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| City,TitleOfWork,YearOfInstallation,Status,DescriptionOfwork,ArtistProjectStatement,SiteName,SiteAddress,Neighbourhood,Latitude,Longitude,LocationOnsite,Type,PrimaryMaterial,Ownership,URL,PhotoURL,PhotoCredits,Artists,RegistryID | |
| Vancouver,Captain George Vancouver,1936,In place,"A full figure bronze statue of Captain George Vancouver stands on the north side of City Hall, pointing towards Vancouver harbour and holding a partially open scroll in his left hand. The figure commemorates the events of 1792, when Captain George, a representative of King George III of England, sailed into Burrard Inlet and charted the area.","A new city hall and a statue of Captain George Vancouver were commissioned to commemorate Vancouver's Golden Jubilee in 1936. The architect of the new City Hall at Strathcona Park on West 12th Avenue, Fred Townley, proposed the sculpture, commissioned by the Vancouver Canadian Club, be placed on the plaza on the north side of the building. Noted BC sculptor, Charles Marega, was commissioned (for about $5500) to create a life-size sculpture of the man who mapped the harbour in 1792 and after whom the city is named. Marega began by setting up 500 pounds of clay on a turntable in his Hornby Street Studio. From the clay model, he made a plaster cast which was then used to cast the finished work in ""Roman bronze"". It was cast at Ornamental Bronze, a foundry in Vancouver. The work was installed on August 20, 1936.The bronze figure standing atop the granite plinth is said to bear little physical resemblance to Captain George. The sculpture was copied from a maquette, which had been fashioned after a painting that was in turn, a copy from an original painting.An interesting conversation is recorded between Major Matthews, the City Archivist, and Townley. Matthews: ""Mr. Townley, the ""Sun"" newspaper wants to know how much the Vancouver statue cost and who paid for it.""Townley: ""What do they want to bring that up for? Leave sleeping dogs lie. I've been afraid that matter would come up, but it has not...why bring it up now? It was all in the contract; everything was above board; there's nothing to hide; but if it gets out what it cost, then some fool will start writing to the newspapers, or something, and complain of the waste of money; say it ought to have been given towards the support of some fool scheme of his own, the ""home for incurable dogs"", or some other idiotic thing"".Matthews: ""Alright; drop it, I don't want to know; the ""Sun"" is publishing a story on the statue, and I suppose they want to put the cost in.""Townley: ""Well, Charles Marega made it, and baby bonds paid for it...I don't know exactly what it cost; it would be hard to find out; part of it was in the stone work cost. Marega for $5000, and then there was the base; so much per square foot for the base, perhaps $500 for that...""The statue was cleaned in 2001, 65 years after its installation and in time for the city's 115th birthday. The bill for cost of cleaning was $5800, almost the same amount as the original statue cost. This sculpture is on the City of Vancouver's Heritage Inventory list and, as a proud homage to a great explorer, has stood the test of time.",Vancouver City Hall,453 West 12th Avenue,Mount Pleasant,49.261185,-123.113918,"North entrance, exterior, in front of stairs",Figure,bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=1,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=1&ImageId=1,Barbara Cole,98,1 | |
| Vancouver,The Swimmer,1977,In place,"An abstract form representing the motion of swimming, this bronze sculpture is mounted on two poles in front of the Aquatic Centre.","Commissioned by Duncan McNab and Associates, architects, and the engineering firm working on the Aquatic Centre.",Vancouver Aquatic Centre,1050 Beach Avenue,West End,49.27699,-123.135029,Front entrance facing north,Sculpture,Silicon bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=2,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=2&ImageId=2,Barbara Cole,264,2 | |
| Vancouver,George Cunningham Memorial Sundial,1967,In place,"A classic bronze sundial sits on top of a 4'5"" high rectangular granite pedestal engraved with abstract modernist geometric designs. A second edition of the sundial was commissioned for the VanDusen Gardens around 1972.","Erected under the auspices of the Centennial Committee of Vancouver in cooperation with the Parks Board, the sculpture was presented to the City by Cunningham Drug Stores Ltd. whose first store was opened at Denman and Nelson Streets in 1911. The inscription reads, "" I mark my hours by shadow, mayest thou mark thine by sunshine."" The sundial commemorates three English ""greenhorns"" - Samual Brighouse, John Morton, and William Hailstone who in 1862 filed the first land claim and planned the first home and industry in the then heavily wooded area now bounded by Burrard Inlet, Stanley Park, English Bay and Burrard Street to which they received title in 1867.",English Bay,Beach Avenue & Denman Street,West End,49.287577,-123.141787,In centre of public seating area,Sculpture,"bronze, stone, granite",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=3,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=3&ImageId=3,,41,3 | |
| Vancouver,Two Steel and Copper Fountains,1965,In place,Two copper ship-like abstract forms grace a pool of green water at this apartment dwelling.,,Beach Towers Apartments,1600 Beach Avenue,West End,49.28408,-123.142216,On west and east sides of the east tower,Fountain,"Steel & copper, mosaic tile",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=4,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=4&ImageId=4,,145,4 | |
| Vancouver,Untitled (Clydemont Centre),1949,In place,"An elegant figurative relief in nouveau modernist style depicts nature and industry and stands out against a corrugated background surface. The building was formerly the Vancouver Labour Temple. The image is based on the wheel of industry and the figures include people engaged in different kinds of work, airplanes, buildings, plants, birds, and animals on a background of sun rays.",,Clydemont Centre,307 West Broadway,Mount Pleasant,49.263263,-123.111389,Front Fa�ade,Relief,Stone,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=5,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=5&ImageId=5,,93,5 | |
| Vancouver,Untitled,1968,In place,,,,625 Bute Street,Downtown,49.287929,-123.1244,Foyer,Sculpture,Paint,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=6,,,117,6 | |
| Vancouver,Charles Bentall,1977,In place,This classic bust depicts the entrepreneur Charles Bentall who died in 1974.,,Bentall Bldg.,501 Burrard Street,Downtown,49.286828,-123.1178,"Between two towers, above fountain",Figure,bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=8,,,241,8 | |
| Vancouver,Ksan Mural,1972,In place,"This beautiful 9-panel frieze was carved in red cedar and painted by five artists over a period of three months. It depicts the Gitksan mythical character Weget (Man-Raven), who created our world through his mischievous activities. The Gitksan people live near the Bulkley and Skeena Rivers in north central BC. According to a brochure published by the Royal Bank, the 3 central panels represent various myths: In one, Raven disguises himself in the skin of a deer in order to steal fire from the humans (shown as small faces in the lower corners). In the second story, Raven goes through a hole in the sky to steal the sun. The image depicts the sun (central to the panel) clutched in his claws over the box he put it in. As the story goes, he dropped the box in his haste and that's how light came to the world. Other creatures (salmon and seal) are depicted around his wings. In the third panel, Raven attempts to capture a fish to eat. As the fish struggles to get away, his head becomes misshapen and that's how the bullhead fish came to be. The side panels represent specific totem creatures: the frog, the wolf, the killer whale, the owl, the human and the bear.",,Royal Bank,1025 West Georgia at Burrard,Downtown,49.284867,-123.121201,Mezzanine,Relief,Red cedar,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=9,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=9&ImageId=7,,109;138;223;224;232,9 | |
| Vancouver,Untitled,1954,In place,,,Mercantile Bank,540 Burrard Street,Downtown,49.286289,-123.1185,Inside,Mural,Painting on linen,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=10,,,145,10 | |
| Vancouver,Asclepius,1951,In place,,,College of Physicians & Surgeons of B.C.,1807 West 10th Avenue,Kitsilano,49.262865,-123.145985,"Exterior, second floor, S.E. corner",Relief,"concrete, steel",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=11,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=11&ImageId=8,(detail) Leonard Frank,93,11 | |
| Vancouver,Rainforest,1986,In place,"Rainforest is a tilted steel platform with 28 steel poles meant to represent a forest of trees and also the driving rain. There are silhouettes of objects like and axe, cross saw, chairs, etc, interspersed among the poles. Rainforest was loaned to The Reach Gallery in Abbotsford as part of its exhibition on trees.","Rainforest was designed in response to a call for public outdoor sculptures to be constructed and exhibited at Expo �86 in Vancouver. The piece was fabricated in Vanier Park during the summer of 1986 where visitors were invited to watch the construction process and interact with the artist. The piece primarily consists of numerous parallel steel pipes intended to provide the sense of driving rain. Attached to many of these angled rain-like elements are shorter smaller pipes producing a simplified tree forms. Interspersed among the pipe components are various objects associated with forestry; a crosscut saw, a baseball bat, a ladder, a house, all set at the identical angle to the tree branches.The intention is to merge the visual sense of driving rain with trees and objects associated with forestry. Excessive repetition causes the piece to appear both chaotic and ordered. Hopefully viewers can focus on any one of, or all of these elements simultaneously.",On loan to The Reach Gallery in Abbotsford,,Downtown,,,,Sculpture,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=12,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=12&ImageId=9,,35,12 | |
| Vancouver,Untitled,1959,In place,,,Queen Elizabeth Theatre,649 Cambie Street,Downtown,49.280537,-123.1126,Interior lounge,Sculpture,Metal & enamel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=13,,,135,13 | |
| Vancouver,Untitled,1962,In place,,,Queen Elizabeth Playhouse,649 Cambie Street,Downtown,49.280558,-123.1126,"Interior mezzanine lounge, south wall ",Painting,Canvas,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=14,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=14&ImageId=10,Photo by Maxime Cyr-Morton - 2013,113,14 | |
| Vancouver,Cycle of Flowering,1959,Removed,,,Queen Elizabeth Theatre (Downtown),649 Cambie Street (Downtown),Downtown,49.280222,-123.11287,Restaurant,Mural,paint,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=15,,,132,15 | |
| Vancouver,Untitled,1970,Removed,,,Plaza 500 Hotel,Cambie & 12th Avenue,Mount Pleasant,49.260104,-123.115462,"Exterior, east side",Relief,"Concrete, glass",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=16,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=16&ImageId=11,,30,16 | |
| Vancouver,Stations of the Cross,1964,In place,,,Holy Name Parish,4925 Cambie Street,South Cambie,49.240719,-123.119119,"Interior, stained glass windows, north and south sides",Sculpture,Lead,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=17,,,264,17 | |
| Vancouver,Gerald Grattan McGeer,1948,In place,This is a classic bronze bust of the former mayor of Vancouver in official regalia.,"Chuck Davis called Gerry McGeer a ""human bulldozer"" in an article in the Vancouver Sun In his first week as mayor of Vancouer, he confiscated 1000 slot machines around the city. He was mayor during the1935 demonstration by unemployed workers in the downtown eastside and was instrumental in building city hall on its 12th Avenue site. He died during his second term as mayor in 1947. (Vancouver Sun, April 7, 2001,H5)",Vancouver City Hall,453 West 12th Avenue at Cambie,Mount Pleasant,49.260687,-123.113718,East of 12th Avenue entrance,Figure,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=18,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=18&ImageId=12,Barbara Cole,20,18 | |
| Vancouver,Lovers II,1977,In place,,,Vancouver City Hall,453 West 12th Avenue at Cambie,Mount Pleasant,49.261439,-123.114522,Northwest lawn,Figure,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=19,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=19&ImageId=13,,244,19 | |
| Vancouver,Captain John Deighton (Gassy Jack),1970,In place,"This 6'6"" bronze figure standing on a barrel is prominently located in Gastown and commemorates the man for whom Gastown is named. Born in 1830, ""Gassy"" Jack Deighton was an adventurer who went to sea and was attracted by the gold rush in California and then in New Caledonia (now British Columbia). He didn't strike it rich and instead became a tax man and a steamboat pilot and later ran a saloon which is why he stands on a whiskey barrel. The Globe Saloon which stood on the site was reputedly built in 24 hours by the thirsty workers. (Vancouver Sun, April 7, 2001, H3) The nickname Gassy Jack came from the fact that he talked so much. (drawn from Old Vancouver Townsite Walking Tour, Footprints Community Art Project, 2001)",The sculpture was commissioned by Larry Killam and others interested in improving business in the Gastown area in the early 1970s. Vern Simpson made the sculpture following a drawing by Fritz Jacobson. It was given as a Valentine's Day gift to the City. Then Mayor Tom Campbell threatened to have it hauled away to the city dump. Vandals later decapitated it but the head was returned for a $50 reward.,Gastown," Carrall, Water & Powell Street",Downtown,49.283351,-123.104296,,Memorial,copper stained with muriatic acid,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=21,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=21&ImageId=15,Barbara Cole,134,21 | |
| Vancouver,Untitled (Cenotaph),1959,In place,,,Grandview Park,Commercial Dr. & William Street,Grandview-Woodland,49.27352,-123.069796,"In centre of lawn, along Commercial Drive.",Memorial,Granite,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=22,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=22&ImageId=16,,195,22 | |
| Vancouver,Untitled (mural),1960,In place,,,White House Apartments,2033 Comox Street,West End,49.291012,-123.143036,"Exterior, either side of entrance",Mural,Paint on concrete,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=23,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=23&ImageId=17,,29,23 | |
| Vancouver,Angel of Victory,1921,In place,"A heritage monument, this bronze figurative sculpture depicts an angel carrying a dead soldier and commemorates those who lost their lives in World War I. This is one of three identical statues commissioned by the Canadian Pacific Railway in 1921 to honour their workers who answered the call of ""king and country"" and made the ultimate sacrifice. The others are in Winnipeg and Montreal. The angel originally held a full wreath in her upraised hand. After WW II, the dates of that war were also added to the plaque.",The artist won the CPR commission from a nation-wide competition.,Waterfront Station,601 West Cordova Street,Downtown,49.28525,-123.111406,East of front entrance,Memorial,bronze,Cadillac Fairview,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=24,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=24&ImageId=955,Maxime Cyr-Morton,94,24 | |
| Vancouver,Celebration,1986,In place,,,Sinclair Centre,Cordova & Granville Street,Downtown,,,"interior, central plaza",Sculpture,"Wood, paint",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=25,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=25&ImageId=19,,75,25 | |
| Vancouver,Centennial Pole (totem),1958,Removed,"""Each of the ten figures is the crest of one of the ten Kwakiwaka'wakw clans representing the mythical ancestry of the clan. From the top down:: chief wearing high crowned hat and robe; Beaver; Old Man; Thunderbird and Sea Otter holding seal; Raven head down; whale with face for blowhole; woman crouching on head of Sisiutl; Halibut with human in its body; Cedar Man with head and neck rings."" (From Totem Poles, Hilary Stewart, 1990, Douglas & McIntyre)","The original pole was commissioned by the province in 1958 and presented to Queen Elizabeth. The pole is 30.5m (100ft) high representing one foot for each year of the Province's existence at the time. The original log was a 600 year old red cedar from the Queen Charlotte Islands. At the First Cut Ceremony, Lt. Gov. Frank M. Ross made the first cut into the log. Mungo Martin worked with his nephew Henry Hunt and his son David Martin to complete the pole in seven months. This pole stands in Windsor Great Park in England. The Vancouver pole is an exact duplicate. - ibid, Stewart",Hadden Park,Odgen Street & Cypress Street,Kitsilano,49.277533,-123.1475,North end of Cypress Street,Totem,wood,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=26,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=26&ImageId=904,,100,26 | |
| Vancouver,Solo,1986,In place,An abstract sculpture of stainless steel with carved cedar planks that fan out in a spiral.,"""McHaffie says she means to show movement, but not flight. 'My perception of the world is that very little of it is stable,' she says."" -Vancouver Sun, July 19,1986 The sculpture was installed as one of ten pieces in the City Shapes sculpture symposium in the City's centennial year.",Devonian Harbour Park,Denman & Georgia Street,Downtown,49.293313,-123.133965,Lawn along Georgia Street,Sculpture,"Stainless steel, cedar",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=27,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=27&ImageId=21,"SITE Photography, 2016",103,27 | |
| Vancouver,Untitled (Mural),1975,Removed,,,Vancouver Bus Depot (Downtown),Dunsmuir & Cambie Street (Downtown),Downtown,49.28059,-123.1115,West side of building,Mural,Paint,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=28,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=28&ImageId=22,,143,28 | |
| Vancouver,Hastings Mill Commemorative,1966,In place,A commemorative sculpture based on three abstract tree trunk forms made of BC granite set in a circle in varying heights. There are relief carvings in the stone that recall the history of logging and milling.,"The sculpture was to mark the spot of the old Hastings Mill near the National Harbours Board Building. The National Harbours Board, the Hamber Foundation and the Koerner Foundation all contributed to the project.",Flying Angel Seamen's Club,Dunlevy Street (north end),Downtown,49.286208,-123.094871,North off parking lot,Sculpture,Three forms of BC granite,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=29,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=29&ImageId=23,,41,29 | |
| Vancouver,Cross of Sacrifice,1922,In place,The Cross of Sacrifice is a piece specific to the Commonwealth War Graves Commission (www.cwgc.org).,,Mountain View Cemetary,39th Avenue and Prince Edward Street,,49.234639,-123.096898,"Jones Section, Block 45 (enter the cemetery at 39th and Fraser and drive straight to the west end of the cemetery)",Memorial,granite,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=30,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=30&ImageId=24,,195,30 | |
| Vancouver,Untitled (sculpture),1972,Removed,A glass prism on a bronze pedestal contains six spheres which reflect the traffic patterns on the Georgia Viaduct. The sculpture is surrounded by shrubs.,,Abutment Park,Georgia & Beatty Street,Downtown,49.278977,-123.1122,S.W. corner of park,Sculpture,"Glass, Plexiglas & bronze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=31,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=31&ImageId=25,,264,31 | |
| Vancouver,Untitled (Silver Bird),1974,Removed,,"The artist said that ""The sculpture to me was like a silent song."" Piece was removed by owners and donated to City of Surrey in 1988, where it was supposed to go in front of the justice centre. However, it was disassembled and stored. It was sold for scrap metal in 1996. It was reported to have been an accident by city staff but the union said the city manager ordered it sold. Surrey issued a public apology to the artist. (K. Sinoski, Province, Mar 4, 1996)",Pacific Centre (Downtown),Granville & Georgia Street (Downtown),Downtown,49.282713,-123.1181,Centre of plaza,Sculpture,Stainless steel,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=32,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=32&ImageId=26,,264,32 | |
| Vancouver,Ice Skater,1968,Removed,,,MacMillan Bloedel Bldg. (Downtown),1075 West Georgia Street (Downtown),Downtown,49.285864,-123.12219,"Interior, lobby",Sculpture,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=33,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=33&ImageId=27,,96,33 | |
| Vancouver,#182 sous-bois a l'automne,1968,In place,,,MacMillan Bloedel Bldg.,1075 West Georgia Street,Downtown,49.285864,-123.12219,Interior west side,Tapestry,wool,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=34,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=34&ImageId=28,,125,34 | |
| Vancouver,#183 sous-bois au printemps,1968,In place,,,MacMillan Bloedel Bldg.,1075 West Georgia Street,Downtown,49.285864,-123.12219,Interior east side,Tapestry,wool,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=35,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=35&ImageId=29,,125,35 | |
| Vancouver,Untitled,1970,In place,,,West Coast Transmission Bldg.,1333 West Georgia Street,Downtown,49.28899,-123.127532,,Sculpture,"Steel, plastic",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=36,,,73,36 | |
| Vancouver,Centennial Fountain,1971,In place,"A modernist sculpture representing two spheres, one inside the other, with water flowing from the interior sphere.","The original design was to be two granite figures, one male and one female, representing immigrants, .... (source: E.Godley, The Greater Vancouver Book), p210)",�xexn Xwtl�a7shn,West Georgia & Hamilton Street,Downtown,49.280087,-123.113307,South side in plaza,Fountain,"Bronze, steel",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=38,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=38&ImageId=30,,41,38 | |
