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SATURDAY EVENING POST
July 6th, 2024
This is the first in a series of segments focusing on Public Artworks in Greater Vancouver. Inspired by the impressive public art scene in Calgary, we aim to highlight some of Vancouver's finest. Today, we are featuring some of our very favourites.
Public art holds a unique place in our communities, as it is accessible to everyone and intended to inspire and foster a sense of well-being. These works can be commissioned by the city, funded by corporations or developments, or created for private residences but visible and inviting to all.
Public artworks are particularly dear to us, as many of our artists are actively engaged in creating them. However, budgeting for public art can be challenging, especially with limited city funding. Artists often struggle to cover the costs of design, production, engineering, and installation, and rarely profit from these projects. Nevertheless, when collaboration is strong and funding is adequate, artists can create works that sustain their practice, though profitability is not always the primary goal.
Public art is frequently subjected to scrutiny, often from individuals unfamiliar with the creative process or the aesthetic value of the works. Common criticisms include comments about the simplicity or size of the pieces, or questions about why the work wasn’t produced locally. Such feedback can be disheartening for artists who invest significant effort into their creations.
The placement of public artworks is also a complex process, often involving numerous stakeholders and varying visions, it may go through what we call “art by committee”. There might be no clear direction at all, and no one vision, decisions can be influenced by a panel of judges or board members, sometimes resulting in choices that do not fully serve the public interest. Alternatively, a single consultant’s vision may dominate, leading to mixed outcome, sometimes brilliant, sometimes disappointing to say the least. Successful public art placement requires a deep understanding of art, architecture, design, and a great amount of courage and vision, yet selections are sometimes driven by political correctness or an artist’s popularity in the city.
Public artworks encompass a wide range of forms, they are sculptures, paintings, installations, murals, digital works, and building facades. These works interact with their environments, over the years, they sometimes weather, sometimes covered by foliage, and everyday, they change with the light of day.
ABOVE IMAGES:
Robert Murray, Cumbria, 1966–67, in Battery Park City, New York, as part of the Art in Public Places program. Image courtesy of Robert Murray.
At its current location on University Blvd and West Mall in front of Ponderosa complex. Photo Courtesy of Belkin Gallery.
‘Cumbria' is a vibrant yellow sculpture composed of two parallel plates of metal that stands vertically from the ground. The sculpture was built in 1966 with Lippincott Inc., an industrial fabrication plant in North Haven, Connecticut, known for collaborating with artists to create large-scale metal sculptures. The sculpture's construction was completed in 1967. Its first exhibition took place in Toronto at ‘Sculpture ’67’, which was sponsored by the National Gallery of Canada. Subsequently, it was chosen by the Director of Cultural Affairs in New York City and displayed in Manhattan's Battery Park.
In 1969, the sculpture was relocated to the Vancouver Airport after being purchased by the Canadian Department of Transportation. Unfortunately, in 1993, during the airport's removal of 'Cumbria', irreparable damages occurred, however, in 1995, Transport Canada donated the artwork to UBC and generously funded its repair. This sculpture holds significance as the first large-scale public installation at the university since 1975. Renowned art critic Geoffrey James has described 'Cumbria' as "one of the most successful pieces of public sculpture in Canada."
Robert Murray, the artist behind 'Cumbria', is widely recognized for his large-scale sculptures made of painted aluminum and steel. His works have been featured in numerous prestigious institutions throughout North America, and many can be found in various public spaces in Canada and the United States.
ABOVE IMAGES:
Alan Chung Hung, Gate to the Northwest Passage, 1980, Corten Steel.
"Gate to the Northwest Passage" is a seminal work of public art created in 1980 by sculptor Alan Chung Hung. The title "Gate to the Northwest Passage" evokes the historic quest for a navigable sea route through the Arctic Ocean, a journey that captivated explorers for centuries. This search for the Northwest Passage is deeply embedded in Canadian history, symbolizing a blend of adventure, discovery, and the formidable challenges posed by nature. By referencing this iconic passage, Chung Hung’s sculpture invites viewers to engage with a pivotal narrative of exploration that shaped the nation’s identity.
Chung Hung's artistic vision is evident in the abstract and minimalist form of the sculpture. The sculpture’s stark, yet elegant lines create a visual dialogue with its surroundings, harmonising with the expansive waterfront views of Vanier Park.
Upon its installation in 1980, "Gate to the Northwest Passage" elicited a diverse array of reactions from the public and critics alike. While some viewers were captivated by its abstract form and the conceptual depth it offered, others found its minimalist aesthetic challenging at the time. However, over time, the sculpture has grown into an iconic and celebrated element of Vancouver's artistic landscape.
