Volume 26 – Issue 5 September, October, 2021 Circulation – On-Line Only

Connect Garland Gate To The Future The Compass

• Edward Falkenberg ~ 2004 Durham College/Ontario Tech U. Gordon Willey Building / Bus Loop Stainless Steel Ring Dimensions: 4.88m H/W x .46m D • Douglas Bentham ~ 2006 • André Fournelle ~ 2013 • Darlene Bolahood ~ 2005 Connect is a powerful sculpture de- Durham College/Ontario Tech U. Durham College/Ontario Tech U. Durham College/Ontario Tech U. signed by Claremont sculptor Ed- Avenue of Champions Avenue of Champions Gordon Willey Building / Bus Loop ward Falkenberg. It represents the Painted Steel Corten Steel, Gold Leaf Steel, Polycarbonate Sheets many disciplines being studied. It Representing Saskatchewan, Representing Quebec Dimension: 12m H symbolizes the connection between Dimensions: 5.2m H x 2.7m W x 2.4m D Dimensions: 8m H x 5m W x 130cm D Former faculty member Darlene Bo- business, industry, government, Douglas Bentham is known interna- “For “Gate to the Future” I lahood’s idea was to build the four technology, education and the col- tionally as a constructivist sculptor, towers to align to true north so that lege and university, as well as the however he originally graduated was inspired by the music whenever the sun reached the tower many partnerships the shared cam- from the University of Saskatchewan and sound records sent at 12 o’clock, the blue panel would pus has established with the commu- with a fine arts degree in painting. point to solar noon. She saw her nity. Its segments are joined together When talking about Garland he into space in 1977 by piece representing time, direction, to form a whole, the whole being said NASA on the Voyager and the freedom of choice. The pan- greater than the sum of its parts. It is spacecraft.” els of The Compass were cut from also a symbol of the cycle of life and “Its ground gathering form polycarbonate sheets, softer than said Quebec artist André Fournelle. continuous learning. It stands as a reaches skyward to acrylic as well as many times stronger. monument to the dynamic ideas em- Gate to the Future aims to inspire They were then coloured and var- bodied by DC and Ontario Tech. embody a spirit of student dreams. The sculpture em- nished with UV protective layers. Edward grew up in Edmonton and bodies the harmonious relationship moved to Toronto enrolling at the learning and between art and technology, form “There were both technical and function. Ontario College of Art. In 1965 he achievement.” and aesthetic challenges.” graduated with honors in Industrial The visual signal is composed of Design. “I produce public-scaled sculpture several design elements: Darlene had the idea and concept In 2003, Edward was one of only as an ongoing component of my dis- Archway – symbolizes the gate to art ready and went to UOIT president two Canadian sculptors chosen to cipline. My belief is that public sculp- the future Gary Polonsky to ask if she could cre- show work at the first Chinese Bien- ture can only be defined as such if it Central Vertical Cupola – means ate her towering piece for the cam- nale in Beijing China. meaningfully engages both its set- transformation pus and he agreed with excitement. To learn more ting and the people who inhabit that External Cupola – represents the “Another aspect of the sculpture for about this setting.” radiance of research towards me was that it was the subject of my Claremont artist To learn more about this Saskatoon knowledge. MFA defense (U of Waterloo, Jan. visit his website artist visit his website Donated by Great-West Life, Lon- 2006) which was held in the Presi- w: douglasbentham.com don Life and Canada Life to UOIT on dent’s Boardroom, so that we could w: falkenberg.ca https://thestarphoenix.com/life/bridges/ its 10th Anniversary. see it outside the window during the douglas-bentham To learn more about this Quebec event. Super experience.” artist visit his website w: andrefournelle.com

September | October, 2021 | pineridgearts.org | facebook.com/groups/pineridgearts | instagram.com/pineridgearts Sculptures of Oshawa