| Vancouver,Florentine Door & Wall #3,1967,In place,The work is a cast bronze block form with arched openings and extraneous forms attached.,Vancouver Centennial Committee Purchase Award 1967,Queen Elizabeth Playhouse,Dunsmuir and Hamilton,Downtown,49.280518,-123.112989,"Exterior, north of the Playhouse lobby",Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=39,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=39&ImageId=772,Maxime Cyr-Morton,116,39 | |
| Vancouver,Horse,1976,Removed,"This sculpture was removed and replaced in 2000 by ""Royal Sweet Diamond"" by Joe Fafard.",,BC Turf Bldg. (Downtown),475 West Georgia Street (Downtown),Downtown,49.281486,-123.115207,Left of entrance,Sculpture,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=40,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=40&ImageId=32,,241,40 | |
| Vancouver,Untitled (Tile Mural of a Woman and Child),1958,In place,"This tile mural of a woman and child by Paul Huba was designated as protected heritage property by the City of Vancouver on September 18, 2018.",,Main Post Office, 349 West Georgia Street,Downtown,49.280548,-123.114442,lobby,Mural,ceramic,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=41,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=41&ImageId=33,Maxime Cyr-Morton,76,41 | |
| Vancouver,The Postman,1955,In place,"This carved granite postman bas-relief by Paul Huba was designated as protected heritage property by the CIty of Vancouver on September 18, 2018.",,Main Post Office,349 West Georgia,Downtown,49.28063,-123.11481,SW corner on Homer Street,Relief,Red granite,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=42,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=42&ImageId=34,Maxime Cyr-Morton,76,42 | |
| Vancouver,B.C. Centennial Fountain,1966,Removed,The fountain was commissioned by the BC Government in 1966 when the building was still a courthouse. The tile floor of the pool looks like water rippling and there are faces carved into the stone that rises in the middle of the pool.,,Vancouver Art Gallery,750 Hornby Street,Downtown,49.282879,-123.120461,Front plaza,Fountain,"Bronze, ceramic tile",Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=43,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=43&ImageId=35,,128;231,43 | |
| Vancouver,Untitled (Pair of Lions),1910,In place,"Two granite lions rest on either side of the stairs leading up to the old court house, now the Vancouver Art Gallery. They are modeled after those in Trafalgar Square in London. Each weighs 15 tons.",,Vancouver Art Gallery,750 Hornby Street,Downtown,49.283046,-123.120103,"Exterior, on Georgia Street stairway",Sculpture,Granite,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=44,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=44&ImageId=36,,21;161,44 | |
| Vancouver,King Edward VII Fountain,1912,In place,"The fountain is considered a heritage monument, a memorial to King Edward VII. It was initially equipped with bronze cups on chains, but these were quickly stolen and never replaced.","Members of the Imperial Order of Daughters of the Empire commissioned sculptor Charles Marega in 1912. The fountain was dedicated to the memory of King Edward VII and, until 1966, was prominently located in front of the Courthouse building on W. Georgia. The 1983 conversion of the building into Vancouver's art gallery sparked renewed interest in the fountain. Brought out of storage, the sculpture now graces the west side of the building, facing Hornby Street.",Vancouver Art Gallery,750 Hornby Street at Georgia,Downtown,49.283241,-123.12062,Along Hornby Street,Memorial,"Concrete, bronze, ceramic",Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=45,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=45&ImageId=37,Karen Henry,98,45 | |
| Vancouver,Untitled (Sculpture),1973,Removed,"Seventy-four upright cedar blocks, 3'x3' each by varying heights from 2' to 17' and each set in a 6"" base. These timbers are set on end in a seemingly random pattern on six concrete pads in the middle of Granville Square and mostly enclosed within a 50 foot diameter circle of red tiles. The sculpture measures about 40 feet by 60 feet and is roughly in the shape of a cross. Known as ""Phifer's Fountain"", this work was commissioned in 1973 by the CPR and Marathon Realty to address a plaza of which the zoning panel of the day said ""a truly `civic square', as the developers propose, should be more generous and festive in concept."" (Rezoning application, October 1968) This plaza was described in the 1969 development permit application as ""developed with trees, sitting area, fountain, grass mounds, architectural lighting, etc."" Somewhere along the line, the ""fountain"" turned into a 30 foot by 60 foot sculpture.""The CPR went to Washington State to find someone to design these columns of squared timber to represent, in abstract form, BC forests. The wood used would supply enough timber to build 10 homes."" (A Guide to Sculpture in Vancouver, Peggy Imredy, 1980)By 2002, some of these columns had deteriorated substantially and Marathon wanted to redevelop the plaza. Some effort was made to find a new home for this quintessential 70s work, with the artist choosing to give it to the interior community of Princeton, where it currently stands as the gateway to the Trans Canada Trail. http://town.princeton.bc.ca/newpages/parksandrec/phifersfount.html#",,Granville Square Plaza 200 (Downtown),North end of Granville Street (Downtown),Downtown,49.288835,-123.1122,Centre of plaza,Sculpture,Western red cedar,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=46,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=46&ImageId=38,,118,46 | |
| Vancouver,B.C. Pageant,1951,In place,"A colourful mural in rich reds and browns painted on linen, it depicts early explorers and natives of BC. The mural features Haida carvings and nautical symbols as decorative motifs. It includes twentieth century figures on the left panel - Emily Carr, representing culture; Eric Hamber, Chancellor of UBC, representing education; Major-General Bertram Hoffmeister representing defense; and a logger representing labour. The central panel shows Captain George Vancouver (1757-98) on the HMS Discovery naming Burrard Inlet after Sir Harry Burrard. The left panel recalls the early explorers, Juan de Fuca and de Fonte. The Nootka chief Maquinna is also included. The smaller panels include the Spanish explorer Quadra, the arrival of Captain James Cook, Alexander MacKenzie in Bella Coola, and Simon Fraser exploring the river.","Comfort was asked to create a romantic composition about West Coast development. ""My composition deals largely with discovery and development, then and now; the West Coast Indians and their artifacts, the Spaniards, the French, the British,..."" (Charles Comfort in Canadian Art 1951 as quoted in E.Godley, Public & Office Building Art in Greater Vancouver, Greater Vancouver Book) In 2002, when the bank branch closed, the mural was donated to Simon Fraser University.","Formerly T.D. Bank, now SFU",Formerly 499 Granville Street,Downtown,49.284991,-123.114979,"Formerly interior, west wall of TD Bank",Mural,"Paint, linen, plaster",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=47,,,25;36;159;160,47 | |
| Vancouver,Nature's Own Geometry,1965,In place,The copper bas-relief with abstract design and texture that hangs above the doors as well as the enameled entrance doors themselves are done by the artists.,,Block Bldg.,2695 Granville Street,Fairview,49.261911,-123.138913,"Exterior, front entrance",Relief,"Copper, glass",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=48,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=48&ImageId=39,,144;145,48 | |
| Vancouver,Untitled (Spirit of Communication),1966,Removed,This abstract piece represents a masculine figure of welded and beaten copper whose upper body expands into a series of metal wires connected to printing plates.,"The work is meant to be a fantasy that could be thought of as ""the none-too-gentle transformation of three dimensional life into two-dimensional print."" ""It became my practice not to name my works. This was my reaction against too much dependence on verbiage in the visual arts. It also became my practice not to sign my work. Again my protest against the ""cult of personality"" still so rampant in the art world. G.N.",Pacific Press Bldg.,Relocated to Surrey,Downtown,,,,Sculpture,"Copper, brass",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=51,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=51&ImageId=41,,264,51 | |
| Vancouver,Untitled (100),1986,In place,This 7' high stone 100 was made to celebrate the centennial of the city.,,Granville Street Bridge,Granville Street at 4th Avenue,Fairview,49.267592,-123.138963,West 4th Street exit,Sculpture,B.C. granite aggregate,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=52,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=52&ImageId=42,,139,52 | |
| Vancouver,Requiem for Yan,1986,In place,This rectangular tower with many angles and corners is constructed of stainless steel and copper tubing.,"The piece was made as part of City Shapes in 1985-86. The artwork is a tribute to the strength of the pioneers and to the artist's father, Hon Yan Young, who came to Canada to work on the railroad and became a foreman, translator, and merchant. The piece is a reference to an oriental puzzle box.",Queen Elizabeth Theatre,650 Hamilton,Downtown,49.280206,-123.112934,Lobby,Sculpture,"Stainless steel, copper",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=53,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=53&ImageId=43,,46,53 | |
| Vancouver,Homage to Helios I to V,1967,In place,,,Baxter Bldg.,1111 West Hastings Street,Downtown,49.288331,-123.12022,Plaza,Sculpture,Corten steel,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=54,,,104,54 | |
| Vancouver,The Fathomless Richness of the Seabed,1969,In place,The ceramic wall relief in blues and golds is meant to be an abstract reflection of the bottom of the sea.,"The artist was asked to create a mural that would echo the relationship between the building and its environment. The mural is "" an abstract work of art and as such bears no representative relation to the world as seen through the eyes. Yet, when looked at through the mind's eye the textures, reliefs, colours suddenly acquire a pattern, a purpose, a life of their own. Bonet turned to the bottom of the sea for his inspiration.""",Guiness Tower,1055 West Hastings Street,Downtown,49.287592,-123.118204,"Interior, front lobby",Relief,Ceramic,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=55,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=55&ImageId=44,Barbara Cole,18,55 | |
| Vancouver,Bear & Seals,1968,In place,,,Board of Trade Tower,1177 West Hastings Street,Downtown,,,,Sculpture,,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=59,,,120,59 | |
| Vancouver,Cenotaph,1924,In place,"This war memorial is a grey granite obelisk and is located at the foot of Victory Square. The three-sided monument was designed by Major G.L. Thornton Sharp to harmonize with the triangular shape of the park. The Cenotaph was unveiled by His Worship W. R. Owen, Mayor of Vancouver, on Sunday April 27, 1924. The ornamentations on the stone include one long sword, one laurel wreath, and one poppy wreath; both of the wreaths are entwined with maple leafs. A stone replica of the steel helmet used in the war of 1914-1918 adorns three corner abutments.",,Victory Square,Hastings & Cambie Street,Downtown,49.282475,-123.109894,N.E. corner of park,Memorial,Nelson Island granite,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=61,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=61&ImageId=46,Barbara Cole,72,61 | |
| Vancouver,Untitled,1960,Removed,This marble and ceramic drinking fountain is also a memorial.,,Victory Square,Hastings & Cambie Street,Downtown,49.282161,-123.109952,East side of park ,Fountain,"Marble, ceramic",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=62,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=62&ImageId=47,,42,62 | |
| Vancouver,Province Newspaper Memorial,1967,In place,,,Victory Square,Hastings & Cambie Street,Downtown,49.28209,-123.109894,South end of park ,Sculpture,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=63,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=63&ImageId=48,,41,63 | |
| Vancouver,Lookout,1999,In place,"A sculptural installation consisting of two glass-roofed pavilions separated by approximately 120 metres. The elliptical roof of each pavilion is supported by two walls made of stainless steel with cutout silhouettes of industrial and natural forms. A second component of Lookout is a perimeter railing with cantilevered glass panels. The panels are inscribed with sandblasted words, written especially for this site in consultation with poet Robin Blaser. Midway between the two pavilions, the cut-out images are cast into the concrete walkway. As well, the artists have placed 13 simple bronze chairs throughout the site. The art work has an accompanying website at: http://www.lookoutsculpture.com/","""�As a public quay and access way, Marinaside Crescent is the site of a deep native and non-native knowledge, memories and history. We wanted our work to act as a 'marker' that would reflect the events and cultures of this neighbourhood and, as well, be 'of our time' and of the future. �Lookout is meant to be many things:- a shelter from rain- a viewing portal, an archway- a framing device- a 'light projector' that recalls the activities that have occurred here since human occupation- a celebration of a place.""",Marinaside Crescent,,Downtown,49.273265,-123.119147,"False Creek north on the seawall, east of the foot of Davie",Site Work,"stainless steel, glass, bronze ",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=64,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=64&ImageId=49,Barbara Cole,80;217,64 | |
| Vancouver,Untitled (fountain),2000,In place,"A low black granite �lotus� radiating from a round centre ring sits in the middle of a long narrow pool between Pacific Boulevard and the seawall. Water wells up in the centre of the flower and spills out over the stylized petals, falling from between the serrated points into the pool below. The full flower is visible from the apartments above. The lotus form honours the history of Chinese immigrants and their contribution to the railway and the industries around False Creek. Three black granite circles are inset into the white concrete around the pool. These rings echo the Ring Gear on Pacific Boulevard. Skateboarders like to practice on the flat surfaces around the pool. The area is finished with trees and simple black granite benches.","The project, for me, was about space for public use where art would help shape, animate and give meaning to that space.One of the underlying references is the many streams that once flowed into False Creek. The extension of the pavement above the water�s edge is meant to suggest this disappearance underground, to stir memory and history, while at the same time reinforcing the sense of the above ground space as a visually continuous promenade and plaza.The pond�s dominant feature, a circular granite sculpture sited in the center of the pond, is elevated above the grade of the paving so that a viewer (pedestrian or resident) can fully comprehend its form: a form that might suggest a flower, a wheel, a saw blade....This sculpture also has a spatial function to gather and hold energy as well as operating as a source of water for the pond. The three granite rings embedded in the concrete plaza reiterate the central well of the sculpture from which the water flows and activate the plaza plane. This plane is further activated by the stainless steel rings that echo both the shape of the pond ends as well as the wave movement of the water.As the pedestrian moves into the space the sound of the falling water becomes more dominant till the extraneous sounds of the street are entirely absorbed offering respite and perhaps an opportunity for further engagement and reflection.",Boathouse Mews,Between Davie Street & Coopers Mews,Downtown,49.273857,-123.117552,Pedestrian mews connecting Pacific Blvd. to Marinaside Crescent,Fountain,Black granite,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=65,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=65&ImageId=50,,221,65 | |
| Vancouver,Coopers Mews,2002,In place,"Taking its source elements from the railway and cooperage that used to inhabit the area in the early twentieth century, the art work starts with a galvanized steel track that runs overhead and wanders through the tall buildings between Pacific Boulevard and the False Creek seawall west of the Cambie Street bridge. Cement and wood planks are interspersed with grass to create a walkway underneath the overhead track. The planks are reminiscent of a winding keyboard. The overhead track ends at the False Creek side with a row of 5 wooden barrels lined up like on an assembly line. Below the barrels is a board walk of 12 segments. Stepping on each board distinctly will cause steam to be forced through the barrels and out one side, creating a sound like a calliope on which you can play a tune. The sound harkens back to other times in relation to the contemporary sounds of the city which surround the piece.",,Coopers Mews,1033 Marinaside Crescent,Downtown,49.273631,-123.116637,Pedestrian mews to the west of Cambie Bridge,Sculpture,"Cement, barrels, steel, wood planks",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=66,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=66&ImageId=987,,140,66 | |
| Vancouver,Throne of Nezahualcoyotl,1978,In place,"Depicts the throne of the Aztec lord Prince Nezahualcoyotl. According to tradition, Nezahualcoyotl - poet, architect, legislator, and ruler of Tetzcoco from 1418 to 1463 - found inspiration in flowers. Hence, the setting of VanDusen Botanical Garden was deemed appropriate by the Government of Mexico, who donated the sculpture.",,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238255,-123.133832,East of Camelia collection,Sculpture,"Welded steel, paint",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=67,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=67&ImageId=898,Heide Dobler,129,67 | |
| Vancouver,Untitled,1964,In place,,,East Asiatic Bldg.,1201 West Pender Street,Downtown,49.288723,-123.123528,"Exterior, right of entrance",Sculpture,Marble,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=68,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=68&ImageId=53,,41,68 | |
| Vancouver,Untitled [East Asiatic Building],1964,In place,The photo is a detail of the sheet copper relief in lobby,,East Asiatic Building,1201 West Pender Street,Downtown,49.288723,-123.123528,"Interior, above entrance",Relief,Copper,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=69,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=69&ImageId=54,,264,69 | |
| Vancouver,Invisible Fountain,1974,In place,,,Daon Bldg.,1050 West Pender Street,Downtown,,,,Fountain,Plexiglass,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=70,,,119,70 | |
| Vancouver,Untitled (Lions),1969,In place,,"These lions were commissioned in 1914 for a business in Hartford, Connecticut. They were cast by E. Schulte Becham and originally installed in 1920. They were later sent to New York to be stored in 1962 and finally installed in Vancouver in 1969.-E.Godley,Public&Office Building Art in Greater Vancouver, and Jack Wassermann/Maurice Gibbons, Vancouver Sculpture, Beautiful BC, Fall 1983.",Royal General Insurance Bldg.,1155 West Pender Street,Downtown,49.288052,-123.121784,Sides of front steps,Sculpture,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=71,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=71&ImageId=55,,13,71 | |
| Vancouver,Canada Geese in Flight,1976,In place,,,Pender Place,700 West Pender Street,Downtown,49.284826,-123.115651,Between lobbies,Sculpture,fibreglass,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=72,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=72&ImageId=56,,31,72 | |
| Vancouver,Untitled,1953,Removed,"A concrete mural inset into the building above the main doors, the piece is made up of tiles with silhouettes of sea creatures and plant life.","""These natural forms are all part of the West Coast artist's source of material and also part of the layman's environment. The design is in two recessed levels, each three quarters of an inch deep. I drew each level on paper which was pasted on three-quarter inch plywood and cut out with a band saw. They were then assembled into forms. The forms were greased well and concrete was poured into them; the forms were then removed and each concrete piece put into place with iron and mortar.""",Vancouver Vocational Institute,250 West Pender Street,Downtown,49.281711,-123.110708,,Mural,Concrete,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=74,,,17,74 | |
| Vancouver,Continuity,1978,In place,,,Brock House,3975 Point Grey Rd.,West Point Grey,49.271352,-123.1912,Front lawn,Sculpture,"Bronze, cedar",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=75,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=75&ImageId=985,,86,75 | |
| Vancouver,Underwater Forms,1963,In place,,,Royal Bank,Robson & Granville Street,Downtown,,,,Sculpture,Copper,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=76,,,145,76 | |
| Vancouver,Bird of Spring,1979,In place,"A simplified bird form, the sculpture is a replica of a 14cm original from Cape Dorset, NWT.",,Robson Square,Robson & Hornby Street,Downtown,49.282472,-123.120716,"On stairs down to plaza from the Vancouver Art Gallery, Robson Street",Sculpture,Bronze,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=77,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=77&ImageId=852,Tamara Tosoff,34,77 | |
| Vancouver,Spring,1981,In place,A large red steel coil which appears to be a spring holding the upper level of Robson Square.,There was a juried competition funded by BC Building Corporation during the development of Robson Square.The piece was manufactured to the artist's specifications by Ebco Industries.,Robson Square (Robson & Hornby Street),,Downtown,49.282095,-123.121989,Plaza near Hornby entrance,Sculpture,Steel,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=78,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=78&ImageId=59,,77,78 | |