ABOVE IMAGES:
Alan Storey, The Pendulum, 1987, Aluminum, electric motor.
The creation of "The Pendulum" was commissioned during an era when Vancouver was actively enriching its public and commercial spaces with thought-provoking art installations. Alan Storey, renowned for his kinetic sculptures, designed "The Pendulum" to challenge conventional perceptions of static art. The installation features a large pendulum, suspended from the ceiling of the HSBC Building’s atrium. The pendulum’s swing meets a fragmented column, symbolising the dualities of stability and movement, permanence and change. This interplay of forces encapsulates Storey’s fascination with the dynamics of physical and temporal spaces, inviting viewers to contemplate the ever-shifting nature of their surroundings.
The plaque commemorating The Pendulum reads:
“The pendulum dominates the superb Atrium landscape, and in play with a shining elevator, achieves an effort that might appear, at least, as the working of a giant clock. Whatever the effect, it has inspired awe from the thousands who have discovered the Atrium as an entrance to a great building, a hall of finance a refuge from the bustling city.
“In detail, the pendulum is made of buffed aluminum, is 27 meters (90 feet) long, 1 meter (3 feet) square, and hollow from top to bottom. It weighs 1600 kg (3500 lb) and travels about 6 meters (20 ft).
“The pendulum swing is assisted by a pneumatic mechanical system located at its top. At the end of its southern arc, it meets in perfect alignment with a matching buttress mounted in the Atrium floor, making the two pieces appear as one.
“Alan Storey was born in 1960 in Summerland, British Columbia. He is an Honours graduate in Fine Arts from the University of Victoria. The recipient of many awards and commissions, his work has been widely exhibited in British Columbia, and elsewhere in Canada and the United States.”
ABOVE IMAGES:
Raising of The Reconciliation Pole. The Reconciliation Pole faces the site of UBC’s Indian Residential School History and Dialogue Centre, opened in the 2017/2018 school year. Image courtesy of UBC.
The Reconciliation Pole in situ.
James Hart carves the eagle, which is about to take flight and is a symbol of hope for the future. Image courtesy of Montecristo and Tallulah.
James Hart at the raising of the Reconciliation Pole. Image courtesy of UBC.
Detail of The Reconciliation Pole.
A carving of the residential school that James Hart’s own grandfather attended is part of the Reconciliation Pole, and it is adorned with some of the 6,800 copper nails symbolizing children who died in Canada’s residential school system. Image courtesy of UBC.
The Reconciliation Pole, a profound work by master carver and hereditary chief 7idansuu (Edenshaw) James Hart, stands tall on the University of British Columbia campus. Raised in 2017, this 55-foot totem pole carved from an 800-year-old red cedar from Haida Gwaii is a poignant tribute to Canada’s history and ongoing journey toward reconciliation.
The creation of the Reconciliation Pole was an arduous and deeply meaningful process for Hart, who began this monumental project two years prior to its installation. Working from his home in Old Massett on Graham Island, part of the Haida Gwaii archipelago in Northern British Columbia, Hart and his team transformed the ancient cedar into a powerful symbol of resilience and hope. Old Massett, a village renowned for its community of acclaimed First Nations carvers, provided the ideal setting for such a significant endeavour.
The historical context surrounding the Reconciliation Pole is deeply intertwined with the legacy of Canada’s residential schools. These institutions, which operated from the 19th century until as late as 1996, aimed to assimilate Indigenous children by eradicating their cultural identities. Over 150,000 Aboriginal children were forcibly removed from their families and placed in these schools, where they endured severe psychological, physical, and sexual abuse. During the time of creation of the pole, an estimated 6,800 children died as a result of their time in the schools. The Reconciliation Pole incorporates exactly 6,800 copper nails, each one representing a deceased child, making the pole a stark reminder of this tragic chapter in Canadian history.
The Reconciliation Pole honours a time before, during, and after the residential school system. At its base is a mother bear with her twin cubs, symbolizing a time before contact with Europeans. Between the bear’s legs is a shaman, or sGaaga, performing a ritual to ensure the return of salmon, which represent the cycle of life. The center of the pole features a depiction of the Coqualeetza Institute residential school in Sardis, B.C., surrounded by carvings of children representing residential school survivors from across Canada. This section includes contributions from various Indigenous artists, including Zacharias Kunuk, Susan Point, Shane Perley-Dutcher, Philip Grey, Robert Davidson, and Christian White. One child remains unfinished, symbolizing those who were taken but never returned home. Near the top of the pole are two boats, a canoe, and a long boat, carved by Hart’s late son, Carl, representing reconciliation and the journey toward healing. The eagle at the pinnacle of the pole, ready to take flight, signifies a hopeful future.