Oshawa’s public outdoor art installations Photography by Mary Cook

Moosedemeanour Tolmen Lintel Medicine Wheel Freedom of Ascent

The Medicine Wheel is an iconic part of Aboriginal history, which holds varying spiritual meanings for differ- ent people. In 2014, Durham Col- lege’s Aboriginal Student Centre unveiled its own Medicine Wheel • Douglas Robinson ~ 2006 rock garden. Durham College/Ontario Tech U. The medicine wheel is commonly Limestone used as a teaching tool. There are Representing Ontario | AKA The Portal four quadrants to the wheel, facing Dimensions: 3.7m H x 3m W x 1.8m D in the four cardinal directions, which • Charles Pachter ~ 2006 “When your medium spans represent different aspects of life and Durham College/Ontario Tech U. highlight the importance of staying • Béla Simó ~ 2005 South Village Residence limestone, travertine and connected: SE corner of Polonsky Commons Corten Steel, Approximately 500 kilos. marble, these stones speak North ~ spiritual – promoting intel- Representing the Yukon Representing Ontario to you with their distinctive lectual wisdom and the ability to Dimensions: 1.2m H x .86mW x .7 m D Dimensions: 2.7m H x 1.2m W x .6m D material sense of see the past, present and future as Béla Simó with some 30 years of ex- One of Canada’s leading contempo- interconnected. perience as a professional sculptor of rary artists, Charles Pachter is a forgiveness and resistance. East ~ physical – promoting the various materials: stone, including painter, printmaker, sculptor, de- Their geologic history bring importance of play and fun and marble and granite; wood, plaster signer, historian, and lecturer. His forward separate representing the promise that the and all products derived from plaster iconic pop images of the queen, crystalline structures that Creator is always willing to listen. (plaster marble, winterstone, hydro- moose, and maple leaf flag celebrate South ~ mental – promoting the cal, etc.), resin, as well as metal, in Canada’s cultural heritage with wit 'speak' directly to the hand importance of maintaining a particular aluminum, copper and and whimsy. and eye. With a stone in healthy brain to stay connected. bronze. He also touched the bas-re- Pachter’s contributions to Cana- hand, you go far into the West ~ emotional – promoting the lief in cellulose paste. dian culture have been recognized past in order to create for importance of prayer and reflect- w: belasimo.webs.com with honorary doctorates from Brock ing on one’s life, attracting the University, OCAD University, the U of the future, you become part spirits’ attention. T, and Lakehead University. of the whole earth matrix He is an Officer of the Order of between what is solid and Sculptors featured in this issue: Canada, a member of the Order of what is fluid. Then you Ontario, a Chevalier of France’s Medicine Wheel Diversity | Dawn MacNutt Order of Arts and Letters and a recip- take the solid and carve Aboriginal Student Centre Mushrooms | Teacher John Oliver ient of the Queen’s Golden and Dia- something fluid again. You Manufacturing Class, St. Stephen’s mond Jubilee medals. Grace | Mary Ann Barkhouse are contemporary, but you Catholic Secondary School, Pachter studied at the U of T, the Garland | Douglas Bentham pay homage also to the Bowmanville Sorbonne, and at the Cranbrook The Compass | Darlene Bolahood Academy of Art in the USA. Neolithic, the perennial Upstart II-1968 | Clement Meadmore Pool of Dreams/Lady of the Lake His work has been exhibited at the archaic.” Moosedemeanour | Charles Pachter AGO, the ROM, and the McMichæl carved in Italy, sculptor unknown w: douglasrobinson-sculptor.com Gazebo and Railing on Pedestrian Gallery. He has held solo exhibitions Group Portrait 1957 Bridge | James Pronk in France, Germany, Japan, the UK, Douglas Coupland India, and Bangladesh and he is rep- River, Tree, Bench Durham College | Ontario Tech U | Edward Falkenberg resented in public and private collec- Connect Reinhard Reitzenstein 2000 Simcœ Street North tions around the world. Gate to the Future | André Fournelle Tolmen Lintel | Douglas Robinson Oshawa, ON w: cpachter.com Reverb | Nœl Harding Freedom of Ascent |Béla Simó

3 September | October, 2021 | pineridgearts.org | facebook.com/groups/pineridgearts | instagram.com/pineridgearts Diversity Upstart II – 1968 Reverb Grace