| Vancouver,Anchor,1986,In place,Near the west end of the pedestrian path along Spanish Banks is a stylized anchor with one point digging into the earth. It metaphorically marks the spot where Spanish explorer Don Jose Maria Narvaez dropped anchor in 1791. He was reportedly the first European to come into this harbour.,"Fuoss-Moore says that, ""The anchor is a symbol of safety and solid footing. Vancouver with its port is intimately related to this symbol both past, present and future."" (City Shapes catalogue, May 1986) The anchor was produced as part of the City Shapes Sculpture Symposium in 1986 to celebrate Vancouver's centennial.",Spanish Banks,Spanish Banks,West Point Grey,49.279179,-123.233646,"Along pathway, west end of beach",Sculpture,Reinforced concrete,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=79,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=79&ImageId=60,,39,79 | |
| Vancouver,Search,1975,In place,This figurative bronze sculpture is a finely detailed realistic depiction of a woman looking in her purse.,"Johnson begins with a small clay model to fashion the gesture and pose of a figure. Once the pose is established, the artist works with a live model to sculpt the face and the exact position and a nude figure is cast in plaster. The clothes are then sewn onto the cast figure. Resin is applied to stiffen all the fabrics. The piece is then cast in wax, refined, and a ceramic mold is made in preparation for casting in bronze. Bronze details are added after. (information from the artist's web site.)",Devonian Harbour Park,Denman & Georgia Street,Downtown,49.293036,-123.133879,"Devonian Harbour Park, N. end of Denman at Georgia St., behind bus stop",Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=80,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=80&ImageId=61,Barbara Cole,84,80 | |
| Vancouver,Killer Whale / Chief of the Undersea World,1984,In place,"The sculpture is set over a perfectly round 6.1 metre (20 feet) diameter reflecting pool. The placement pool was the gift of James and Isabelle Graham, Mary Margaret Young, and Joanne E. Barker.",,Vancouver Aquarium,Stanley Park,Stanley Park,49.300017,-123.130955,"Exterior, front entrance",Fountain,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=81,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=81&ImageId=62,,122,81 | |
| Vancouver,Queen Victoria Memorial Drinking Fountain,1905,In place,,,,Stanley Park,Stanley Park,49.297138,-123.134314,Facing entrance to Vancouver Rowing Club,Fountain,"Granite, bronze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=82,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=82&ImageId=63,,16,82 | |
| Vancouver,Robert Burns,1928,In place,"This bronze statue of Robbie Burns was cast from the original in his native town of Ayr, Scotland. It is designated a heritage monument.",,,Stanley Park,Stanley Park,49.297198,-123.134619,Georgia Street entrance across from the Rowing Club,Memorial,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=83,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=83&ImageId=64,,92,83 | |
| Vancouver,Lord Stanley,1960,In place,This memorial statue of Lord Stanley was erected to honour the dedication of Stanley Park.,"Major Matthews, Vancouver archivist, discovered a letter in 1950 that promised that a monument would be erected. The letter was dated 1889. The statue was erected in 1960.",,Stanley Park,Stanley Park,49.297258,-123.135223,Georgia Street entrance,Figure,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=84,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=84&ImageId=65,,97,84 | |
| Vancouver,Japanese-Canadian War Memorial,1920,In place,"This heritage monument is a round column with a light on top which sits on a round pedestal. This granite columnar monument was erected by the Japanese Association for Canadian Men of Japanese Descent to honour those who fought in W.W. I. On May 10, 1932, cherry trees, the Japanese emblem of peace, were planted around the Memorial.",,,Stanley Park,Stanley Park,49.301084,-123.132011,NW of Aquarium,Memorial,Granite,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=86,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=86&ImageId=67,,14,86 | |
| Vancouver,Harding Memorial Sculpture,1925,In place,"Two figures with shields and two eagles stand on a small plaza with a wall behind and three stairs in front. A relief of Harding's profile is in the centre of the wall. The piece commemorates Harding's 1923 visit to Vancouver, the first US president to visit Canada. He died on his return to the U.S.","A memorial commissioned by the Kiwanis Club to honour US President Harding who visited Vancouver in 1923 and died shortly after leaving here for California. The Club assessed 50 cents from each member across the continent and held an international competition which Marega won. (BC Historical News 8:22-26, June 1975)",,Stanley Park,Stanley Park,49.298277,-123.136105,Between Pavilion & Malkin Bowl,Memorial,"Granite, bronze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=87,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=87&ImageId=68,,98,87 | |
| Vancouver,Shakespeare Monument and Garden,1935,In place,,,,Stanley Park,Stanley Park,49.299971,-123.136238,East side of service yard buildings,Memorial,"Limestone, brick",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=88,,,154,88 | |
| Vancouver,Thunderbird House Post,1988,In place,"The house post is carved of red cedar with a Thunderbird at the top, a Killer Whale on the chest, and a Grizzly Bear holding a human being at the bottom. The current pole is a replica of a pair carved by Charles James in the early 1900s and owned by Chief Tsa-wee-nok of Kingcome Inlet. The top bird figure originally had wings. (from Totem Poles, Hilary Stewart, 1990)","In 1914 two posts were rented from Chief Tsa-wee-nok of Kingcome Inlet as part of the movie set for In the Land of the Head Hunters by Edward Curtis. The Art, Historical and Scientific Association of Vancouver bought them in 1927 for Stanley Park. When the first one decayed badly it was replaced by a fibreglas pole(situated near the miniature railway). The original was restored by James's granddaughter Ellen Neal in 1963 and is stored at the Vancouver Museum. In 1988 Tony Hunt carved a replica to replace the second one which is at Brockton Point.- from Hillary Stewart, Totem Poles, 1990, Douglas & McIntyre",Brockton Point,Stanley Park,Stanley Park,49.299188,-123.120776,"facing E., short totem on right",Totem,cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=89,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=89&ImageId=69,Maxime Cyr-Morton,470,89 | |
| Vancouver,Pacific Spiral,2003,In place,A large metal X sits on top of a circular pool. The X is scored and lined with slate channels that fill with water and spill onto the stones outside the pool. Water also flows down a spiral channel and falls inside the pool. The natural flow of the water works in relation to the geometric forms of the piece.,,Concord Pacific,1408 Pacific Boulevard,Downtown,49.272885,-123.126135,Corner of Homer and Pacific,Fountain,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=90,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=90&ImageId=70,,214,90 | |
| Vancouver,Chief Wa'kas Pole,1987,In place,The Wa'kas pole is a replica of an Alert Bay pole done by Yuxwayu as a memorial to Chief Wakius (or Wa'kas). The original was a house pole erected in 1893 with a ceremonial entrance through the Raven's mouth. The pole depicts a legend of 3 sons of a Nimpkish chief who outwit a mythical cannibal-at-the-north-end-of-the-world who had been stealing members of the tribe.,"The first pole was bought by the Art, Historical and Scientific Association of Vancouver and installed in Stanley Park in 1928. The original was moved to the Canadian Museum of Civilization for their Kwakwaka'wakw house. (Stewart, Totem Poles, 1990) According to an article in the Vancouver Sun, Oct 31, 1986, the thunderbird head from the top of the pole went missing from the Park Board service yard before it was shipped to Ottawa. Doug Cranmer participated in its restoration.",Brockton Point,Stanley Park,Stanley Park,49.299245,-123.120851,"Facing east, rear, second from left",Totem,cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=91,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=91&ImageId=879,Maxime Cyr-Morton,26,91 | |
| Vancouver,Sky Chief Pole,1989,In place,"The pole represents the Nuu-chah-nulth people: from the top, Sky Chief, Moon, Kingfisher, Humpback Whale with Thunderbird on its back. Lightning Snake with the head of a wolf is on either side of the Whale, with Wolf below. A man of knowledge is at the bottom.",,Brockton Point,Stanley Park,Stanley Park,49.299283,-123.120898,,Totem,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=92,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=92&ImageId=1042,Maxime Cyr-Morton,239;240,92 | |
| Vancouver,Chief Skedans Mortuary Pole,1964,In place,"A replica of a Haida mortuary pole originally raised in Skedans prior to 1878 and moved to Vancouver in 1936 for Vancouver's golden jubilee. This version by Bill Reid was carved on the site in Stanley Park in 1964 with the help of Don Yoemans and German carver Werner True. At the top of the pole is the Moon with a Thunderbird face, the a mountain goat with cloven hooves and a Grizzly Bear at the bottom which holds a Seal. (Stewart, Totem Poles, 1990)",,Brockton Point,Stanley Park,Stanley Park,49.299161,-123.120781,"Facing east, far right",Totem,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=93,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=93&ImageId=878,Maxime Cyr-Morton,122,93 | |
| Vancouver,Beaver Crest Pole,1987,In place,"The pole depicts the Tait family legend of the Eagle people and the Beaver crest. The larger figure at the top holds two small figures which depict Tait's sons Robert and Isaac who helped carve the pole. (Stewart, Totem Poles, 1990)",,Brockton Point,Stanley Park,Stanley Park,49.29924,-123.120902,"Facing east, rear, far left",Totem,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=94,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=94&ImageId=849,Maxime Cyr-Morton - 2013,238,94 | |
| Vancouver,Nhe-is-bik,1936,Removed,The pole derives from the Kwakwaka'wakw of River's Inlet. The 60' pole was carved in 1892 and moved to Vancouver in 1936.,,Brockton Point (Stanley Park),Stanley Park,Stanley Park,49.301106,-123.117,"Facing east, rear 3rd from left",Totem,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=95,,,130,95 | |
| Vancouver,Chehalis Cross,1906,In place,A heritage monument to the eight who died on the steam driven tug boat Chehalis in 1906.,,Brockton Point,Stanley Park,Stanley Park,49.299862,-123.118001,Left of road past lighthouse,Memorial,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=96,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=96&ImageId=75,,195,96 | |
| Vancouver,Girl in a Wetsuit,1972,In place,"A life size bronze statue of a woman in a wetsuit, with flippers on her feet and her mask pushed up on her forehead, sits on a large intertidal boulder just offshore of Stanley Park. In September of 1968, Douglas Brown, a Vancouver lawyer, talked to sculptor Elek Imredy about his desire to commission a sculpture inspired by the famous Copenhagen mermaid, which could be sited on the great granite boulder just off the northern shore of Stanley Park. Imredy proposed a life-size bronze sculpture of a scuba diver. On Brown's initiative, the Vancouver Harbour Improvement Society was formed with the intention of financing and facilitating a unique landmark for both Vancouverites and visitors to the city. They raised the money to produce the sculpture privately and Imredy was commissioned to craft the proposed work. The Vancouver Park Board gave permission to the society to place the sculpture on the rock. Because the boulder was often covered at high tide, a precast concrete ring was created and the rock was lifted by a floating crane and set on the ring about 100 feet from its original location. Imredy first took a mold of the top surface of the rock. In his studio, he made a replica of the rock and modeled the figure in clay. Imredy asked his young friend Debra Harrington to model, however the sculpture is not recognizably her image. ""When I couldn't get the model to hold her hand the way I wanted it... I held my left hand in front of a mirror, showing its opposite, and I modeled right one. Of course, I made it a bit nicer, with longer fingers."" A plaster of paris mold was made from the clay figure and the sculpture was cast in fibreglass. This fibreglass figure was flown to Rome where it was cast in bronze at Giovanni and Angelo Nicci's foundry. On June 9th, 1972, the sculpture was set in place by an electric crane reaching out from shore to the rock 8o feet away and fastened to the stone with stainless steel bolts. The next day the sculpture was ceremoniously unveiled. ""Girl in Wetsuit"" has become a landmark for visitors to Stanley Park and to boats that enter the harbour.","""I didn't believe we should have a copy of the mermaid (in Copenhagen harbour). She is rightfully a symbol of Copenhagen... I proposed to have a life-size scuba diver seated there. At that time scuba diving was getting quite popular here in Vancouver and, just as important, I didn't know of any similar sculpture anywhere in the world. It was a new idea� There was tremendous opposition and great controversy. I still don't know why.."" (quoted in The Sculpture of Elek Imredy by Terry Nobel (publisher, Vancouver, 1993) ""The sculpture (is) a symbolic figure of the future exploration of the continental shelf."" (information provided by the artist) ""She represents Vancouver's dependence on the sea and the necessity to use the sea for the benefit of all."" - Peggy Imredy",Great Granite Boulder,Stanley Park,Stanley Park,49.300579,-123.121984,"In water, past Brockton Point, N side of Stanley Park",Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=97,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=97&ImageId=76,,79,97 | |
| Vancouver,Empress of Japan,1960,In place,"A heritage monument, this is a fibreglas reproduction of the original figurehead which was installed in 1923 and is now in the Maritime Museum. It commemorates the Empress of Japan which sailed into Vancouver during 1891-1922.",The Empress of Japan sailed between Vancouver and the Orient between 1891 and 1922. The original figurehead was saved by the Vancouver Daily Province and presented to the Park Board in 1928. In 1960 the badly deteriorated original was replaced with a fibreglass original . The original is kept at the Vancouver Maritime Museum.,,Stanley Park,Stanley Park,49.299969,-123.117887,By pathway after Brockton Point,Artefact,Fibreglass cast,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=98,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=98&ImageId=998,,195,98 | |
| Vancouver,Lumberman's Arch,1952,In place,,,,Stanley Park,Stanley Park,49.30255,-123.130411,"Left of road, past Brockton Point",Sculpture,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=99,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=99&ImageId=78,,195,99 | |
| Vancouver,Thunderbird Dynasty Pole,1936,Removed,,"This pole was erected to commemorate the meeting of the Squamish people and Captain George Vancouver near the mouth of the Capilano River in June 1792. According to Terri Clark at the Parks office in 2006, ""..pole was taken down due to rot over 18 years ago and stored in SP yard where it was subsequently consumed by a shed fire - its ashes have returned to the soil.""",Prospect Point (Stanley Park),Stanley Park,Stanley Park,,,,Totem,cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=100,,,22,100 | |
| Vancouver,Untitled (Lions: pair),1939,In place,,"""Thank God I have work now. I am modeling a Lion for Vancouver's suspension bridge. I had much trouble to get the work. The engineer is from Montreal, and wanted the Lion to modeled in Montreal. But the president of the bridge committee, who is a long-standing friend of mine, and his wife a good friend of mamas, finally assigned the work to me. I would have preferred the Lions to be in bronze or stone - but it has to be cheap - so they will be done in concrete which annoys me, as I could otherwise have made both Lions from one model. However I have to content myself to get work at all."" - letter from Charles Marega dated August 1938, quoted in BC Historical News 8:22-26, June 1975",Lions Gate Bridge,Stanley Park,Stanley Park,49.311866,-123.141931,South end of Lions Gate Bridge,Sculpture,Concrete,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=101,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=101&ImageId=79,,98,101 | |
| Vancouver,Pauline Johnson Memorial,1922,In place,"This memorial cairn includes a bronze plaque on natural rock. It marks the resting place of Johnson's ashes. The poet had in fact specifically asked that no memorial be raised. (from E.Godley, Public & Office Building Art in Greater Vancouver, The Greater Vancouver Book)","Pauline Johnson was well known in her time for her poetry based in Indian legends.She was born in 1861, the granddaughter of a Mohawk chief. She died of breast cancer in 1913. (Vancouver Sun, April 7, 2001, H5)",Ferguson Point,Stanley Park,Stanley Park,49.301409,-123.156609,NE of the Teahouse Restaurant,Memorial,Stone,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=102,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=102&ImageId=80,,78,102 | |
| Vancouver,David Oppenheimer,1911,In place,"A Heritage Monument, this bronze bust commemmorates Vancouver's second mayor (1888-92).","In the fall of 1909 a committee was formed to build a memorial to David Oppenheimer, former Mayor of Vancouver. Oppenheimer was an entrepreneur from Germany and served four 1-year terms as Mayor. He donated land for city parks and for the Rogers sugar refinery. The memorial committee planned to hire Augustus St. Gaudens to build a memorial gate to connect Stanley Park to the City in honour of Oppenheimer but they found out St. Gaudens was dead. Charles Marega was new to Vancouver and had his first exhibition here with the Studio Club in October of 1909, showing small wax figures. Art critic Felix Penne (Francis Bursill) wrote in Vancouver World, ""These have the right feeling and directness of life and there is every indication the sculptor is capable of broader and more ambitious work - which I shall be glad to see. Soon Vancouver will not have to propose dead sculptors to design memorials - there are and will be living and capable sculptors nearer home than on the other bank of the Styx.."" The original budget for the project was $50,000, but by the time Marega was commissioned in 1910, the project had become a bust for $4500, of which Marega was paid $3600 and the balance paid for an elaborate unveiling ceremony. (BC Historical News 8:22-26, June 1975)",Stanley Park,Beach Avenue entrance to Stanley Park,Stanley Park,49.290439,-123.146003,Opposite the Parks Board Office,Memorial,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=103,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=103&ImageId=993,Barbara Cole,98,103 | |
| Vancouver,Untitled,1970,In place,,,Our Lady of Fatima Church,1457 E.13th Avenue,Kensington-Cedar Cottage,49.258796,-123.074643,"Exterior, right of front doors",Sculpture,Aluminum screen,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=104,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=104&ImageId=82,,79,104 | |
| Vancouver,Wind Blown Mounds,1975,In place,,,Granville Gardens,1616 West 13th Avenue (at Fir),Fairview,49.25976,-123.141344,N.E. of the building,Sculpture,Fiberglass,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=105,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=105&ImageId=83,,73,105 | |
| Vancouver,Knife Edge Two Piece,1969,In place,The two large abstract forms are cast in bronze.,,Queen Elizabeth Park,33rd & Cambie Street,Downtown,49.241656,-123.11338,Centre of square,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=106,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=106&ImageId=84,,108,106 | |
| Vancouver,Gates,1986,In place,The piece is a silhouette of the mountain skyline with the city buildings superimposed on it.,The sculpture was produced as part of the City Shapes Sculpture Symposium in 1986 for Vancouver's centennial.,Kensington Park,Knight & 33rd Avenue,Kensington-Cedar Cottage,49.237432,-123.076377,S.W. corner of park,Sculpture,"Metal, black paint",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=107,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=107&ImageId=85,,131,107 | |
| Vancouver,The Crab,1968,In place,"The 20' high, stainless steel fountain sculpture is made of many separate parts in the shape of a crab. It is sited in front of the Vancouver Museum/Planetarium.","The sculpture was chosen over two other entries in a contest held by the women's sub-committee of the Vancouver Centennial Committee. $27000 for the sculpture was raised through luncheons and fashion shows and a $20000 grant was received from the Centennial Committee. The sculpture cost $20000 and the fountain infrastructure cost $24000. The crab represents the First Nations legend of the crab as the guardian of the harbour and was also the zodiac sign at the time of the Canadian Centennial. The pieces of the sculpture were welded together by Gus Lidberg over a three-month period. The sculpture was barged down False Creek from Ellett Copper and Brass Co on W.2nd where it was built. (M.Jesen, Vancouver Sun, Oct 3 1968)",Vanier Park,1100 Chestnut Street,Kitsilano,49.276076,-123.144503,Front entrance of Vancouver Museum/HR MacMillan Space Centre,Sculpture,Stainless steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=108,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=108&ImageId=86,Maxime Cyr-Morton,264,108 | |
| Vancouver,Discus Thrower,1969,In place,,,Vanier Park,1100 Chestnut Street,Kitsilano,49.276484,-123.143789,N.E. side of Centennial Museum,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=109,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=109&ImageId=87,,195,109 | |
