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Device to Root out Place: an Ethnography of Public Art in East Calgary

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Device to Root out Place: an Ethnography of Public Art in East Calgary University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-09-29 Device to Root Out Place: An Ethnography of Public Art in East Calgary Varney, Catherine Opal Varney, C. O. (2014). Device to Root Out Place: An Ethnography of Public Art in East Calgary (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/25695 http://hdl.handle.net/11023/1839 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Device to Root Out Place: An Ethnography of Public Art in East Calgary by Catherine Opal Hollyberry Varney A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS GRADUATE PROGRAM IN COMMUNICATION AND CULTURE CALGARY, ALBERTA SEPTEMBER, 2014 © Catherine Varney 2014 i ABSTRACT In 2008, a large-scale outdoor sculpture created by world-renowned artist, Dennis Oppenheim, was installed on a proposed site for a billion dollar mixed-use real estate redevelopment project in Calgary’s historic Ramsay neighbourhood. Oppenheim’s sculpture, Device to Root out Evil is one of many public artworks recently installed in East Calgary and serves as a prime example of how public art is being integrated into urban development and private real estate projects. This research project explores how cultural artifacts, such as public art, are being used as placemaking tools. This localized case study connects artistic practice to economic emplacement and displacement, cultural consumption and production, and urban change. It is a mixed-methods ethnography that moves beyond visual analysis of public art to incorporate sensory experiences of being in a place, thereby revealing how attending to the senses can contribute to the placemaking process. ii ACKNOWLEDGEMENTS First and foremost, I would like to offer thanks to my loving husband and best friend, Chris Wood. Your unwavering trust and belief in me sustained me as I undertook this challenge. Even in times of immense self-doubt, I could always count on you for the reassurance that I needed to keep moving forward. You are my eternal rock and I am grateful for the unconditional love, strength and support that you have continued to bestow upon me all these years. I would also like to thank my father, Ed Varney, who has also been my life-long teacher, confidante and guide. You have always led by example, encouraging me to keep on asking questions and to take risks. You have instilled upon my the importance of living a full and creative life and it was our conversations, over the years, that inspired this project and acted as the catalyst for me to embark on this adventure, and for that, I thank you. I am grateful to my family, friends and colleagues, who have all been my persistent and relentless cheerleaders. You have kept me laughing, grounded and filled me with immeasurable love through it all. Thank you to my supervisor, Brian Rusted, whose ideas and thought-provoking nudges helped me to delve down deeper into my subject and practice. I has been an honour to work with you. Lastly, I would like to extend my gratitude to all of the individuals who kindly agreed to let me interview them and, of course, to all the folks who lit up and openly shared their stories and opinions with me when I told them about my research. iii TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGEMENTS ............................................................................................... iii TABLE OF FIGURES ........................................................................................................vi CHAPTER ONE: INTRODUCTION ..................................................................................1 Our First Encounter ..........................................................................................................1 Research Objectives .........................................................................................................3 Research Design ...............................................................................................................5 CHAPTER TWO: LITERATURE REVIEW ......................................................................9 Introduction ......................................................................................................................9 Public Art and the Creative City ....................................................................................10 The Question of the ‘Public’ in Public Art.....................................................................17 Gentrification and the Arts .............................................................................................19 The Bilbao and Millennium Park Effect.........................................................................24 Calgary Context..............................................................................................................28 CHAPTER THREE: METHODOLOGY...........................................................................33 Introduction ....................................................................................................................33 Extending Ethnography ..................................................................................................34 Place and Space in Ethnography ....................................................................................35 Attending to the Senses ..................................................................................................38 Research on Foot ............................................................................................................41 Asking Questions and Having Conversations ................................................................44 Resource Materials .........................................................................................................46 iv Challenges and Opportunities.........................................................................................48 Constructing the Case Study ..........................................................................................50 CHAPTER FOUR: CASE STUDY....................................................................................52 Sensing East Calgary......................................................................................................52 A Walk around Device to Root Out Evil........................................................................63 A Walk through East Village .........................................................................................74 CHAPTER FIVE: CONCLUSION ....................................................................................92 Research Goals and Results............................................................................................92 Methodological Intent ....................................................................................................94 Moving Forward.............................................................................................................95 REFERENCES...................................................................................................................97 APPENDIX A: LIST OF INTERVIEWS ........................................................................109 APPENDIX B: ETHICS APPROVAL ............................................................................110 v TABLE OF FIGURES Figure 1: First Calgary Encounter with Device to Root Out Evil................................................. 2 Figure 2: Examples of creative embellishments on Ramsay homes. ......................................... 56 Figure 3: Examples of old and new construction in Ramsay. .................................................... 57 Figure 4: Ron Moppet’s THESAMEWAYBETTER/READER................................................ 78 Figure 5: Julian Opie’s Promenade............................................................................................ 83 Figure 6: Light & Soul’s Field Manual: A compendium of local influence............................... 84 Figure 7: Derek Basant's I am the River..................................................................................... 87 Figure 8: Hello Urban Explorers................................................................................................ 91 vi CHAPTER ONE: INTRODUCTION Our First Encounter I had been living in Calgary for just over a year by the time that I heard that there was an upside-down church in the city. A friend mentioned the sculpture in passing during a conversation about my imminent move to Ramsay, a historic neighbourhood nestled on the eastern edge of downtown. No, it couldn’t possibly be the same one, I wondered … or could it? Having just relocated from Vancouver, the controversy surrounding the infamous upside-down church was still very fresh in my mind. The sculpture had provoked quite a bit of debate during the two and a half years that it had been publicly installed in Coal Harbour,
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