• Mary Ann Barkhouse ~ 2007 The Robert McLaughlin Gallery • Noel Harding ~ 2015 72 Queen Street, Oshawa Tribute Communities Centre Bronze, Granite (formerly General Motors Centre) Mary Anne Barkhouse is a nationally 99 Athol St. E., Oshawa acclaimed artist. She belongs to the • Clement Meadmore~ 1987 | 2012 Stainless Steel, 5.8 m H Nimpkish band, Kwakiutl First Nation Aluminum with black Polane finish The idea behind Reverb is connected and currently lives in the Haliburton Oshawa City Hall to our community. Nœl had asked Highlands of Ontario. Her work ex- 50 Centre Street me (Linda Jansma) to arrange for two amines environmental concerns and Aluminium | 7.6m H tickets to an Oshawa Generals’ indigenous culture through the use Clement Meadmore is one of the hockey game—he’d never been to a of animal imagery—wolves, ravens, most highly respected artists of his hockey game and, since the work moose and beaver are juxtaposed generation, for both the quality of was to be positioned outside the GM against a diversity of background • Dawn MacNutt ~ 2006 his work and the integrity of his com- Centre, he wanted to get a feel for situations. Durham College/Ontario Tech U. mitment to public sculpture. This the place. It wasn’t the game that Unveiled in 2007, Grace was com- Justice Wing sculptor has been uniquely success- captured his imagination as much as missioned by the RMG. It features Bronze (2 pieces) ful as a creator of public art that the crowd. The mirrorlike “speech three beavers, sitting on a piece of Representing Nova Scotia serves as a positive, unifying force in bubbles” of Reverb reflect the enthu- Canadian Shield granite, the top of Dimensions: 1.8m H x .5m W the environment. siasm of those who visit the GM Cen- which is highly polished. The sculp- Diversity embodies the richness of Although initially linked with the tre (now called Tribute CC) — they ture is named Grace after Italian qualities and characteristics present Minimalists, Clement Meadmore are the ones who trigger the light sculptor Antonio Canova’s The Three in a modern multicultural campus. A transcended geometry with work of show in the sculpture. The work is Graces, depicting three svelte god- grouping of life-sized bronze sculp- uncommon force and elegance, less about an artist’s vision, but the desses, Beauty, Mirth and Good Cheer. tures, these figurative sculptures are powerful in large scale and small. It reflection of a community. And that On land, the beaver is anything but universal human forms in shape, size, relies for its effect on the opposition consideration of our public is what graceful, but in the water and in its race and creed. Their attitude would between line and mass, also deriving helped influence the jurors' decision energy and efficiency, it’s a different be characterized as both positive and power and eloquence from its fusion to favour Nœl's design. story. Beavers are capable of rein- thoughtful. The placement of the of formal invention with intense feel- The Robert McLaughlin Gallery, venting their territory and the sur- works imply the kind of relationships ing, a frankly spiritual dimension. Yet purchased with the financial support rounding landscape through hard and interactions students and faculty ultimately the appeal of Clement of the Isabel McLaughlin Acquisition work. By placing Grace on a piece of have when acknowledging one an- Meadmore’s work lies in its success Fund and the Canada Council for the the Canadian Shield, Barkhouse other as they travel across campus. as sheer form. Arts Acquisition Assistance Program, places them as valuable players in The nature of the bronze work, de- The artist has managed to over- 2015. the ecosystem of the boreal forest rived from woven willow, creates an come geometry’s qualities of stasis, w: rmg.on.ca/noel-harding-remembered- and survivors of the European Fash- illusion of implied movement to containment, rigor, and sobriety. His by-linda-jansma/ ion industry. passers as light plays through the sculptures deny their physical reality, The Robert McLaughlin, purchased back and front. suggesting weightlessness. Because with financial support of the Canada Ms MacNutt lives in Little Harbour, of this extroverted and animated Council for the Arts, 2007. Nova Scotia and her work is in the character, his public commissions w: maryannebarkhouse.ca collection of National Capital Com- provide oases of humanity in the mission, formerly Rideau Hall (Cana- urban environment. He himself has diana Collection), Ottawa; Art Gallery stated: of Nova Scotia, Halifax, N.S.; National “A building is part of the Museum of History), Ottawa; Ameri- can Craft Museum, (now Museum of environment, but a American Design) New York. She has sculpture is a presence Honorary Doctorates from Mt. Alli- inhabiting the son University and Mt. St. Vincent University and is a Member of the RCA environment.” (Royal Canadian Academy of the Arts). The Robert McLaughlin Gallery, w: dawnmacnutt.com gift of Edward and Marla Schwarz, 2015. w: meadmore.com