| Vancouver,Gate to the Northwest Passage,1980,In place,"The large steel sculpture is set on a 26' x 28' plaza of paving stones. The sculpture consists of a 15' square of corten steel. Each side of the square is 15' long by 3' high by 3' wide. The bottom side appears to be cut apart in the middle and the two parts wrenched apart to form a gate or arch. The corten steel is designed so that the surface rust forms a protective coating. There was some adverse reaction from Kits Point residents when the work was installed. Michael Duncan, Chief Curator of the Maritime Museum at the time, called it ""a bloody monstrosity."" An article in the Globe and Mail teased that it could be ""the world's largest paper clip."" The article (Mar3, 1981) also quoted from a city planning study which read: ""Vancouver's peerless natural setting is a permanent gift from nature. So massive and close are the North Shore mountains that no amount of human folly can ever obliterate them."" But the controversy soon abated and the piece has weathered time and opinion. It was vandalized on July 4th, 1988, when a field of white dots were painted on its surfaces -probably as an art ""intervention"". The dots were soon removed. Since then, the ""Gate to the Northwest Passage"" has become a familiar landmark, an important place marker which stands guard at the entrance to False Creek. The area around the site is a favorite for kite flyers.","The parameters for the juried competition operated by Parks Canada were to create ""a monument in Vanier Park to commemorate Captain George Vancouver,"" the first European to sail into Burrard Inlet, in 1792. The competition guidelines (1979) specified a sculpture made of permanent materials, ""not wood,"" and that it should not be in the likeness of a man. The form of the work takes off from two 18th century navigational instruments: the plane table and David's quadrant. Chung Hung said that, ""The objective of the sculpture is to create a symbolic image with definite visual expression, awakening an awareness in Captain George Vancouver's contribution to the world, his remarkable and meticulous surveys which included the north Pacific coast."" The piece frames English Bay from the north view and the Centennial Museum from the south view. The opportunity for a sculpture was offered to the city by Hugh Faulkner, Minister of Indian and Northern Affairs at the time. The project was recommended by the Historic Sites and Monuments Board of Canada. A five-member jury headed by former parks superintendent Stuart Lefeaux selected Chung Hung's proposal from a local competition and the Parks Board approved the choice. Gordon Smith, a member of the selection panel, said that ""If people think Hung's sculpture is a poor catch, they should have seen the ones that got away."" It was originally to be sited at Ferguson Point in Stanley Park.",Vanier Park,1100 Chestnut Street,Kitsilano,49.278127,-123.144964,"N.E. of Centennial Museum, along waterfront",Sculpture,Corten steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=110,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=110&ImageId=88,Sylvia Grace Borda,77,110 | |
| Vancouver,Clouds,1991,In place,"This sky-scraper's head is always in the clouds, in this instance, cut-out shapes by artist Chung Hung.",Architect Bing Thom commissioned this work for the building. The work was funded by the Pacific Continental Investment Company.,,983 Howe Street,Downtown,49.280618,-123.123447,Balcony at top of building,Sculpture,,university,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=113,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=113&ImageId=981,Barbara Cole,77,113 | |
| Vancouver,Mosaic Bikeway,2000,In place,"A series of decorative mosaics line the bike route on the sidewalk and around traffic circles predominantly along Woodland Street from Adanac to Trout Lake. The colourful mosaics are in circular and elongated shapes and depict maps, creatures, and abstract designs.",Community members participated in design and construction. Workshops were carried out at Trout Lake Community Centre and Templeton Secondary School.,Multiple,Woodland Street,Grandview-Woodland,,,Along the bike route between 14th Avenue & Adanac,Mosaic,Ceramic mosaic,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=114,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=114&ImageId=90,,6;270,114 | |
| Vancouver,Thunderbird,1948,In place,"""The pole tells of the five tests of Tsikumin, chief shaman of the Red Cedar Bark Dance and founder of Qui-Owa Sutinuk, ancestors of the carver. The Red Cedar Bark Dance was performed in Kitsilano Park during Vancouver's Jubilee in 1936."" -from UBC Archives - Campus Sculptures",The totem was purchased by the Alma Mater Society and previously installed at Brock Hall.,Student Union Building,,Stanley Park,49.268544,-123.250477,Near the north parkade,Totem,Cedar,University of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=128,,,111,128 | |
| Vancouver,Primavera,1987,In place,A large colourful acrylic on plywood mural adorns the lobby of the Bloedel Building. Butterflies are one of the signature forms of BC artist Jack Shadbolt and this is a particularly exuberant grouping bounded by two large butterflies on each end.,"What I wished to create was a great presence over the information desk - something expansive and jubilant. While I wished to contrast with the building's weight and greyness, and to amplify the theme of living growth represented in the tree plantings in the west half of the lobby, I also wanted the mural to be more than an appropriate decorative design. I wanted some image capable of appealing to the imagination of those who would use the lobby every day so that they would not tire of it and therefore become oblivious to it. What better than a great "" primavera "" for Spring to cheer the spirit? And what more impressive than a large sculptural relief in full colour? And what more poetically exuberant as a permanent symbol than two splendid butterflies breaking from the white cocoon of Spring - the one on the left an abstraction of pieces coming together to form the insect and the one on the right a full-fledged realization? It is hoped that once the mind is focussed in this direction a certain transformational process is suggested and with it certain mythological overtones might unfold. The cocoon may then become the violet and white mythic egg from which Spring is born. The symbolic bird and flowers now become the guardians of this ritual birth of new life, this PRIMAVERA.",MacMillan Bloedel Bldg.,1075 West Georgia Street,Downtown,49.285715,-123.122389,"Interior, front lobby, in front of elevators",Painting,"Wood, paint on plywood",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=136,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=136&ImageId=105,,132;233;234,136 | |
| Vancouver,"Themis, Goddess of Justice",1982,In place,"The Goddess of Justice represents justice in the mythical character of Diana, a woman of noble baring in a flowing gown holding up the scales of justice. Though Diana traditionally held a sword in her other hand, the artist, who was against capital punishment, replaced the sword with a scroll. The sculpture is cast in bronze using the lost-wax method.",,Law Courts,"800 Smithe Street, 4th floor",Downtown,49.280592,-123.124017,"Interior, 4th floor, under glass roof",Figure,Bronze,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=137,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=137&ImageId=106,,241,137 | |
| Vancouver,Untitled (crane),1967,In place,This piece is the housing for a crane that used to work on the site. It stands as a reminder of the industrial origins of Granville Island.,,Granville Island,Johnson Street,Fairview,49.269947,-123.131253,Parking lot east of Emily Carr College of Art & Design,Artefact,"Wood, metal",Government of Canada,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=138,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=138&ImageId=107,,528,138 | |
| Vancouver,Al of the Gispudwada (Black Bear Crest of the Killer Whale Tribe),1976,In place,"This Gitksan pole of red cedar was commissioned by the VanDusen Botanical Gardens Association. It incorporates the following figures and legend: human form at the top - a hunter who went into the mountains, was captured by a black bear, and assumed the bear form; human head in the top figure's stomach - a friendly villager who assisted ""Bear Man"" to resume his human form when everyone else abandoned him; the bear figure at bottom represents ""Bear Man"" before being turned back into human form; the human head in bear's stomach indicates that bear figure is ""Bear Man"" (from VanDusen Garden website)",,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239068,-123.134604,Near entrance,Totem,red cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=140,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=140&ImageId=109,Heide Dobler,138,140 | |
| Vancouver,The Mosquito People,1986,In place,"The Legend of the Mosquito People is of the Gitksan Tribe. The pole incorporates the following figures: Baboudina, Chief of the Mosquitoes; young woman with a baby; young husband.",,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.23847,-123.129426,"Near entrance, on path from the parking lot to the Entrance Pavilion",Totem,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=141,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=141&ImageId=889,Heide Dobler,109;162,141 | |
| Vancouver,Pacific Moth,1972,In place,,,"Bentall Bldg., Bank of Montreal",595 Burrard Street,Downtown,49.28613,-123.11973,"Interior, opposite front entrance",Tapestry,Wool,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=142,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=142&ImageId=111,,136,142 | |
| Vancouver,Resurgence,1977,Removed,A dark and highly detailed cast aluminum wall relief in which the central figure stands for human inspiration and creativity.,,Oceanic Plaza Building (Downtown),1066 West Hastings Street (Downtown),Downtown,49.287363,-123.118872,"Interior, front lobby",Mural,Aluminum,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=143,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=143&ImageId=112,Barbara Cole,18,143 | |
| Vancouver,"Broken Column, (Pendulum)",1987,In place,"Located in the lobby of the HSBC Building at Georgia and Hornby, ""The Pendulum"" is suspended from the glass ceiling of the atrium. The pendulum swings slowly through the space until it aligns at one end of its arc with an angled, stationary plinth.","Coincidentally, the pendulum's movement ""is sympathetic with the alpha waves our brains produce when we're resting with our eyes closed."" -Alan Storey in ""Public Art Success Storey"" by Robin Laurence, Georgia Straight, June 20-27, 2002",HSBC Building,885 West Georgia Street,Downtown,,,"Interior, main lobby",Sculpture,"Aluminum, electric motor",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=144,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=144&ImageId=958,,140,144 | |
| Vancouver,Untitled (bronze relief),1968,Removed,,,Bank of BC (Downtown),900 West Hastings Street (Downtown),Downtown,49.286461,-123.116279,"Interior, front entrance",Relief,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=145,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=145&ImageId=114,,101,145 | |
| Vancouver,The Treasures,1985,In place,,,The Grosvenor,1040 West Georgia Street,Downtown,49.285108,-123.122893,"Interior, to left of doors in lobby",Tapestry,Wool ,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=146,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=146&ImageId=115,,136,146 | |
| Vancouver,Clouds in Mauve,1984,In place,,,Park Place,666 Burrard Street,Downtown,49.285067,-123.119358,"Interior, lobby, right of front entrance",Tapestry,"Plexiglas, fibre: nylon (?)",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=147,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=147&ImageId=116,,136,147 | |
| Vancouver,Vancouver Vertical,1981,In place,The large textile composition made up of a series of woven vertical strips is an image of the Vancouver waterfront and its reflection.,,Daon Building,999 West Hastings Street,Downtown,49.287198,-123.116037,"Interior, front lobby",Tapestry,"Silk, mohair",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=148,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=148&ImageId=117,,136,148 | |
| Vancouver,Untitled (totem),1982,Removed,"Internationally renowned artist Richard Hunt carved and erected the pole, with the assistance of Tim Paul. The top figure is a Kulus, or immature Thunderbird, the main crest of Richard Hunt. The middle figure is a bear holding a wild woman, and at the bottom is a sea monster. The log is western red cedar, approximately 27 feet long and a wing span of 10 feet, and is carved in traditional Kwaguilth style.","The Kwaguilth totem pole that once stood at the front of the CBC/Radio-Canada building at 700 Hamilton Street has been returned to Fort Rupert in the traditional territory of the Kwaguilth people. Under the direction of the artist, Richard Hunt, the pole was lowered on Monday, June 26, 2006. This initiative was part of the Building Redevelopment Project at CBC/Radio-Canada in Vancouver.The totem was originally commissioned by the Royal British Columbia Museum and CBC/Radio-Canada in 1982 and stood in front of the CBC/Radio-Canada Production Centre for almost 25 years. �It is a great gift from CBC/Radio-Canada and wonderful to know that this totem pole will be returning to Fort Rupert,� says Richard Hunt. - information from press release, June 19, 2006, CBC/Radio-Canada",CBC Building (Downtown),700 Hamilton Street (Downtown),Downtown,49.279572,-123.1142,In garden left of stairs at main entrance,Totem,Red cedar,Prov. of B.C.,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=149,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=149&ImageId=118,,237;240,149 | |
| Vancouver,B.C. Beginning,1958,In place,This 13 'x 44' mural done in ceramic tile is a complex of geometric form and line in earthy colours. The forms are characteristic of work by this artist who also designed the tilework on the old BC Hydro Building (1957) now The Electra Suites on Burrard.,,Canadian Imperial Bank of Commerce,586 Granville Street,Downtown,49.28351,-123.11602,"Interior, far upper wall opposite front entrance",Mosaic,Tile,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=150,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=150&ImageId=119,,269,150 | |
| Vancouver,Major James Skitt Matthews (1878 - 1970),1986,In place,The bronze bust commemorates Major Matthews who was the first city archivist. It was donated to the city by Mrs. Teresa Galloway.,,"Vancouver City Archives, Vanier Park",1150 Chestnut Street,Kitsilano,49.275936,-123.143107,"Interior, front lobby. to the left",Figure,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=151,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=151&ImageId=120,,79,151 | |
| Vancouver,Untitled,1987,In place,,,The Admiralty,1600 Howe Street,Downtown,49.273811,-123.132598,"Interior, left of entrance, above lobby",Totem,Ceramic tile,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=152,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=152&ImageId=121,,106,152 | |
| Vancouver,Sea of Forking Paths,1985,In place,,,Pagebrook Hotel,1234 Hornby Street,Downtown,49.277913,-123.128365,"Interior, main lobby, right of elevators",Painting,"Enamel oil paint, tar, on canvas",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=153,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=153&ImageId=122,,124,153 | |
| Vancouver,Untitled (Postal Station D),1967,In place,"The artist created a concrete frieze of an abstract design, 95' long x 5' high.",,Postal Station D,2300 Pine Street,Kitsilano,49.264775,-123.143186,"Exterior, NE corner, above entrance",Relief,Concrete,Government of Canada,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=154,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=154&ImageId=123,,264,154 | |
| Vancouver,Fisherman (Hauling in the Net),1976,In place,"This fisherman, modeled in clay and then cast in bronze, stuggles to pull in a non-existing net heavy with imaginary fish from the pond beside which he is situated.",,VanDusen Botanical Garden, 5251 Oak Street,Shaughnessy,49.239145,-123.129578,"Beside upper lake, N.E. of Fragance Garden",Figure,bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=155,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=155&ImageId=771,Heide Dobler,244,155 | |
| Vancouver,Puttino (Boy with Dolphin),1980,In place,A reproduction of a fifteenth century sculpture by Verrochio which stands in the Palazzo Vecchio coutyard in Florence.,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238533,-123.130023,Children's garden,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=157,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=157&ImageId=891,Heide Dobler,243,157 | |
| Vancouver,Jubilee Fountain,1936,In place,This fountain has a Heritage Monument designation. It was installed to celebrate Vancouver's 50th birthday - the Golden Jubilee - in 1936.,,Lost Lagoon,Stanley Park,Stanley Park,49.295666,-123.138349,NE corner of Lost Lagoon,Memorial,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=158,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=158&ImageId=127,,227,158 | |
| Vancouver,Christopher Columbus,1986,In place,"A commemorative statue that represents Christopher Columbus as a boy, it was originally installed in a small square at Clark Street and 5th Avenue but now resides in Hastings Park. The statue was erected in memory of the Honourable Angelo E. Branca, Q.C., October 11, 1986.",,Hastings Park,,Hastings-Sunrise,49.284136,-123.042774,,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=159,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=159&ImageId=128,Barbara Cole,195,159 | |
| Vancouver,Harry Jerome,1986,In place,,"This bronze figure commemorates athlete Harry Jerome's career as a runner. Jerome was born in Prince Albert, Saskatchewan, in 1940. By age 18 he became the first man to hold the record in both the 100 yard and the 100 metre runs. In the late 1950s and early 1960s he and his sister and their friend Paul Winn were the only black athletes in track in the Canadian National Championships. He ran in three Olympic competitions. In the 1960 Rome Olympics he collapsed on the track with a severely torn hamstring and was labeled a ""quitter"" by the press. He set another world record in 1962 but later had another fall when his left quadricep muscle group was completely severed. After surgery and recovery he went on to win the Bronze medal in the 100 metre race at the Tokyo Olympics. Before his retirement in 1968 at 28, he established six world records. He was named BC's Athlete of the Century. Afterwards he created manuals and sports programs for young people. He received the Order of Canada in 1972 and died suddenly at age 42 in 1982.",Brockton Oval,Stanley Park,Stanley Park,49.298222,-123.119053,,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=162,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=162&ImageId=131,,241,162 | |
| Vancouver,Joe Fortes Drinking Fountain,1927,In place,"A heritage monument, this granite water fountain has a carved text and inset bronze relief plaque that commemorates the first lifeguard at this beach.","Joe Fortes was born in Barbados and jumped ship to stay in Vancouver in 1885. He made it his mission to teach people to swim and taught hundreds of children and adults.According to the Vancouver Sun (April 7, 2001, H4) Fortes owned only one book: The Imitation of Christ by Thomas a Kempis. His funeral in 1922 was the biggest in Vancouver history.",Alexandra Park,1600 block of Beach Avenue,West End,49.285563,-123.142386,"South side of Alexander Park, facing Beach Avenue between Bidwell and Denman Street",Memorial,"Bronze, granite",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=163,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=163&ImageId=132,Barbara Cole,98,163 | |
| Vancouver,Marker of Change,1997,In place,"The monument consists of a 100' diameter circle of 14 pink granite benches each 5.5' long with a slight bowl in the top. Each bench is inscribed with the name of one of the 14 women killed by a gunman on December 6th, 1989, at the l'Ecole Polytechnique, University of Montreal. The benches are about the length and width of a woman's body and the depression in the center of each bench catches rain water, a reference to tears. A 98' diameter circle outside the benches is set w/ 500 7�"" square tiles with the names of donors.The circle is situated close to the center of the park and makes reference to ancient stone circles. The space inside the circle is slightly domed and covered with grass. An alter-like podium stands just outside the circles and bears the name of the piece and an inscription. Over time, Marker of Change has quietly asserted itself into the consciousness of the community and has become a site for individual reflection and meditation as well as a place of discovery."," It took nearly eight years for this monument to come into being. A committee was formed in conjunction with Capilano College and a subsequent national competition drew 98 entries. Toronto artist Beth Alber won with the design incorporating 14 pink granite benches in a circle. It stands as a reminder of violence against women in society. The competition policies state that, ""The Women's Monument is conceived as a rational monument to be located in Vancouver, BC, dedicated to all women who have been murdered by men, and naming the 14 women killed in Montreal on Dec 6,1989. It will provide a focus for healing and a tangible symbol of remembrance."" Beth Alber's artist proposal states, ""The circle, the symbol used by women for centuries to represent a continuum, in a non-hierarchical way, is one of the major elements for this Women's Monument. It is a symbol of women's spirit and is associated with the idea of a protected or consecrated space."" During the course of the project, considerable controversy was stirred up by the wording of the inscription which is dedicated to ""all women who have been murdered by men"". Many people felt this inscription was too political. Some were critical about the eventual cost of the monument, approximately $500,000, which they felt could have been put to better purpose. Many felt that the monument was too specific and was inappropriately sited in a public place, and that public money shouldn't be used to commemorate what was construed to be a private grief. But despite the obstacles, ""Marker of Change"" was unveiled in Thornton Park on December 6th, 1997 exactly eight years after the 14 women were killed.",Thornton Park,Main Street & Terminal,Strathcona,49.27401,-123.099,Central area in front of the bus terminal,Site Work,Pink granite,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=165,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=165&ImageId=134,Barbara Cole,212,165 | |