The raising of the Reconciliation Pole was a momentous event held on April 1, 2017, on the traditional, ancestral, and unceded territory of the Musqueam people. The ceremony, marked by traditional songs, dances, and speeches, began with a Musqueam welcome and included addresses from residential school survivors, Musqueam and Haida chiefs, and UBC president Santa Ono. The pole was erected in the traditional Haida manner, using ropes, and it now stands at the site of the Indian Residential School History and Dialogue Centre.
Public reception of the Reconciliation Pole has been overwhelmingly positive. It is celebrated as a powerful symbol of reconciliation and a catalyst for education and dialogue about the residential school system. The pole’s presence on the UBC campus serves as a visual and educational landmark, prompting reflection and conversation about Canada’s history and the resilience of Indigenous cultures.
The creation of the Reconciliation Pole was also supported by a partnership between UBC and Vancouver arts philanthropist Michael Audain. This collaboration underscores the importance of community and institutional support in fostering meaningful reconciliation efforts.
ABOVE IMAGES:
Inges Idee, The Drop, 2009, Polyurethane over EPS.
Installation of The Drop. Images courtesy of Vancouver Convention Centre
Unveiled in 2009, "The Drop," a striking work by the German art collective Inges Idee, is a notable feature of the Vancouver Convention Centre’s West Building. The work emerged from a broader initiative to incorporate public art into the new developments surrounding the Vancouver Convention Centre’s expansion. The installation was part of the 2009 public art program, aimed at enhancing the waterfront and celebrating Vancouver's connection to its natural surroundings.
Inges Idee conceived "The Drop" as a way to reflect Vancouver’s intrinsic relationship with water. Standing at 20 meters tall, the sculpture is shaped like a giant elongated droplet of water, The brilliant blue colour and the smooth, reflective surface of the sculpture evoke the purity and omnipresence of water and rain in Vancouver. The shape and scale of "The Drop" create a visual dialogue with the surrounding landscape, including the nearby mountains and the expansive waters of Burrard Inlet.
ABOVE IMAGES:
Current Electra Building. Architects: Thompson, Berwick, and Pratt, 1955-57.
The “new” B.C. Electric Building on the NE corner of Burrard and Nelson Streets in Vancouver, BC. Photograph dated October 3, 1957. The building at the far left is the First Baptist Church (1911) on the NW corner. Image courtesy of Grant-Mann Lithographers, Vancouver.
The illuminated artwork by B.C. Binning on the façade of the Electra Building in Vancouver is a significant piece that marries mid-20th-century modernist aesthetics with contemporary urban vibrancy. The Electra Building, originally known as the BC Electric Building, was constructed in 1957 and is an iconic example of mid-century modern architecture. At the time of its construction, the building was the tallest in Vancouver, symbolizing the city’s post-war economic boom and architectural innovation. The inclusion of B.C. Binning's artwork on its façade was a deliberate effort to integrate art and architecture, a hallmark of modernist design principles.
B.C. Electric Company was taken over by the provincial government in 1961-62 and the building was renamed the B.C. Hydro Building. In 1995, the building was converted to a condominium complex and renamed and re-addressed as the Electra, 989 Nelson Street. The introduction of this structure in the West End caused the City Planners to rewrite the zoning by-law limiting building height in the district. Subsequently, this allowed a flood of residential tower development which forever changed the face of the neighborhood and, by the 1970s, would cause Vancouver's West End to become the most densely populated area in Canada.
Charlotte Wall, Typha, Installed in 2023. Photo Credit: Kyle Juron
Charlotte Wall’s public artwork "Typha" in Richmond is named after the botanical genus for cattails and conceived to celebrate the natural flora found in Richmond’s wetland areas. The artwork consists of large, stylised representations of cattails, rendered in stainless steel that reflect the light and weather conditions, thus changing their appearance throughout the day and seasons, and lights up with the fading of daylight.
Wall’s choice of cattails, common plants in wetland ecosystems, speaks to her sensitivity to the local environment and her desire to highlight the often-overlooked beauty of these natural features. By enlarging and stylizing these forms, Wall draws attention to their structural elegance and ecological significance, encouraging viewers to appreciate the intricate details of their surroundings and re-think the broader implications of human impact on our environment, including residential and commercial developments on traditionally ecologically sensitive or unstable lands.
Thank you for reading. There are so many more notable and important public works in our city, new and historical, so please stay tuned for the next segment of our Saturday Evening Post edition on Public Art.
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