Info on Sculptures of Durham along with a PDF of the locations plus link to on-line map at pineridgearts.org⁄selfie.html

4 September | October, 2021 | pineridgearts.org | facebook.com/groups/pineridgearts | instagram.com/pineridgearts Group Portrait 1957 River Tree/Bench

• Douglas Coupland, 2011 • Reinhard Reitzenstein ~ 2002 The Robert McLaughlin Gallery | 72 Queen Street The Robert McLaughlin Gallery | 72 Queen Street Metal ~ 3.3m H x 8.1m W Bronze ~ .85m H x 6.2m W x 1.98m D “For The Robert McLaughlin Gallery I propose a work that reflects the Gallery’s This sculpture entitled, River Tree⁄Bench, consists of a 24' bronze Ironwood curatorial mandate to transmit forward to future generations the work and tree lying on its side, its position due, perhaps to high winds, or the ravages of ideas of its collection, specifically the work of Painters Eleven. To do this I’ve time. The delicate root system wraps its tendrils around two limestone boul- taken the seminal portrait of the group, Peter Croydon’s 1957 group portrait, ders. Along the base of the trunk near the roots are protrusions reminiscent of and have used it as a framework on which to place abstract forms that repre- a backbone or spine. Is this an affirmation of our symbiotic relationship with sent each member. These forms and their colours are derived from a key piece the natural world that can only be truly appreciated through sympathetic un- of each of the eleven members’ works in the Gallery’s collection. The forms are derstanding of what has been lost? circular containing concentric rings which are then placed above a painted white River Tree⁄Bench was selected by the Jury Committee of the RMG and was metal framework so that in symphony, all eleven forms become transmitters.” commissioned as a site-specific work and is installed at the rear of the building Staff first met with Doug Coupland in the summer of 2010 to gage his inter- by the Oshawa Creek. It was purchased by The Robert McLaughlin Gallery. est in working with the RMG to produce a third public art commission. In 2002, Reinhard Reitzenstein was born in Uelzen, Germany in 1949, the Gallery commissioned Reinhard Reitzenstein to create River Bench, and in He studied at the Ontario College of Art and Design, Toronto, Canada. 2007, Mary Anne Barkhouse was commissioned to produce Grace, our much He is based in Grimsby, Ontario, Canada and Buffalo, NY, USA. loved beavers at the front of the building. Fortunately for us, Doug was not Reitzenstein is an environmental sculptor. only interested, but let us know of his friendship with Arthur Erickson, the Reitzenstein’s work has consistently taken him into processes exploring ways building’s renowned architect, as well as his interest in mid-century modernist to interconnect nature, culture, science and technology. His work crosses sev- painting. In the months that followed, we supplied Doug with background in- eral disciplines: indoor installation and sculpture, photography, digitally formation on the building and its first mandate that included collecting and ex- processed images; large-scale drawings; outdoor tree-based installations and hibiting work by Ontario’s first abstract painting group, Painters Eleven (1953– sound art. 1960), and sent him images of work by each of the group from our collection. Reitzenstein has held over one hundred solo exhibitions and participated in The Robert McLaughlin Gallery, purchased with the financial support of the some 300 group exhibitions in North America and abroad. Isabel McLaughlin Acquisition Fund and the Canada Council for the Arts Acqui- He has completed more than twenty public art commissions along with nu- sition Assistance Program, 2011. w: coupland.com merous private commissions. His work is represented in over 50 public and corporate collections interna- tionally, among those are, the National Gallery of Canada, the Art Gallery of Pool of Dreams again jets of water sprayed over the Ontario, University of Toronto, The University of Western Ontario, Teutloff Col- young girl. lection, Bielefeldt, Germany, CONAC, Caracas, Venezuela, City of Pirkkala, Fin- One of the most notable, and at land, Fidelity investments, Boston, Mass., Trilogy, Austin, Texas, Tridel times controversial, features of Lake- Corp.Toronto, City of Toronto Parks, National Capital Commission. view Park is this fountain featuring a He is currently an Associate Professor at SUNY, Buffalo where since 2000 he sculpture of a young girl. Known af- has been the Director of the Sculpture Program. fectionately as The Lady of the Lake He is represented by, the Olga Korper Gallery, Toronto, Canada. the sculpture was erected in an illu- w: reinhardreitzenstein.com minated pool donated by General Motors of Canada and was located in the southwest corner of the park. We Gazebo and Railings on Pedestrian Bridge are grateful to Dale Thissen of • James Pronk ~ 2006 Whitby’s Stafford Monuments who Metal Work provided additional details from his Oshawa Valley Botanical Gardens records about the sculpture and Valleyview Gardens | 155 Arena St. fountain. It was Dales’s father Charles Gazebo approx. 4.6m H x 3m W and grandfather Ernest Stafford that James is a metal sculptor, artist, supplied the sculpture for the instal- blacksmith, welder and steel boat lation. Officially known as Pool of • Sculptor Unknown ~ 1958 builder with a love for sailing, biking, Dreams, the fountain features a Lakeview Park | 1450 Simcoe St. S. stand-up paddling and the great out- statue of a young girl leaning on a Carrara marble | 1.2m H doors. He also did the restoration rock and is made of Carrara marble. The sculpture was carved in Italy and work on the gates from Parliament Carrara marble is known for its white arrived by ship into the Port of Mon- Hill in Ottawa and numerous railings or blue grey colouring with a soft treal on February 16, 1959. The total all over North America. feathery effect. This marble is popu- cost for the project was $3389.00 (in These custom pieces were created lar for building décor and sculpture th 1959 dollars) which included the for The Oshawa Garden Club’s 75 and has been used in some of the sculpture, pool construction, founda- Anniversary. most notable monuments in the tion assembly, design, and tablet in- w: jamespronk.pb.online/ world including the Marble Arch in scription. London and the Pantheon in Rome. In 2001 the fountain was given a From an article in Oshawa Museum new lease on life when it was moved Memory Book Project from its original location to grace pride of place within the Oshawa w: Museum precinct of Lakeview Park. A lakeviewparkoshawa.wordpress.com/20 new pool was constructed and once 20/05/21/the-lady-of-the-lake⁄