| Vancouver,Caduceus,1960,In place,,"""To my mind this is more a logo than a sculpture"". G.N.",Heather Medical Bldg.,720 West Broadway,Fairview,49.263019,-123.120342,"Exterior, above entrance",Relief,aluminum,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=166,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=166&ImageId=135,,264,166 | |
| Vancouver,Untitled,1980,In place,,,Broadway Plaza,601 West Broadway,Fairview,49.262779,-123.090612,,Fountain,Concrete,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=167,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=167&ImageId=136,,30,167 | |
| Vancouver,Whaling Wall VIII,1985,Removed,The large mural covers the side of the building in blues and greys and features a pod of Orca Whales on the northern BC coast.,The piece honours the Sea Shepard Society and was commissioned to aid in the education and protection of endangered animals.,Wyland Bldg. (Downtown),1190 Melville Street (Downtown),Downtown,49.287533,-123.124284,Exterior east wall ,Mural,Paint on concrete,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=168,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=168&ImageId=137,,216,168 | |
| Vancouver,Girl Waiting for a Bus,1962,In place,"Apt's first sculpture, it was offered for sale to the Park Board which declined. It was purchased privately for Parkview Towers in 1962. In 1967 it was smashed by vandals but later repaired.",,Parkview Towers,Burrard & Cornwall Street,Kitsilano,,,Pathway SE of building,Sculpture,"Concrete, painted white",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=169,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=169&ImageId=138,,9,169 | |
| Vancouver,The Builders,1986,In place,"A black granite sculpture made of three blocks. It is the artist's impression of a person in prayer using simple, strong forms.","""The sculpture is a tribute to the immigrants who settled in Canada."" It was carved for the City Shapes Sculpture Symposium for Vancouver's centennial in 1986.",Discovery Park,Burrard & Dunsmuir Street,Downtown,49.285633,-123.120121,,Sculpture,Black Quebec granite,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=170,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=170&ImageId=139,Tamara Tosoff - City of Vancouver,102,170 | |
| Vancouver,Vessel,1986,In place,The sculpture is made of abstract geometric forms and constructed to suggest a ship. It sits on the grass outside the downtown skytrain station.,,Discovery Park,Burrard & Dunsmuir Street,Downtown,49.285603,-123.120043,Right of escalators,Sculpture,Granite,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=171,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=171&ImageId=1110,Tamara Tosoff,152,171 | |
| Vancouver,Inukshuk,1986,In place,"Built of stacked granite blocks in a human form, Inukshuks are symbols of welcome in the north. This one weighs 31,500 kg. It is built of gigantic rocks and stands 6 meters high.","The welcoming figure was made on the Inuit model for the NWT pavillion designed by Bing Thom and ""shaped like a five-story igloo"" at Expo 86. The figure was sited at English Bay after the fair. The stones were brought in from a quarry in the Fraser Valley and then shaped and stacked by crane and pinned together with rebar. Inukshuks in the north are usually much smaller and the rocks are balanced on each other. They act as sign posts or distance markers that can be seen on the flat horizon. Artist Kanak said, ""By a lake an Inukshuk means lots of fish."" The figure is a ""reminder of the ingenuity of my people in addressing transportation and communications challenges prior to the introduction of modern technology."" (sources: M.Farrow, V.Sun, April 24, 1985; V.Province, May 5, 1985)",English Bay,Bidwell and shoreline walk,West End,49.284323,-123.143704,"Shoreline walk, foot of Bidwell, E. of bathhouse",Sculpture,Granite boulders,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=172,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=172&ImageId=141,Barbara Cole,211,172 | |
| Vancouver,Fountain of the Pioneers,1969,In place,Water splashes down two levels of this abstract rounded form and into the pool below. The sculpture is the centre piece of the long rectangular pool in front of the Bentall towers.,"""..my fountain sculptures are an attempt to unify water--the life force of the universe that flows in an elusive cyclical course throughout eternity--with an immutable metal sculpture.""",Bentall Bldg.,500 Burrard Street,Downtown,49.286242,-123.11782,Front entrance of main tower,Fountain,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=173,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=173&ImageId=142,,150,173 | |
| Vancouver,Untitled (Shanghai lions),1995,In place,a pair of carved granite lions,A gift from the Port of Shanghai to the Port of Vancouver in recognition of their sisterhood relationship. The lions are traditionally placed at an important gateway to provide peace and prosperity.,North Main Street overpass to Port Authority,,Downtown,49.284804,-123.099243,,Sculpture,Granite,Government of Canada,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=174,,,195,174 | |
| Vancouver,Symbols of the Cuneiforms,1960,In place,This artwork is a delicate metal relief with plexiglas inserts. The white sections are lighted at night. It is mounted on the exterior northwest corner of the building at Burrard and Robson (formerly the Vancouver Public Library). The piece was saved when the building was renovated from the old library.,,,750 Burrard Street,Downtown,49.283618,-123.12202,"Exterior, NW corner facing Burrard",Sculpture,"Metal, plexiglass",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=175,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=175&ImageId=143,,90;144;145,175 | |
| Vancouver,Origin & Evolution of the Alphabet,1956,Removed,,,Vancouver Public Library (Downtown),750 Burrard Street (Downtown),Downtown,49.283355,-123.122071,"Interior, main entrance",Mosaic,Glass mosaic,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=176,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=176&ImageId=144,,144;145,176 | |
| Vancouver,Centennial Rocket,1986,In place,"A 12-foot-long stylized rocket ship made of bronze and stainless steel sits on top of an 11-foot-high stainless steel base. The design of the rocket ship looks like a 1950s Hollywood movie space ship. The design was originally created in 1936 for the Sheet Metal Workers Local 280 float for the Pacific National Exhibition Jubilee Parade on the occasion of the City of Vancouver's 50th birthday. It was designed by Lew Parry and made into a sculpture, built by Neon Products, which was sited at the first Vancouver Air Terminal from 1939 to 1972 when it was scrapped because of rust. In 1985 the Vancouver Transportation Club and the Sheet Metal Workers Union 280 decided to build a replica to celebrate Vancouver's 100th birthday. They located Lew Parry and he still had the original plans. This time the rocketship was built from more durable materials by Terminal Sheet Metal and the Local 280 metal workers. The Rocket was exhibited at Expo 86 and then donated to the city. It was moved by helicopter to it's current site. A Centennial Time Capsule is housed in the base of the rocket, scheduled to be opened 50 years from 1986. It includes items such as an Expo 86 passport with stamps of all the pavilions and recorded messages from local celebrities and many other things.The City accepted the Centennial Rocket and a site was found for it in the small plaza at the SW end of the Cambie Street bridge. -information from the website of SMW280","1985 version: ""Presented to the citizens of Vancouver, this rocket is to commemorate the Centennial and the celebration of Expo 86 World's Exposition. This rocket is a symbol of the role played by craftsmanship and transportation in the growth of Vancouver."" (from the plaque on the east side of the base)",Cambie Street Plaza,Cambie Street,Fairview,49.266071,-123.115347,"South end of Cambie St. Bridge, W. side of bridge entrance",Sculpture,stainless steel & bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=178,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=178&ImageId=1178,Lilli Wong,115,178 | |
| Vancouver,Pacific Gateway 100,1987,In place,landscape,"""..an apotheosis of Vancouver in its centennial year...the series [of which this is # 100) has dealt with the Pacific, i.e. peaceful gateway...not in geographic terms but as a symbol of transition from the here and now to the infinity or interior space."" Van Sun, 01.28..87",Queen Elizabeth Theatre,Hamilton & Georgia Street,Downtown,49.280453,-123.112827,"Interior, main floor, W. lobby",Painting,"Wood, canvas, paint",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=179,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=179&ImageId=146,,87,179 | |
| Vancouver,The Jade Canoe,1996,In place,"The Jade Canoe is the second casting from the Spirit of Haida Gwai which is located at the Canadian Embassy in Washington, DC. It is a ""spirit canoe"" containing 13 figures in the Haida tradition including the Raven and other favorites of Reid's.","The sculpture at the Vancouver Airport is a recasting of the piece originally commissioned for the Canadian Embassy in Washington, DC",Vancouver Intl. Airport,Richmond,Downtown,49.195243,-123.177742,International departures area,Sculpture,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=181,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=181&ImageId=147,Ulli Steltzer,122,181 | |
| Vancouver,The Miracle Mile,1967,In place,,,Pacific National Exhibition Grounds,3100 E. Hastings Street,Hastings-Sunrise,49.281365,-123.043716,Corner of Renfrew,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=182,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=182&ImageId=845,Barbara Cole,241,182 | |
| Vancouver,Untitled (Fisherman's Union Building),1968,In place,,,Fisherman's Credit Union,803 East Hastings Street,Strathcona,49.281382,-123.08681,"Exterior, N, S, & W. sides of bldg.",Relief,Concrete ,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=183,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=183&ImageId=149,,32,183 | |
| Vancouver,Untitled (Large Painted Mural),1957,In place,"This large painted mural by Orville Fisher was designated as protected heritage property by the CIty of Vancouver on September 18, 2018.",,Main Post Office,349 Homer Street,Downtown,49.281357,-123.113646,"Interior, main lobby",Mural,Paint,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=185,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=185&ImageId=151,,36,185 | |
| Vancouver,Untitled,1986,Removed,A structure of large cedar logs is inspired by Japanese architecture. A large black rock (that the artist calls a natural sculpture) sits in the centre of the work.," The rock was imported from Cortes Island, the artist's home. The artist said, ""I like the tricks of handling it, the blocks and tackle and the jacks. A sculptor likes the balance."" The work was inspired by the natural beach landscape, ""I saw these big timbers there rubbing, the rock and the beams together. I was more constructive, but on the beach is nothing like this, is absolute sculpture..sometimes only for one day, the next, the tide took it away and destroyed it already.""(V.Sun, June 21, 1986)",Harbour Front Park,Main Street (north end),Strathcona,,,West end of park,Sculpture,"Red cedar, boulder",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=187,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=187&ImageId=153,,137,187 | |
| Vancouver,Horizons,1970,In place,Three geometric hard-edge forms of corten steel reach away from each other to narrow points. The sculpture weighs 7000 lbs. The surface weathers to a dark blue.,"A private commission by F. Cameron Wilkinson to commemorate the 60th anniversary of the Wilkinson Company, a steel and metals distribution and procesing firm. The city planning department originally denied it a permit on the grounds that it viiolated a zoning bylaw forbidding structures in landscaped setbacks of industrial sites. The company appealed the ruling and won.",Wilkinson Company,888 S.E. Marine Drive,Sunset,49.210433,-123.087875,Lawn in front of bldg.,Sculpture,Corten steel,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=188,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=188&ImageId=154,,41,188 | |
| Vancouver,Untitled,1962,In place,,,Corpus Christi Church,6350 Nanaimo Street,Victoria-Fraserview,49.226406,-123.057584,"Exterior, above entrance",Sculpture,Bronze,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=189,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=189&ImageId=155,,241,189 | |
| Vancouver,Developing Form,1975,In place,A square marble block with rounded organic forms emerging from top.,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239068,-123.134604,North of Mountain Ash,Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=190,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=190&ImageId=892,Heide Dobler,121,190 | |
| Vancouver,Meta Morphosis,1975,In place,abstract ovoid form,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239702,-123.132513,South of Mountain Ash,Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=191,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=191&ImageId=896,Heide Dobler,82,191 | |
| Vancouver,Horizontal Column,1975,In place,Fluted column with curl,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239068,-123.134604,West of display gardens,Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=192,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=192&ImageId=887,Heide Dobler,88;171,192 | |
| Vancouver,For the Botanical Garden,1975,In place,Double abstract geometric form,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238962,-123.132934,West of display gardens,Sculpture,Travertine,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=193,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=193&ImageId=780,Heide Dobler,235,193 | |
| Vancouver,Travertine Sculpture 75,1975,In place,A large marble abstract carving that involves two ovoid forms coming out of two rectangular forms and both coming together in the middle.,"""My thoughts and feelings about family life were built into this work. .Variety of plane and shape, contrast rather than formal unity, is stressed. The strata of the lower blocks run vertically; the strata of the upper blocks run horizontally. The western side, facing the setting sun, is like a flat wall with projections and indentations. The eastern side, facing the sunrise, is organic, rounded. The bottom block is carved in two forms. One is geometric, flat, masculine; the other is organic, rounded, feminine. ...."" -Vancouver Intl. Stone Sculpture Symposium catalogue",VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.240287,-123.130676,South of Pinetum,Sculpture,Travertine,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=194,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=194&ImageId=899,Heide Dobler,99,194 | |
| Vancouver,Between,1975,In place,Two large abstract marble forms sit on a cement base.,"""I would like to feel that the particle of my personality left in the park in Vancouver will remain a symbol of understanding with all those who will meet my stone there."" -Vancouver Intl. Stone Sculpture Symposium catalogue, 1976",VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239103,-123.130122,"South central area, north of Japanese Azaleas",Sculpture,Travertine,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=195,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=195&ImageId=851,Heide Dobler,127,195 | |
| Vancouver,Observing Your Society,1975,In place,Three faces emerge from this solid white marble form.,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238647,-123.132556,Central - south area north of Japanese Azaleas,Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=196,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=196&ImageId=890,Heide Dobler,126,196 | |
| Vancouver,Woman,1975,In place,abstract,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238238,-123.132656,"South central area, south of hydrangeas",Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=197,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=197&ImageId=900,Heide Dobler,142,197 | |
| Vancouver,Landscape 75,1975,In place,four abstract forms,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.23917,-123.132214,West of display gardens and oriental grasses,Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=198,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=198&ImageId=888,Heide Dobler,141,198 | |
| Vancouver,"Earth, Air and Sea",1975,In place,Abstract form,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238951,-123.131514,"South central area, NE of hydrangeas",Sculpture,Travertine,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=199,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=199&ImageId=894,Heide Dobler,40,199 | |
| Vancouver,In Memoriam of Teilhard de Chardin,1975,In place,Abstract form; Part of the 1975 Symposium;,"�The most obvious symbolism was conjured up by the grid � incarceration, imprisonment or a barred way. The sphere in the middle symbolizes the eternal mystery. The two openings on the one side of the piece stand for the two sciences through which he (de Chardin) sought to shed light on this mystery. The grid states our access is barred, and/or, we ought not to touch it until we are mature enough. The whole concept could be applied to the exploration of the atom��",VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239524,-123.133001,South central area,Sculpture,Marble,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=200,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=200&ImageId=895,Heide Dobler,74,200 | |
| Vancouver,Primary No. 9,1981,In place,"This sculpture of painted steel is a playful exercise in form,space, and colour.",,Robson Square,Robson & Hornby Street,Downtown,49.282006,-123.122092,South side of Robson on second level,Sculpture,Steel,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=201,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=201&ImageId=167,,11,201 | |
| Vancouver,Kakasa'las,1955,In place,"This is a Kwakwaka'wakw pole which shows an Eagle, a SeaBear, a woman holding a frog, Bookwus (the Wild Man of the woods) and Dzoonokwa and a Raven at the base.","The pole was originally one of five commissioned in 1955 by Woodwards and installed in front of their store in Edmonton for thirty years before returning here. The pole was renovated by Neel's son Robert, and is now on permanent loan to Stanley Park. (Stewart, Totem Poles, 1990)",Brockton Point,Stanley Park,Stanley Park,49.299207,-123.120828,"Facing east, far left",Totem,Fibreglass,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=202,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=202&ImageId=916,City of Vancouver,100;111,202 | |
| Vancouver,The Game,1995,Removed,"Fourteen large metal balls are scattered throughout the grounds of General Motors Place Arena: 7 are smooth stainless steel with 3 grooves at each pole and 7 are aluminum with grooves every 3"". Two bronze medallions are inset into each ball; one end depicts a star and the other is the face of a person in action. All balls are 60.5"" in diameter.","The Game� engages all the exterior sites of the Arena at once, identifying them as a field for an over-sized game. There are two teams of balls - 7 for each side. It appears as a game in progress� Contributing to the idea that there are dramatic consequences to this game, bronze medallions are set into each ball to carry the image of a person in action. In the form of a portrait, these human images lend an identity to each ball and also indicate its situation in the game. Some faces appear triumphant, others suffer the stress of falling or spinning... At the opposite pole each ball carries the image of a star. Whether read as rising or falling this sign casts the player as a guest of fate, inexorably rolled along in the flow of events. (the artist)",General Motors Place Arena,800 Griffiths Way,Downtown,49.278494,-123.10804,"Levels 100, 200 and 300 of the exterior plaza",Site Work,"Stainless steel, aluminum, bronze",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=203,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=203&ImageId=169,Barbara Cole,95,203 | |
| Vancouver,All Our Knowledge has its Origins in Our Perceptions,1995,In place,,"A library is an ordered resource for accessing information to further one's knowledge and to enhance one's learning. The route taken to that information can guide the thought process and determine the end conclusions. Leonardo realized this a few centuries ago; Our concept is to challenge users of the facility to rethink their thought processes. The most opportune time to accomplish this is before entering the Library - confronting the viewer by having them walk through the piece - and perhaps encouraging them to leave their previous perceptions at the door.The format in presenting the concept is another Leonardo da Vinci exercise - a geometric discovery of form, mathematics and order. Our interpretation of the exercise challenges the viewer's perceptions: first, by engaging the individual in a visual puzzle that defines the various elements of the geometry in a manner that also juggles their perceptions; and secondly, by making visual references to the cosmos that will take the viewer beyond the physical piece to consider the mysteries of the mind, universe, and of course, the search for truth.In locating the piece at, and as the entrance, it emphasizes Public Art as a functioning componenet of life and architecture - the concept challenging one's thought process and the physical statement aiding in the flow and function of the ordered architecture.",Renfrew Public Library, 2969 E. 22nd Avenue,Renfrew-Collingwood,49.250885,-123.042243,"Interior, front door",Site Work,"copper, aluminum, glass",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=204,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=204&ImageId=170,,12;112,204 | |
