses the Yates joined the group in 1956. Studio classes were ofer- expanded over the past ffty years. In 1970 the department Department of Art and Design as well as the Departments ed to students in the Faculty of Education, and art history added a third degree at the undergraduate level, the ba of Music and Drama.
  • Sept-October 2015

    Sept-October 2015

    GUIDE TO GALLERIES + MUSEUMS ALBERT A I BRITISH COLUMBI A I OREGO N I WASHINGTON SEPTEMBER/OCTOBER 2015 www.preview-art.com denbigh fine art services Denbigh provides a full range of fine art services including local and international transportation, installation, storage, custom packing and case construction, worldwide shipping, collection management and framing. We have provided these local and international services to the arts community since 1985. Our clients include artists, designers, art consultants, private and corporate collectors, galleries, museums and art institutions from around the world. Denbigh guarantees the expert handling of your fine art with the highest standard of care and attention. Our dedicated team of art handling specialists is committed to providing the best possible service in the industry. www.denbighfas.com | 604 876 3303 | [email protected] • downloaodanble ilssueis ne • extra images • searchable listings preview-art.com 6 PREVIEW I SEPTEMBER/OCTOBER 2015 63 September/ previews October 2015 Vol. 29 No.4 10 Intimate Impressionism from the ALBERTA National Gallery of Art 8 Banff, Black Diamond, Calgary Seattle Art Museum 1 2 Edmonton 12 Chris Cran: Inherent Virtue 16 Lethbridge, Medicine Hat, St Albert Southern Alberta Art Gallery BRITISH COLUMBIA 14 Petra Malá Miller: Portraits in Light 16 Abbotsford 17 Bowen Island Southern Alberta Art Gallery 18 Burnaby 22 Unhinged: Book Art on the Cutting Edge 20 Campbell River, Castlegar, Whatcom Museum Chilliwack, Coquitlam 69 22 Courtenay, Fort Langley, Gabriola 26
  • Surrey Public Art Plan 2012-2016

    Surrey Public Art Plan 2012-2016

    Surrey Public Art Plan 2012-2016 Public Art Program www.surrey.ca/publicart Flood of Memories, by artist Jill Anholt. Completed 2005. Location: Surrey Museum ConneCtionS Doug Welch for eoS Lighmedia Completed 2011 Location: Pioneer overpass, Highway 99 north of 148th Street “Public art is art when it encourages and expedites connections between the private and public, the intimate place and the municipal space, the body and the community. there are moments of reflection when an image, or sound, or space allows individuals to embody, in a unique and often specific way, the vast and various issues of public life...” Patricia C Phillips. “Public Art: A Renewable Resource.” From Urban Futures: Critical commentaries on Shaping the City, edited by tim Hall and Malcolm Miles, 131. new York: Routledge, 2003. Table of Contents 1.0 Introduction to the Surrey Public Art Plan 2012-2016 3 Public Art and Greenways 22 Background to Recommendations for Public Art in Surrey 4 Engineering Infrastructure 23 About Surrey’s Public Art Policy 7 Official Community Plans, Neighbourhood and Town Centre Plans 23 2.0 Public Art Program Goals for 2012-2016 9 Transit Plans 23 2.1A Maintain the Public Art Program 9 Expanding Surrey Urban Screen 23 (i) Civic Public Art Program Annual Work Plan 9 (ii) Annual Policy and Program Review 9 4.0 Future: Town Centre Sites, Themes and Opportunities 25 (iii) Public Education 10 Introduction 25 2.1B Maintain the Public Art Collection 12 Guildford Town Centre 28 (i) Annual Review of the Collection 12 City Centre / Whalley 29 (ii)