9 September | October, 2021 | pineridgearts.org | facebook.com/groups/pineridgearts | instagram.com/pineridgearts authentic project was born. He had the great idea This project is one of a series of many artistic out- of assisting students to make something tangible puts donated by the school over the years. Some of and lasting. their prior installations have found homes at the The routine practice in the teaching of welding Toronto Zoo, Gerdau Steel, Whitby and in the Town techniques involves using small squares of steel of Essex. plate and welding them together. John then reached out to local municipalities to However the mushrooms were not made from check for interest in installing the mushrooms. used welding ticket coupons. “Unknown to Princi- Thanks gœs to the City of Oshawa for their willing- pal Joly, I bought several plates of 1⁄4 inch plates ness to find the mushrooms a home, for profes- that is 4 foot by 8 foot steel sheets out of my oper- sionally installing them and hosting a full public ating budget, sort of creative book keeping” says unveiling ceremony. John Oliver. When asked about the detail in the mushroom stems, Oliver said “In learning how to weld one of Mushrooms the difficult to tasks is placing one bead of weld • Created by the Manufacturing Class of half way through a parallel bead called a pad weld. St. Stephen’s Catholic Secondary School All my students had to master this procedure. The Bowmanville ~ 2015 mushroom stems were that lesson and a hard one ValleyView Gardens because if the pad was done poorly the student 155 Arena Street, Oshawa had to grind off all their work and try again. You Steel,1.2 m high would not believe how many mini-grinders were The three shiitake mushroom sculptures, com- burnt up before I was satisfied.” pleted in 2015, were designed and fabricated over Throughout the process, the students learned a a two- year period by many students studying number of welding and manufacturing techniques Manufacturing Technology at St. Stephen C.S.S., to add other features to the mushrooms. Once the Bowmanville. Under the creative vision and tute- fabrication was complete, John had the mushrooms John Oliver lage of their now retired teacher, John Oliver, this professionally sandblasted and powder coated.