| Vancouver,Fountain of Time,1995,In place, Water cascades down a curved 3m high x 15m long wall of semi-circular tiles in a fish scale pattern into a tiled pool with designs related to time: a clock face and ruins.,"""In reference to the library, the theme can be read as fragments which fit together like a jigsaw puzzle to form a larger picture much as one accesses the library in quest of materials to fit in gaps of knowledge or time.The birth of the mechanical clock circa 1,000 AD was a technological innovation that, as Lewis Mumford pointed out in ""Technics and Civilization"" made possible the mechanical clock as a simile for his paradigm of the workings of nature, a paradigm cited in recent years as contributing to the world's current ecological state: hence the ""ruins"" of a clock face. Yet what is watered grows; thus even an ancient ruins can initiate new life, as the unearthing of sculpture from an ancient Greece was seminal in issuing forth that springtime in Italy known as the Renaissance. This is not a fountain of youth but of time, old time reborn in the ever flowing spring of records of human endeavour.With the advent of the millenium at hand, reflections on the passing of time increase. The numbers observable in Fountain of Time (five, six, seven) reflect a countdown to the millenium: '95, '96 '97. In this context the fountain is a portrait of a certain reality of our time. Yet this particular reality (that of the twentieth century drawing to a close, and what that brings to mind), is only one of many many realities, relevent to those following the Gregorian calendar rather than for example the Islamic, Tibetan or Mayan calendars. This notion of ""mutable reality"" is a familiar theme in my work, which seeks to explore the boundaries of realism and representation: Time... History... Motion... Imagination... Reflection�",Vancouver Public Library,350 West Georgia Street,Downtown,49.279912,-123.115277,Front plaza,Fountain,Stone mosaic,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=205,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=205&ImageId=781,Maxime Cyr-Morton,107,205 | |
| Vancouver,Footnotes,1994,In place,"Fifty-seven unpolished black granite tiles are recessed randomly into the sidewalk. Handcarved into each granite block are words or texts chosen for their specific reference to the site. ""The shore is the line between the sea and the land and the shore is the mid-line in the life of the city... beneath these paving stones.""","This public artwork is located on part of what was once a shoreline, now a boulevard. Beneath its paving stones are layers of shells, bones, and silence. The work is site specific as it is based on research and archival material, as well as writings about this north shore of False Creek from pre-settlement time onwards. I have quoted from the City Archives, C.P. Railway Archives, anthropologists and poets to find words to sandcarve into 57 blocks of unpolished black granite. Set into pavers, they are like markers on a path (of time), an echo. Although I feel the words selected are specific to this place, they are also general, sometimes evocative, the ardent hope they will bring out a smile on rainy day. A private moment in a public space. Assistance from Anita Green, Melanie Boyle and Patti Lynes are gratefully acknowledged. ",Yaletown Edge,1300 block of Pacific Blvd.,Downtown,49.273312,-123.124754,Along north side of Pacific Blvd. on sidewalk between Homer and Drake Street,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=206,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=206&ImageId=172,Skai Fowler,19,206 | |
| Vancouver,Collection,1994,Removed,"**THIS ARTWORK HAS BEEN TEMPORARILY REMOVED FOR REPAIRS** The artwork includes six concrete and steel receptacles installed along the sidewalk: three red, wedge-shape time capsules and three stainless refuse containers"," The project represents layers of social and cultural histories through the metaphor of 'discarded' objects, suggesting different uses and inhabitation. ""The project features two types of works which though formally similar, operate differently: Collection was installed in Vancouver in November 1994 and confronts some of the expectations currently surrounding the idea of public art, referring to the monument which continues to inform the expectations and legibility of most public works'. The steel containers in Refuse are actual refuse collectors: the concrete bases recall the idea of a plinth (with the steel wedge acting as a 'monument'). Collection functions as conduits for the 'preservation' of discarded and waste objects, parodying the idea of archaeology and historical recovery."" (page 79, Art and Design)",Yaletown Edge,This Artwork has been temporarily removed for repairs.,Downtown,,,,Site Work,"stainless steel, concrete, plastic, glass",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=207,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=207&ImageId=173,Skai Fowler,54,207 | |
| Vancouver,Password,1994,In place,Four sets of 4 letters rotate to form random words. The letters are installed in the 3 exhaust vents from the underground parkade and turn with the outflow of the exhaust fans.,"This piece is based on, and dependent upon, a part of the mechanical systems within the structure of the building. The work consists of a series of four four-letter word groups mounted within the 20 X 92"" exhaust airduct vent grills exiting from the underground parking ventilation system... The vents face out onto the pedestrian sidewalk that runs along Pacific Boulevard... The front faces of the letters are highly polished aluminum and are visible only for the moments that they are exactly perpendicular to one's direction of view. Rotating slowly in the existing flow of air, each block is independent of the next, causing a randomly changing array of letters, occasional words, and sometimes sentences to be swept into the pedestrian world. The word groupings are derived from four subject areas: active : work, rest, play; architectural: post, beam, wall; social space: city, park, yard; and weather: wind, rain, smog. ..."" (from artist proposal)","Governor's Tower, Yaletown Edge",1300 block Of Pacific Boulevard,Downtown,49.273266,-123.125332,Installed in three sections of the retaining wall adjacent to sidewalk,Site Work,Stainless steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=208,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=208&ImageId=174,Skai Fowler,140,208 | |
| Vancouver,Street Light,1997,In place,"Six 12-metre high bronze I-beam towers each hold up an image from the history of the area cut into a metal plate. The plates cast the shadow of the image onto the street. Texts etched in the limestone bases refer to the events relevant to the site. The positioning of the panels has been carefully calculated so that their optimum contrast and focus on the street is the month, date, and time that the event ocurred. For example, if the sun is shining just before noon on June 17, the projected image of Vancouver's ""Great Fire"" will be visible on the promenade below.","""An aspect of the work is meant to produce a light and shadow play� The bronze panels cast shadows of the captured (historical) images� References in the work are hybrids[influenced by]: historic railway trestles, the Roundhouse turntable, a railway hand-car, billboard-like sign supports which were on the south shore of False Creek until the 1950's, drive-in movie theatre screens..."" (From press release) Some of the residents in the condominiums next to the art work started a campaign against the piece when it was installed, calling it a ""malignant monstrosity."" The piece had its supporters and detractors and in the end City Council supported the public art selection process and the work has survived the tests of time.",Marinaside Crescent,Davie Circle at False Creek,Downtown,49.272805,-123.119515,S.W. of circle,Sculpture,"Bronze, glass",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=209,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=209&ImageId=175,Barbara Cole,147;177,209 | |
| Vancouver,Working Landscape,1998,In place,"Four circular platforms are set in the park throughway beside the Vancouver Club. Each platform has a park bench and a living indigenous tree in a round steel planter on it. The platforms are made of wood and rotate at subtle speeds based on the work week: 1 hour, 8 hours and 40 hours. The fourth platform represents the 20-minute coffee break.Commissioned by the City of Vancouver Public Art Program. Supported by development funds from the Bentall Corporation and the generous assistance of Mr. Douglas B. Forster","""The project....addresses the social dynamics of the plaza as a well-used site of rest, reflection, and passage �[The piece intends] to create a public space that is not fixed and static, but that changes through time. The 3 platforms rotate at various speeds recalling the traditional presence of clocks on public squares."" ""The platform surfaces are of heavy wooden planking; the planters of steel - materials reminiscent of the industrial buildings once such an important part of this area ... By contrast, the trees...include species indigenous to BC, Europe, and Asia, reflecting the diverse backgrounds that constitute our social present."" -Artist's statement",Walkway,901 West Hastings Street,Downtown,49.286884,-123.115356,Plaza at north foot of Hornby between Hastings and Canada Place Way,Site Work,"Wooden planks, living trees, steel containers",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=210,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=210&ImageId=176,Barbara Cole,91,210 | |
| Vancouver,Trout Lake Pathways Project,1995,In place,"2' circular pebble mosaics set into the grassy areas around the perimeter of Trout Lake, primarily on the lower trails. Each mosaic depicts life such as fish, salamanders, spiders and snakes. (Maps available at Trout Lake Community Centre).","The Trout Lake Pathways Project is one of several artworks that were created within a larger project titled: ""Mapping the Future of Trout Lake"". Initiated by the Trout Lake Restoration Project, the project has involved the creation of a number of artworks including the Trout Lake Pathways Project and Circle of Stone. The artworks, like the larger project, are intended to draw attention to the habitat, plantlife, streambeds, and other important aspects of Trout Lake and John Hendry Park. Each artwork was conceptualized and created through a collaborative process with intensive involvement of the community surrounding the Trout Lake area. Through tours, workshops, Open House events and community meetings, members of the community became involved in the conceptualization and actual creation of the artworks. For the Pathways Project, workshops were held over a four week period in which students and members of the community created images with naturally coloured stones. The images were then grouted and set permanently into the ground around the lake. Van Tech students participated.Anne Marie Slater was the coordinator and Paula Jardine was the coordinating artist for the entire Mapping the Future of Trout Lake project.",John Hendry Park - Trout Lake,16th & Victoria Street,Kensington-Cedar Cottage,49.256824,-123.064024,Inset in ground throughout,Site Work,"Stone, plaster, glaze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=211,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=211&ImageId=177,,28;37;260,211 | |
| Vancouver,New Currents and Ancient Streams,1994,In place,"A series of upper pools, waterfall, and lower pool with overlapping black slate. A large glacial boulder sits in the upper pool and an identical cast bronze replica sits in the lower pool. Inscription cast in concrete beside the waterfall.","The intent of this project is to connect the present use of the site with its past, employing water as a metaphor. The concept is based upon the mythical river Lethe, the river as a repository of memories.Once, only a stone's throw from this site, an ancient stream flowed down through a forest. It carried into the ""well"" of the sea the memories from earliest times. I am proposing a symbolic reclamation of the past and recognition of change. ... there will be three elements within this flowing river. From the ""source"" at the upper waters a 10 ton erratic glacial boulder will be positioned ... at the pool below will be its mirror image, in bronze altered by chemical reaction and time. Language is the third bridging element, for words to convey a sense of a river's journey I have used the following quote by Leonardo da Vinci: ""In rivers, the water you touch is the last of what has passed, and the first of that which comes; so with time present.""",Palisades Apartments,1200 Alberni Street (at Bute),Downtown,49.287177,-123.12577,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=212,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=212&ImageId=178,Barbara Cole,19,212 | |
| Vancouver,Welcome to the Land of Light,1997,In place,Aluminum letters spelling out phrases in Chinook (an early coastal trading language) and English are placed along the railing of the sea wall in two parallel lines. Coloured light pulses through an inset fibre-optic cable in the sidewalk directly below the letters.,"""Welcome to the Land of Light is a contemporary monument to the relationship between those who have lived on the False Creek waterfront and those who will arrive in the future to call this area their home. For the artist, this public art project is about the concept of home, the building of community, and with the aid of interactive fibre-based technology, the creation of a new world to experience�"" (Press release) �""the juxtaposition of English and Chinook Jargon functions as a metaphor for the ongoing development of intercultural communications in this region. Chinook Jargon is a 19th century linga franca that resulted out the need for cross-cultural trade. Most of the approximately 500 word vocabulary of this language can be traced to the dialect of the Columbia River Chinook Tribe in Oregon, with influences of English, French, and Nootkan (Nuu-chah-nulth). At its peak 100,000 to one million people spoke the language from the Pacific coast to the Rocky Mountains, from Northern California to the Alaskan panhandle. Like any pidgin, Chinook Jargon was dynamic and flexible, absorbing different cultural systems of naming as more and more peoples from around the world came to settle on the West Coast. In the first half of the 20th century, the jargon fell out of common use, replaced by the English language."" (From the Artist's proposal)",Yaletown,False Creek shoreline walk at the foot of Drake Street,Downtown,49.271158,-123.120188,Shoreline walk guard railings,Site Work,Aluminum lettering; fibre optic lighting,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=213,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=213&ImageId=1063,Joyce Rautenberg,149,213 | |
| Vancouver,Brush With Illumination,1998,In place,"An illuminated environmentally interactive ""brush"" responds to wind, tide, and wave action, and rests on a steel piling balanced by two large spun steel buoys. The brush moves with the currents and transmits weather and tide changes to http://www.livestream.com/brushwithillumination.","""�Brush with Illumination is the evolutionary successor of an ancient communication tool: the calligraphy brush. The piece is fitted with an array of sensors that glean environmental data from the air and water as the sculpture responds to environmental conditions, and transmit it both visually, through the laser-lighted pulsation's of the cursor at the tip of the brush, and electronically to a land based computer. Mathematical functions translate these elemental events in a series of characters that are continually on display�"" at http://www.livestream.com/brushwithillumination [http://bustersimpson.net/brush/] (press release).",Roundhouse,False Creek seawall near David Lam Park,Downtown,49.271061,-123.122832,Approx. 60 feet offshore,Sculpture,"Stainless steel, solar panels, battery, electronics, and transmitter",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=214,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=214&ImageId=865,,247,214 | |
| Vancouver,Terra Nova,1996,In place,"Terra Nova has two main parts: a) the Theatre of Discovery, a bronze curtain and hoop attached to the exterior wall of the Roundhouse b) the Cone of Analysis resting on the plaza walkway below the wall - a large bronze cone which appears to be cut into parts, the nose of the cone is on a cart.","""The Latin words 'terra nova' mean new land�the geometric forms of the Cone of Analysis represent the broader world of mathematical truths. Its pure form links cultures and transcends time�Theatre of Discovery dramatically connects the old Roundhouse to the present by alluding to the building's new use as a community arts centre. Like an imaginary window, this portion of the work creates a mysterious narrative of activities that could occur in the arts centre or in our daily lives."" (Excerpts from press release)",Roundhouse Community Centre,181 Roundhouse Mews,Downtown,49.272992,-123.121871,South exterior wall and sidewalk,Sculpture,Copper and corten steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=215,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=215&ImageId=181,Jim Clare,44,215 | |
| Vancouver,Persian Wall,1998,In place,"Large blown glass florets (called Persians by the artist) in colours of red, yellow, orange and blue are suspended in a rectangular glass case set in flowing water.","""I've never done a piece that is this public before.""-Westender, April 2, 1998.",The Residences on Georgia,1200 West Georgia Street at Bute Street,West End,49.287548,-123.125581,In water feature on Bute,Sculpture,Glass,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=216,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=216&ImageId=182,Karen Henry,23,216 | |
| Vancouver,Make West,1997,In place,"The piece can be found along the foundation of the building on the waterfront walkway between Nicola and Cardero Streets. It is made of stones, plaques, and objects cast in bronze that refer to the history of the area and act as a puzzle. Recently, the strata council has posted privacy signs in the 3 alcoves - however, the artwork is visible from the sidewalk.","""Make West is an attempt to represent the history of Coal Harbour and, by extension, Vancouver and Western Canada. It does so in the form of a series of shards, or extractions which constitute a game."" -the artist",Coal Harbour,"Nicola Street to Cardero, along Coal Harbour Quay",Downtown,49.291453,-123.128163,"Exterior of building, located in three small alcoves at sidewalk level",Site Work,"Bronze, slate, granite and plants",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=217,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=217&ImageId=183,Bill Pechet,114,217 | |
| Vancouver,Perennials,1997,In place,"A semi-circle of shattered glass screens with etched leaves is visible from the street and lit at night. In the courtyard is a 4,500 sq. ft. leaf-shaped pool; situated around it are black granite seats with a word - hybrid, seasonal, wild, uprooted, perennial, transplanted - carved into each like the title of a botanical drawing. The leaf pool is visible in it's entirety from the suites above.","""Chance, timing and planning have brought the cultivation of new plants, residents, architecture and even art to the city of Vancouver. Perennials is a sculptural overlay, a botanical metaphor for the constant shifts in natural and cultural landscapes and for the fragility of their survival."" (press release)",Beatty Mews Plaza,"1088 Cambie Street, Pacific Blvd. at Cambie Street",Downtown,49.274768,-123.118877,,Sculpture,"Granite, slate, coloured concrete",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=218,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=218&ImageId=184,the artist,265,218 | |
| Vancouver,Discovery Project,1996,Removed,"The project was organized to celebrate the unique cultural make-up and history of southeast Vancouver. One component of this project (which also included painted bus shelters and sidewalk inlays by Everett Crowley Park), was a process during which high school students interviewed seniors about their memories and experiences in the neighbourhood. Further historical research was compiled and a book ""Collected Memories: a guide to Community Markers of Southeast Vancouver"" filled with anecdotes and historical memorabilia was published. 138 stainless steel plaques were then engraved with excerpts from the texts and attached to street poles throughout the area. - Park Board web site Schools, community groups and other organizations each adopted a bus shelter, established a theme and jointly painted the shelters with the help of the artist. A list of sites is available at Champlain Heights Public Library, Collingwood Public Library, Fraserview Public Library, and South Hill Public Library.","""People has a way of identifying special places in their community and world, and making their marks of identity and belonging. In my work, I involve people in the creative process that can result in a landmark. There is a perception that creative art is something framed in a galley, yet aethetic experiences should be availabe in any neighborhood. I am interested in spaces and how they are used, perceived and claimed. Creative thinking exists in every aspect of life. ""In my travels I have serendipitously stumbled upon Buddhists 'peace poles', simple aluminum posts which indicate the power of a common space and unseen forces. They have always inspired me as a way of establishing a relationship between people and the earth. Placed on intersections of earth energy lines, underground magnetic forces, these posts read 'May Peace Prevail On Earth'. Like distance and direction posts, peace poles are placed on crossraods and acknowledges connections between places. ""My objective is to creat a transformation in the mind of the viewer, who now places him / herself int he space differently than before. They now question how the space is used and how it has been changed by creative forces of the community. The discovery project process will enable the communities in South East Vancouver to invent methods of detecting and identifying their important places and an opprtunity to acknowledge them and create unique landmarks."" - Celine Rich",Southeast Vancouver (Kensington-Cedar Cottage),near Knight on 33rd; 37th; 41st; 49th (Kensington-Cedar Cottage),Kensington-Cedar Cottage,,,Bus stops,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=219,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=219&ImageId=185,Celine Rich,123,219 | |
| Vancouver,Personalizing Our Park,1995,In place,"The mosaics are cement stepping stones in various colours, shapes and with inlays.","Personalizing Our Park is a process of celebrating our community spirit and action through hands-on art making that will give the pocket park, made by community members, a unique and lasting sculptural signature. The mosaics depict historical references to one of Vancouver's oldest neighbourhoods, ""Cedar Cottage,"" once the site of Moses Gibson's farm where, in the early days of urban development, the city met the forest.",Fleming Street Greenway,19th & Fleming Street,Kensington-Cedar Cottage,49.253479,-123.071802,Concrete stepping stones throughout park,Site Work,Concrete,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=220,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=220&ImageId=186,Skai Fowler,175;176,220 | |
| Vancouver,Southlands Salmon Wall,1995,In place,"This mural is a school of painted salmon, each one unique.","The Salmon Wall was created as a means of fostering understanding between the Musqueam and Southlands communities. It was also envisioned as a process to encourage respect for the Musqueam people and their traditions in the non-Native community. The project was initiated by artist Alison Diesvelt who, together with the Southlands principal, identified Musqueam artist Debra Sparrow as a partner. Sparrow creates traditional weavings and indicated that she was interested in working on the community art piece. Out of community consultations and workshops, a mural was created with colours and patterns drawn from Musqueam visual traditions. Many community members participated in painting the school of salmon along the south wall near the main entrance and a community salmon barbecue was held to celebrate its completion. - Parks Board web site",Southlands Elementary School,5351 Camosun Street,Dunbar-Southlands,49.237801,-123.197495,Front wall of school,Mural,,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=221,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=221&ImageId=187,Skai Fowler,167;168,221 | |
| Vancouver,Bird Feeders,1996,In place,Four galvanized bird feeders sited on railing posts.,,Woodland Drive Bridge, Over Grandview Cut,Grandview-Woodland,49.26461,-123.0735,Bridge railings,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=222,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=222&ImageId=188,Skai Fowler,169,222 | |
| Vancouver,subTEXT:Community Signature Project,1996,In place,Ceramic tiles inscribed with signatures of people set in east sidewalk of bridge.,"""Historically, bridges have been the frequent site of public monuments and plaques.... In formulating this particular proposal, I also began to think about more contemporary monuments such as the Vietnam Memorial in Washington.... This monument has a profound effect on visitors as they read through the list of 58,022 names of the war dead....the monument does not reduce history to a generalized commemmoration....it identifies and reclaims each individual for a larger collective history. For the Grandview Cut Bridges Project, I am interested in constructing a public art component which directs its primary attention to the pedestrian traffic...in vital city neighbourhoods.�",Commercial Drive Bridge,"Grandview Cut, between 8th and Broadway",Grandview-Woodland,49.262759,-123.069599,Eeast sidewalk,Site Work,Porcelain tiles,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=223,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=223&ImageId=189,Skai Fowler,173,223 | |
| Vancouver,Healing the Cut - Bridging the Gap,1996,In place,"Nesting boxes, planting, and a telescope in an alcove of Victoria Dr. Bridge","The history of the piece was actually quite interventionist, in that Janis and I were atempting to promote an environmentally sound alternative to a proposed freeway (now cancelled) which was to have gone through the Grandview Cut. The City had originally planned a vertical concrete wall at the site to accomodate future freeway construction and ""healing the Cut - Bridging the Gap"" was designed to prevent that from hapenning. Golden Willow, Cottonwood, Black Locust, and Butterfly Bush were planted to stabilize erosion which started after the bridge and the condominium unit on top of the ravine were constructed. The nesting birds would bring in the seeds of other plants in their droppings. Eventually the Engineering Dept. was won over by our ecological approach.",Victoria Drive Bridge,Over Grandview Cut between Broadway and 10th Avenue,Kensington-Cedar Cottage,49.261805,-123.066068,"Centre, west side",Site Work,Vegetation,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=224,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=224&ImageId=190,,43;165,224 | |
| Vancouver,Wind Swimmer,1996,In place,This wind sculpture is a woman in a bathing suit who has articulated limbs that allow her to swim through the air. The speed of her movements is controlled by a propeller and the local wind currents at Kitsilano beach.,"Wind Swimmer was inspired by the artist's meeting with an older man who swam regularly off Stanley Park. Taylor decided to build him a mate to swim along with him. The prototype was made in 1993 for the Artropolis exhibition and installed in Stanley Park, but it was smashed by a log. The Parks Board pursued a second opportunity and a donor was found (Mary and Herb Auerbach). The current Wind Swimmer was installed at Kits beach in 1996. The mechanism is specially engineered so that at winds of more than 55mph it turns sideways and slows down. (Guddrun Will, Vancouver Courier, May 19, 1996) Wind Swimmer was redesigned in 1999.",Kitsilano Pool,Cornwall Street at N. Foot of Yew,Kitsilano,49.273272,-123.157342,Upper deck,Sculpture,"Wood, steel, aluminum, lead, bronze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=225,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=225&ImageId=191,Ken Mayer,236,225 | |
| Vancouver,Ring Gear,1987,In place,"The 8m high gear is installed as a monument to commemorate the designers and builders of the many bridges across False Creek. The gear was part of the second Cambie Bridge (or Connaught Bridge) which opened in 1911 and remained in service until 1984. Installed on the centre pier, the gear supported the steel truss swing span.",,Median,"Pacific Blvd median, near Cambie Bridge",Downtown,49.27431,-123.116987,,Artefact,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=226,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=226&ImageId=192,Sylvia Grace Borda,195,226 | |
| Vancouver,Machina Metronoma (Shaughnessy Neighbourhood),1997,In place,"There are seven sculptures in the Metronoma series, mounted atop the 12-ft high cyclist-activated traffic signal poles. This series of sculptures is located at three intersections along 37th Avenue Ridgeway Greenway at Granville, Cambie, and Fraser Streets. Information about the other pieces can be found at ""Machina Metronoma (South Cambie neighbourhood)"" and ""Machina Metronoma (Kensington-Cedar Cottage neighbourhood)"".These pole sculptures are variations of whimsical gizmos with individual iconic objects representing activities such as skating and cycling which happen along the Greenways route. The sculptures have wind-catching hoods and counterbalanced panels which cause them to move back and forth like a metronome. Granville Street and 37th Avenue, SW corner: ""Machina Metronoma: Even with Modern miniaturized technology, it is still pretty hard to put eighty pounds into a tire"" (icon: lightweight air pump). On the NE corner: ""Machina Metronoma: All Bicycles Weigh Fifteen Kilograms: A Five Kilogram Bicycle Needs a Ten Kilogram Lock. A Ten Kilogram Bicycle Needs a Five Kilogram Lock. A Fifteen Kilogram Bicycle Doesn't Need a Lock"" (icon: reinforced bicycle lock).","These works were conceptualized as ""a series of modern column capitals....decorated with iconography celebrating self-propelled technology and local history. Each capital comprises one of fourteen ""Stations of the Crossings....""",Ridgeway Greenway,37th at Granville,Shaughnessy,49.238059,-123.139622,Poles at crossings,Sculpture,Fibreglass and steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=227,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=227&ImageId=193,artist,258,227 | |
| Vancouver,Aluminum Petroglyphs,1998,In place,Two bent aluminum 3-dimensional sculptures which take their inspiration from petroglyph forms are situated on 12' aluminum poles to mark the pedestrian and bicycle crossing areas.,,Ridgeway Greenway,37th & Victoria Drive,Kensington-Cedar Cottage,49.235938,-123.06556,Crossways,Sculpture,aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=228,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=228&ImageId=949,Douglas Scott,166,228 | |
| Vancouver,Bicycle Wheel,1997,In place,Two bicycle-wheel sculptures perch atop two poles which marks the bike path along the Greenways.,"The work stands as a literal marker of the bicycle route along the Greenways and also as an icon of twentieth century art, referring to an early work by Marcel Duchamp.",Ridgeway Greenway,37th & Main Street,Downtown,49.237247,-123.101839,Crossings,Sculpture,Aluminum and reinforced wheel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=229,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=229&ImageId=195,Barbara Cole,172,229 | |
| Vancouver,Utility Pole,1997,In place,"""Garden rake"" sculptures mounted atop two cyclist-activated signal poles acknowledging the local gardening activities in the area, including Van Dusen Gardens.",,Ridgeway Greenway,37th & Oak,Shaughnessy,49.237762,-123.127791,Corner,Sculpture,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=230,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=230&ImageId=196,Barbara Cole,174,230 | |
| Vancouver,Backstop: A Stage for Wordsworth,1998,In place,"A stage backdrop including curtains and columns made of coloured fencing is superimposed over an ordinary sports backstop cage. An aluminum sheet along the top of the backstop acts as a pediment and displays a quote from Wordsworth: ""This city now doth like a garment wear the beauty of the morning; silent, bare, ships, towers, domes, theatres, and temples lie open upon the fields, and to the sky.""",,Ridgeway Greenway: Cartier Park,E 37th & Prince Edward,RileyPark,49.237275,-123.097212,N.W. corner of East 37th & Prince Edward,Site Work,plastic covered chain link fencing & aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=231,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=231&ImageId=957,,170;262;263,231 | |
| Vancouver,Big Bike,1998,In place,An over-size bicycle which forms a seat for cyclists,"""....part bench, part gateway and part bike fragment....Our sculpture is a connection marker at the bikeway intersection. We've played with the scale and materials of standard bike elements to dramatize the intersection and to provoke a reaction from passers-by."" (Artists' statement)",Ridgeway Greenway: Queen Elizabeth Park,37th & Ontario,Downtown,49.237447,-123.105648,SE corner,Sculpture,steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=232,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=232&ImageId=198,Barbara Cole,52;164,232 | |
| Vancouver,Salmon Fountain,1987,Removed,"A bronze and granite commemorative fountain that is an homage to the salmon, a creature that is inextricably bound to Vancouver's culture and lifestyle. Four cast salmon heads spout water through their mouths into small troughs that radiate in four directions from the centre rectanglular post. The fish tails sprout from the top of the post. The water spouts act as drinking fountains - by blocking the spout at the salmon's mouth, the water is diverted through the head for easy drnking access.","""The Leshgold family commissioned the fountain as a memorial to the late Samuel Leshgold, a Gastown enthusiast. One of Samuel's greatest interests was salmon fishing. Artist, Sam Carter, created the four bronze salmon heads as a symmetrical fountian for use by the many visitors to Gastown. The cast bronze and Quadra Island granite provides refreshing water for people and, as it turns out, for filling buckets with water for ""Gastown horses"" so popular with tourists during the summer."" (provided by the artist)",Gastown,NW corner of Abbott and Water Streets,Downtown,49.284039,-123.106393,,Fountain,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=233,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=233&ImageId=199,Barbara Cole,47,233 | |
| Vancouver,Ten Thousand Faucets & Doorknobs,1998,In place,"Fragments of residential architecture (door knobs, latches, plumbing fixtures, etc.) are sealed in amber coloured polyurethane and embedded in the sidewalk along the base of exterior columns and walls of the building.","""The piece functions on several scales: as a pathway accompanying the public through the site; on closer inspection, as individual ""cells"" filled with narrative details; and from a distance, as an underlying structure, a cadence of a collective memory beneath its current form."" (the artist)",The Spot,933 Seymour Street,Downtown,49.279148,-123.121462,Around the perimeter of the building,Site Work,"Polyurethane, doorknobs, faucets and other domestic hardware",Pacific City Land Corporation,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=234,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=234&ImageId=200,Karen Henry,71,234 | |
| Vancouver,Percy Williams,1996,In place,"The sculpture depicts runner Percy Williams in starting position. It commemmorates Williams' winning of the 100 and 200 meter races at the Olympic Games in Amsterdam, 1928. The 5'6"", 130lb runner was born in Vancouver in 1908 and was 20 when he won the gold. His first victory was such a surprise that the medal ceremony was delayed while they looked for a Canadian flag. He is the only Canadian to win Olympic gold medals in track. He held the 100m world record from 1930-1940. After his career as a runner ended, he said he never liked running. he lived a quiet life out of the public limelight. He took his own life in 1982. (Vancouver Sun, April 7, 2001, H7)",,BC Sports Hall of Fame and Museum,777 Pacific Blvd,Downtown,49.276564,-123.11156,"Near Robson and Beatty entrance, outside ""Sports Hall of Fame, near Gate A",Figure,Bronze,BC Sports Hall of Fame & Museum,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=237,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=237&ImageId=202,Barbara Cole,230,237 | |
| Vancouver,Placed Upon the Horizon (Casting Shadows),1990,In place,A text in yellow cedar (Placed Upon the Horizon (Casting Shadows) is located on the south facade of the VancouverArt Gallery above the columns.,"""The statement ""Placed Upon the Horizon (Casting Shadows)"" is a sculpture by American artist Lawrence Weiner. Since the 1960's, Weiner has made sculptures which can exist in three separate states: as conceptual proposals described in language; as objects made of materials somehow related to the place in which they are installed; and as objects accompanied by a statement describing them. The Vancouver Art Gallery's sculpture is made of cedar (a ""material of the region"") and is placed in a public space where it can be seen by many other people than those who visit art galleries."" (From artwork description issued by the VAG)",Vancouver Art Gallery,750 Hornby Street,Downtown,49.282599,-123.121271,Over doors facing Robson Street,Relief,Yellow cedar,Vancouver Art Gallery,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=238,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=238&ImageId=203,Barbara Cole,215,238 | |
| Vancouver,Cottonwood Earthworks,1996,Removed,A narrataive in sculptural form wove its way through the Cottonwood Community Garden.,"The Youth Art Project at the Cottonwood Community Gardens was constructed by 6 youth groups from January 1996-July 1996. The art projects ranged from the Warrier and Sea Eagle Mosaic done by the Downtown Eastside Action Coalition through to Our Found Family Tree done by the YMCA Leadership Program.Over the summer of 1996, some of the art pieces were significantly damaged. While some of the pieces have a short life span - such as Eartha, a garden plot in the shape of a women - many art projects were vandalized and even destroyed far before their ""natural"" life span.",Cottonwood Gardens (Strathcona),Strathcona,Strathcona,,,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=241,,,67;68;205;206;207;208;209,241 | |
| Vancouver,Art Action,1995,Removed,"Ten wall hangings made up of 100+ burlap squares in total. Individual squares were worked on with paint, glue, wool, thread, fabric, etc. and then sewn onto large pieces of blue burlap","The wall hanging project was intended to be the first stage in a proces of developing a larger art project. Through discussions, a questionnaire, 4 months of regularly scheduled art workshops, and 6 design workshops with visiting artists, the process took shape as did a plan for future art projects. Over 60 individuals from the community were involved.The theme of the work was Caring, as in who you care for and/or who cares for you. Caring in terms of community was also depicted in some of the squares.",Ray-Cam Co-operative Centre Society,920 E. Hastings Street,Strathcona,49.280742,-123.084613,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=244,,,193;194,244 | |
| Vancouver,Banners on Broadway 1,1997,Removed,"A banner project using children's drawings and other community source material. Each banner has 3 sections, one fore each of the three themes. These are identified by their background colour: orange for Health, yellow for Safety and pink for Community. Nine of the 44 banners announce our theme in a variety of languages: Chinese, English, Polish, Russian, Somali, Spanish, Tagalog, Ukrainian and Vietnamese.",,Broadway (Mount Pleasant),East Broadway from Guelph Street to Victoria Dr. (Mount Pleasant),Mount Pleasant,,,Light poles on side of street,Banners,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=245,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=245&ImageId=205,Lorenz von Fersen,220,245 | |
| Vancouver,Clinton Park Kiosk,1996,In place,The core-ten steel kiosk is designed with forms that suggest beech leaves resting on four blades of grass that rest in a leaf-shaped concrete footing. The steel surface has a natural rust coating that seals it from further corrosion. The kiosk serves as a community notice board in the park.,"The project was part of a community initiative to renovate the play area at Clinton Park, a joint project of the Clinton Neighbourhood Committee and the Vancouver Park Board. The specially designed community notice board kiosk was jointly funded by the Park Board and the Public Art Program.",Clinton Park,2690 Grant Street,Hastings-Sunrise,49.270466,-123.050763,Near park building,Site Work,Core-ten steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=247,,,197,247 | |
| Vancouver,December 6th Discussion,1997,Removed,"The project resulted in Transit shelter posters and 'mini' posters, distributed throughout the city of Vancouver during December1997 and January 1998. Two posters mounted on foamcore were on display for the month of December at the Vancovuer Public Library. One poster was on display in Duthie Books' window at the corner of Granville and Georgia. Thirty slides detailing the project, its participants, process, intent and outcome were shown at the Festival Cinemas, 5th and Burrard, for the months of December 1997 and January 1998.","Using disposable cameras, a group of women lliving and working in the downtown eastside documented their community and interviewed residents. Over 500 photos were taken, and many stories were told, but the women selected two images to represent what they felt to be the purpose of the project and the ""message"" they most wanted people to know. The final outcome of the project was the creation of transit shelter posters which were displayed throughout the City of Vancouver for the month of December in comemmoration of December 6th, Canada's National Day of Remembrance and Action on Violence Against Women.",Downtown Eastside,Downtown Eastside,Downtown,,,,Site Work,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=248,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=248&ImageId=207,"Ingrid Oleman, 1997",256,248 | |
| Vancouver,Glass Hand Project,1997,In place,A number of concrete tiles containing a hand print filled with cast glass were created from community workshops. These tiles were then placed in concrete columns which form the two ends of a wooden bench. The columns have peaked roofs and resemble houses connected by a bridge (the bench) in between.,,Maclean Park,Hawks Avenue & Georgia Street,Strathcona,49.278843,-123.088452,Paving,Site Work,"Concrete, glass, wood",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=249,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=249&ImageId=208,,198;199,249 | |
| Vancouver,Hands Across the Heights,1996,In place,"Working with community groups, the artist facilitated the production of mosaics to cover the cement refuse containers on Fraser, Victoria, Rupert and Kerr streets in the neighbourhood.",,multiple,"54th & Kerr; 43,47,&59th&Fraser; 41&49th&Victoria; Kingsway&Rupert",Sunset,,,,Mosaic,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=250,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=250&ImageId=209,Lorenz von Fersen,200,250 | |
| Vancouver,Collected Memories - Community Markers,1997,In place,"6"" x 8"" engraved stainless steel plaques which mark historical events in the community are secured to lamp posts throughout S.E. Vancouver. A Guide to the Community Markers was also produced. This is a compendium of personal stories, photos, and background information which was collected with the help of students from Killarny High School.",,Southeast Vancouver,Various,Victoria-Fraserview,,,,Site Work,Stainless steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=251,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=251&ImageId=210,Celine Rich,123,251 | |