Public Art on Campus: Dr. Gary Polonsky and Anne Fotheringham by Angie Littlefield

Dr. Gary Polonsky had a vision to create more The mid-career criterion was to show the stu- Anne’s husband, Canadian journalist Alan Fother- post-secondary options for the citizens of dents that if the sculptor worked hard to be a ingham who died in 2020, donated the marble seat. Durham Region. He helped establish Durham part of the project, that with more hard work to On Ontario Tech’s 10th anniversary, Quebec artist College in 1988 and the University of Ontario In- create something special to represent their Andre Fournelle’s Gate to the Future was un- stitute of Technology in 2001—as Founding Presi- province⁄territory, it could lead to a great boost veiled on campus. Polonsky’s vision continues. dent in both cases. Polonsky’s vision of to their career and take them to a new level. The Dr. Gary Polonsky, a native of Thunder Bay, post-secondary education included public art. In students could see creativity and hard work can served students for 42 years, across five institu- December 2020, Dr. Polonsky, spoke with Anne lead to them furthering what they themselves tions in five provinces, and over half of those Fotheringham about why he placed sculptures on were striving for in life. As it turned out, all the years as a president. In 1988, Dr. Polonsky be- campus: sculptors DID go much further in their careers. came President of Durham College, a position I had a double motivation: inspiration and Dr. Polonsky’s and Anne Fotheringham’s efforts he held until March 31, 2006. His team’s brand. As to inspiration, I have long felt that art, enabled a significant number of sculptures to find achievements included tripling the enrolment; beauty, imagination, creativity, call it what you their way on to campus before Dr. Polonsky’s re- building the Skills Training Centre in Whitby will, elevate human consciousness like little else. tirement in 2006. Dr. Polonsky wrote to Anne in and building an Arena, Tennis Centre, and new So, as students walked from class to class, 2020, “While I ran out of time to finish the job, a Athletic Complex. In 2001, Dr. Polonsky became building to building, as they thought and dis- nice start was made, thanks to you. I still hope Founding President of the University of Ontario cussed what they just heard, I hoped that they someone will finish it.” Institute of Technology (UOIT), Ontario’s would think even deeper, or lighter, by being newest university in over 40 years. He remained inspired by what they were passing. President of Durham College, making him the As to brand, I took seriously our charge to be only Canadian to have been President concur- “The MIT of the North”. Canada’s Massachusetts rently of both a college and a university. Institute of Technology. And so, the notion of Anne Fotheringham is a Toronto-based pri- having at least one sculpture from every vate art dealer, who specializes in Group of Province and Territory, as well as one repre- Seven, modern art, 1920s and ’30s Canadian senting the country as a whole, would punctu- artists, as well as young Canadian artists. In ate that vision, that brand. 1978, she established Libby’s of Toronto Art In 2001, Dr. Polonsky recruited Anne Fothering- Gallery, which she ran for over 20 years. She is ham, a private art dealer to be an advisor as to the founder of the Libby Memorial Lecture at how to achieve his twofold vision. Fotheringham The McMichæl Canadian Art Collection. Anne had extensive experience in the arts community has served as a director or member with vari- and knew how to source sculptural pieces for the Anne Fotheringham has a favourite sculpture on ous organizations and committees, including campus. She used Dr. Polonsky’s criteria—a mid campus. She wrote, the Canadian Hearing Society Foundation, career sculptor and a work to represent each Bridgepoint Health Centre’s Fundraising Com- province and territory—and began her search. ‘“Tolemen Lintel’ by Doug Robinson mittee, University of Ontario Institute of Tech- Fotheringham’s list of potential sculptors went to is special. It has a marble doorway nology’s Art Committee and the Empire Club of an Art Committee made up of Dr. Polonsky, mem- Canada. Anne was on the board of the Canadi- bers of the teaching staff, members of the stu- and a bench behind that doorway. ana Foundation which is in charge of the dent community and Anne. Once sculptors were The idea was to sit and look restoration and decorative ⁄ fine arts of the Offi- selected, the committee provided them with through the doorway. It looked over cial Residences of Canada, from 2003 – 2012. input into their concepts for their particular cam- She became a member of the Canadiana Fund pus work. Anne added: the pond—a place to contemplate from October 15, 2012 to present. one’s future.”

11 September | October, 2021 | pineridgearts.org | facebook.com/groups/pineridgearts | instagram.com/pineridgearts