| Vancouver,Mosaic Creek,1996,In place,"Mosaic Creek is a large mosaic in the shape of a creek made up of approximately 260 individual mosaics, each made by an individual or group of individuals. There are 3 separate sections of mosaic tile: the largest is approx. 80' long and varies in width and shape, the other two sections are approx. 10' long and 2 to 2.5' wide. The mosaics, set on a concrete base, are flush with the ground and flat across the surface, symbolically representing the surface of water. The park also includes a herb garden with a mosaic border designed by Glen Andersen and Marina Szijarto and wooden benches and a basalt pillar play area designed by Sarah White.","The idea for this project came from the initial public design process for the park itself. (A group called Britiannia Neighbours formed to organize a public design process and to fundraise for the park.) During the design process there were a number of ideas related ot water, none of which turned out to be feasible. Therefore, a symbolic representation was proposed - a mosaic creek. The intent was to involve as many community members as possible in making an art project which whould symbolize the notion of contributing one's individual expression and at the same time being part of a larger whole. There was no official theme or requirements except material specifications, I.e., frost-proof tile, type of glue, and spacing of tiles for grout allowance during installation. Approx. 500 people participated in the project (over 4,000 volunteer hours!).",McLean Park / Mosaic Creek Park,Charles Street & McLean Drive,Grandview-Woodland,49.273288,-123.074147,Mosiac path runs diagonally through park,Mosaic,"Frost-proof tile, pebbles, grout",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=252,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=252&ImageId=211,Barbara Cole,67;181;260,252 | |
| Vancouver,V6A ART,1995,In place,"V6A ART is a mural painted on a brick wall. Each brick was painted by a different participant in the project and reflects positive images of the Downtown Eastside, an economically depressed area of the Cty.","The Downtown Eastsite of Vancouver, the area denoted as V6A by the Canadian Postal Code system, is the lowest income per capita postal code in the country. The residents of the Downtown Eastside were given the opportunity to express their concerns, hopes, dreams and observations of their community and lives through the process of art-making. A series of workshops resulted in the production of individual works and a mural located at the Living Room Drop-In Centre.Throughout the summer of 1995, community members were given the opportunity to undertake art projects at their own pace and following their own vision. The Living Room mural, which is composed of over 300 individual pieces of art, provides a permanent public record of this process. An exhibition of works by downtown eastside residents was held at the exhibitions space The Atrium at 885 West Georgia.",Lookout Drop-in Centre,528 Powell Street,Strathcona,49.282956,-123.092458,Front of building,Mural,,Lookout Emergency Aid Society,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=254,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=254&ImageId=212,,179;180,254 | |
| Vancouver,Words in the Air,1996,Removed,6 glass panels sreenprinted with short poems by local poets,"Poets: Wayde Compton, Lisa Herrera, Melissa Keewatin, Leonard Goerge, Lisa Pasold, Jim Kelly",Renfrew Ravine Park (Renfrew-Collingwood),23rd & Renfrew Street (Renfrew-Collingwood),Renfrew-Collingwood,,,Six pieces placed throughout park,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=255,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=255&ImageId=213,,186;187,255 | |
| Vancouver,Woodland Circles,1997,In place,"Cement circles with stone and copper elements on the surface, installed flush with the ground.",,Queen Elizabeth Elementary School,4275 Crown Street,Dunbar-Southlands,49.248834,-123.193971,Scattered throughout the grounds,Site Work,Stone and copper,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=256,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=256&ImageId=214,,182,256 | |
| Vancouver,Banners on Broadway,1998,Removed,Colourful banners are hung in pairs from the lamp standards along Broadway from Guelph Street to Victoria Drive. The banner designs are developed through image-making workshops with various community groups. The artist establishes the basic design into which the drawings are incorporated.,"Banners on Broadway is an ongoing project. Project goals were: to get people active in the community, to build bridges between people, to acknowledge important people through portraitaure, to build pride, to beautify Broadway, to engage neighbourhoods in the theme of The people who we care for-the people who care for us.",Broadway (Mount Pleasant),Multiple (Mount Pleasant),Mount Pleasant,,,East from Guelph Street to Victoria Drive,Banners,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=257,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=257&ImageId=215,,280;297,257 | |
| Vancouver,Beautiful Banners on Victoria Dr.,1999,Removed,Banners are installed along Victoria Drive to beautify and mark the neighbourhood.,"Sponsored by the South Vancouver Neighbourhood House and Victoria Drive Business Association, a banner project was developed in 1999 for south Victoria Drive to provide a stronger neighbourhood look and feel to this local commercial area. Artists Sima Elizabeth Shefrin and Yvonne Clements led workshops with a wide range of community groups, including students and seniors, to develop designs for individual banners. The banners feature recognizable images of home and family from various cultures. Using an applique technique, the banners are sewn in bold shapes and bright colours. They hang in pairs along both sides of Victoria between 39th and 49th Avenues, providing decorative highlights against the backdrop of local businesses and shops. - Park Board web site",Victoria Drive,Victoria Drive from 39th to 49th Avenue,Kensington-Cedar Cottage,49.234972,-123.0654,On poles in the commerical areas of Victoria Drive,Banners,Main street awning/industrial fabric,Other,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=258,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=258&ImageId=216,,281;295,258 | |
| Vancouver,Days of Sun,1999,In place,The project includes paintings and three sidewalk mosaics of inlaid metal and tile. The sidewalk mosaics are meant to indicate welcome mats for people in the community and visitors to the centre.,"Ann Marie Slater worked with 80 participants from the Multicultual Family Centre, the Kettle Friendship Centre, and MOSAIC to create the paintings and mosaics.",Reach Community Health Centre,1145 Commercial Drive,Grandview-Woodland,49.274443,-123.069679,Sidewalk,Mosaic,"Ceramic tiles, metal inlays",Reach Community Health Centre; Britannia Community,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=259,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=259&ImageId=217,,282,259 | |
| Vancouver,Games We've Played,1999,In place,"A ceramic tile mural of children's drawings is installed on the south wall of the Annex and matching tiles are placed out in the community on private houses, steps, retail storefronts, parks, etc. Tile images are based on games children play, across generations and in their countries of origin.","Each Queen Victoria student created a design from which two tiles were made.... The scattered second set of tiles acts as a link between the community and the school, and as a game to find the match with the one at the school.",Queen Victoria School Annex,1850 East 3rd,Grandview-Woodland,49.267238,-123.066927,"Playground, 3rd Avenue & Victoria Drive",Mural,Ceramic tiles,Queen Victoria School,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=262,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=262&ImageId=218,,185,262 | |
| Vancouver,Mid-Main Mural Project,1998,In place,"The mural covers the entire front of the building on either side of the entrance facing south on 24th Ave. Images are of children playing and people walking, representing the different cultural groups in the community.","The objective of the mural is to create better community awareness of the services of the clinic, beautify an institutional building and contribute to the neighbourhood health and beautification.",Mid-Main Community Health Centre,3998 Main Street,RileyPark,49.249438,-123.100666,Exterior on either side of the entrance,Mural,,Mid-Main Community Health Centre,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=263,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=263&ImageId=219,,45,263 | |
| Vancouver,Walls of Change,1998,Removed,The works consist of 28 canvas and plywood murals designed by artists and community groups and intended to give expression to the many facets of theDowntown Eastside community.,Walls of Change was a six-month project designed to give the community an opportunity to express its uniqueness and concerns.,Hastings Street,Along Hastings Street between Cambie & Gore,DowntownEastside,,,Various locations,Mural,"Latex paint, spraypaint",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=265,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=265&ImageId=1111,,148;218,265 | |
| Vancouver,Trafalgar Tile Wall,1998,In place,"The wall consists of 588 tiles, 6""x6"" each, created by each of students at Trafalgar Elementary School. The imagery represents cultural backgrounds and values, as well as historical highlights of the school's history.",The goals of the project were to involve parents and students in working together to create a visual representation of the cultural diversity of the community and the role of the school over 50 years.,Trafalgar Elementary School,4170 Trafalgar,Arbutus Ridge,49.249535,-123.164822,West facing exterior wall,Mural,Clay and glaze,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=266,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=266&ImageId=221,,167,266 | |
| Vancouver,Welcoming Walkway,2001,In place,The project includes mosaics on the front walkway and also banners.,,Moberly Arts Centre,7646 Prince Albert,Sunset,49.215366,-123.087683,,Mosaic,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=267,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=267&ImageId=1062,,69;260,267 | |
| Vancouver,Sculpture Poems,1996,In place,30-foot high faceted cedar poles with bronze Poem-Markers and six bollards sited beside ravine pathways,"Approximately 80 students created ""poems"" expressing their ideas about the ravine. From these five were selected to be reproduced in clay and then bronze. First year students from Emily Carr Institute of Art and Design assisted the Lord Beaconsfield Elementary School students with their clay modeling. The Emily Carr students created animal and plant images interpreting the poems that were used as borders for the poems. Later these were cast in bronze. The bronze Poem Markers line the newly created pathway that runs along side the Renfrew Ravine. Renfrew Ravine Totems created from drawings of flora and fauna from the ravine were crafted from computer-laser technology. These forms were attached to 30-foot high faceted cedar poles and welcome visitors at both entrances to the Renfrew Ravine pathway.",Renfrew Community Centre,2929 East 22nd Avenue,Renfrew-Collingwood,49.252022,-123.044155,Three entrances to the Renfrew Ravine Greenway,Totem,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=268,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=268&ImageId=223,Sam Carter,47,268 | |
| Vancouver,Dry Stream,1997,In place,"A stone mosaic ""stream""runs beside the walkway. It is animated with creatures inlaid and various colours of stone and ""flows"" from a small cave which could be the mouth of an animal.",The project was to build a pebble mosaic with volunteers from the neighbourhood.,John Street pedestrian throughway,John Street,RileyPark,49.247555,-123.097036,South side of walkway,Mosaic,Stone,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=269,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=269&ImageId=224,,181;260,269 | |
| Vancouver,Leaf Bench I & II,1997,In place,"Two steel leaf benches - one backless - take their inspiration from the veins of a leaf. Fabricated with steel plate and flat bar, sandblasting and clear coated.",,Prince Albert Greenway,,Mount Pleasant,49.257805,-123.087206,15th and Prince Albert,Sculpture,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=270,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=270&ImageId=225,artist,131,270 | |
| Vancouver,Reclining Figure,1991,In place,"Driftwood pieces work together to form a figure, situated on a knoll in the park.",,Guelph Park,400 8th Avenue,Mount Pleasant,49.263812,-123.096203,S.W. lawn,Sculpture,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=271,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=271&ImageId=226,,210,271 | |
| Vancouver,Five Pencils,1992,Removed,Five large wooden pencils,,Grandview Park (Grandview Woodland), Commercial Dr. & William Street (Grandview Woodland),Grandview-Woodland,49.273507,-123.070124,,Sculpture,Wood,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=272,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=272&ImageId=227,Robert Klein,213,272 | |
| Vancouver,Three Herons,1998,In place,Bent aluminum 3-dimensional forms in the shape of herons which sit atop 12' poles along the bike path.,,Ridgeway Greenway,37th & Colluden/Knight,Kensington-Cedar Cottage,49.236852,-123.077085,Corners ,Sculpture,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=273,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=273&ImageId=228,Barbara Cole,166,273 | |
| Vancouver,Living Wall,1997,In place,A vertical garden in open wood planters which serve as pillars are interspersed with art mural panels.,"""The Living Wall Garden Project promotes innovated forms of urban agriculture and creates alternatives for the design of our growing city's future. We strengthen the relationships between street-involved youth, seniors, families, businesses and service organizations through participation in hands-on projects."" Farmfolk/Cityfolk brochure",Vancouver Aquatic Centre,1050 Beach Avenue,West End,49.276558,-123.135019,"Aquatic Centre, up exterior eastern stairs to balcony area",Sculpture,,Farm Folk/City Folk,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=274,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=274&ImageId=229,Barbara Cole,68;184;229;299;302,274 | |
| Vancouver,McGill Park,1997,In place,"Unique benches, tables, and pebble mosaics are scattered along the path in this small corner park.",Ideas were generated through workshops and an on-site design event.,McGill Park,2305 McGill,Hastings-Sunrise,49.288612,-123.057441,,Mosaic,Stones/concrete,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=275,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=275&ImageId=230,Susan Gordon,181;261,275 | |
| Vancouver,Peopling the Playground,1997,In place,The colourful figures on the mural depict the children who use the playground.,"The school desired a mural with representations of community and school playground activities. The inspiration was taken from depictions done by grade 2&3 students. There were 8 classes involved. These were enlarged, adapted into compositions and sketched on the wall, then painted.",L'Ecole Bilingue,1166 West 14th Avenue,Fairview,49.257971,-123.130626,South side wall,Mural,Bapco Professional Quality Paint,L'Ecole Bilingue,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=276,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=276&ImageId=231,,183,276 | |
| Vancouver,Converging Lines,1998,In place,"""Clothes line"" sculpture installations at each street closure","""Electrical poles are a common sight in everyday life, vital to our communication and support systems. Choosing this element to be the consistent visual object preserves the visual rhythm of the neighbourhood....The circles create a meandering horizontal line between viewer and poles.... """,Ridgeway Greenway,37th at Ross & at Colluden,Kensington-Cedar Cottage,49.236477,-123.082243,,Site Work,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=277,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=277&ImageId=232,,182,277 | |
| Vancouver,Uncoverings,1998,In place,"Round glass and steel covers are inset into the sidewalk over the vapour outlets of an underground heating system. They are lit from underneath at night and steam may be seen to escape around them. The words ""collected/dispersed"" and one other site-specific word is embossed on the glass at each site. The words refer to the systems of exchange in the underground heating plant as well as the communities of exchange within the city itself.","Uncoverings is ""a series of four textured glass and stainless steel sidewalk installations. Each reveals to the passerby the nature of hidden systems of the City. The piece includes evocative text and a subsurface structure that allows for the collection of fresh air and rainwater, the release of water vapour from vent pipes under the ground, and a connection into the City's streetlighting infrastructure. Each work operates on an individual, site-specific level as well as being part of collective, interconnected network."" (the artists)",Multiple,"Four different sites: Beatty & Robson, Burrard & Dunsmuir, Burrard & Georgia, Burrard & Smithe",Downtown,,,All four projects are flush with sidewalk near curbs and incorporate Central Heat vapour outlets,Site Work,Glass,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=278,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=278&ImageId=233,Barbara Cole,83;151,278 | |
| Vancouver,Automata - Moving Pictures,1998,Removed,"Thirteen street light poles w/3 rotating banners each will line the streets around the intersection. Four poles affixed to the retaining wall at the school corner celebrate the ""children's kingdom. "" Images of foot steps to guide children along safe paths and words of caution in several languages are sand-blasted into the sidewalk.","Automata is based on the non-literary tool of flipping pages to make a moving picture. A non-textual approach can be ""read"" by many different cultures and from a moving vehicle....This visual, tactile, and playful solution is accessible to all and can address the safety issues as well as community identity.",Queen Alexandra School (Kensington-Cedar Cottage),Clark & Broadway (Kensington-Cedar Cottage),Kensington-Cedar Cottage,,,Southeast corner and converging streets,Site Work,vinyl,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=279,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=279&ImageId=234,artists,202;259,279 | |
| Vancouver,"Vancouver Overture, Opus One",1998,In place,Black concrete pavers are laid out in a grid. Large granite blocks are placed throughout. Lights and random fountain jets offset the granite blocks.,"""From the street edge, the random qualities of changing motion are most apparent with the ever changing pattern of the jets...From the apartments above, the layout of the grid strongly suggests the layout of a city....A sense of motion is given to the work with the serpentine pattern of the granite blocks. """,Bayshore,Georgia Street & Cardero,Downtown,49.290946,-123.130378,,Fountain,"Granite, concrete",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=280,,,203,280 | |
| Vancouver,GRANtable,1998,In place,"A giant, 66' long concrete table with two chairs at the ends and two side benches, the piece sits on the grass at the bottom of a stairway. It is surrounded by a formal plantings. Table top is textured with playing board squares.","""Taking its cue from the grand rooms of neoclassical architecture, GRANtable completes the axis of the existing grand stair by terminating the procession in a grand outdoor dining room. The project can be viewed as urban infrastructure when occupied, or as a sculpture when empty."" - project statement by the artists",Mae and Lorne Brown Park (or SEGS Park),Beach Avenue between Hornby & Howe Street,Downtown,49.275212,-123.132059,Centre of the park at base of stairs,Sculpture,"Concrete, granite, steel, bronze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=281,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=281&ImageId=235,Barbara Cole,114;197,281 | |
| Vancouver,Traffic Circles,1997,In place,Large boulders are installed as traffic circles in three intersections. Reflectors are distributed on a 6'x6' grid throughout the intersection.,Rocks are objects and obstructions. They are 'super nature' and their scale and siting are what raises them beyond being just rocks.... The context around them may be what appears strange.,Traffic Circles ,"Garden Dr. at Oxford, Cambridge and Eton Sts.",Grandview-Woodland,49.286618,-123.057708,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=282,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=282&ImageId=236,Barbara Cole,204,282 | |
| Vancouver,Sisaxo'las Pole,1986,In place,"""...carved by the Kwakwaka'wakw artist Charlie James - commissioned by Chief Sisaxo'las of Kingcome Inlet and Alert Bay to tell the story of his mythological and noble ancestor, Siwid. Acquired from its original owner in 1922, it was given to the Art, Historic and Scientific Association (now the Vancouver Museum Association) for the people of Vancouver. As part of the City's permanent collections, it was on view in Stanley Park from 1922 to 1986, when it was brought indoors by the Museum to prevent further decay. Preservation work was undertaken with support from the Bank of British Columbia, now a division of the Hong Kong Bank of Canada, through the Vancouver Legacies Program. The pole is currently placed in the lobby of the Vancouver Trade and Convention Centre by the Vancouver Museum."" (From information page supplied by Trade and Convention Centre)",,Trade and Convention Centre,999 Canada Place Way,Downtown,49.287974,-123.113395,Lobby of Trade and Convention Centre,Totem,Cedar,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=284,,,81,284 | |
| Vancouver,Untitled,1988,In place,"This pair of totems carved by Gitksan artists was originally commissioned by Highfield Development and erected at the entrance to Airport Executive Park in Richmond (1970). Donated to the Vancouver Museum in 1988 by Sun Life of Canada, they were placed in the lobby of the Vancouver Trade and Convention Centre by the Museum under special agreement. (From information supplied by Trade and Convention Centre)",,Trade and Convention Centre,999 Canada Place Way,Downtown,49.288027,-123.113251,Lobby of Trade and Convention Centre,Totem,Cedar,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=285,,,195,285 | |
| Vancouver,Untitled (wall hanging),1986,In place,"A series of four quilts that represent different industries of British Columbia. One quilt represents the past, another the present and two quilts are of the future.",,Trade and Convention Centre, 999 Canada Place Way,Downtown,49.287927,-123.113485,Delegate concourse,Tapestry,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=287,,,225,287 | |
| Vancouver,Salute to the Lions of Vancouver,1991,In place,"Two matching steel-cut lions jump through lighted hoops held between two vertical beams. The piece is situated on the west side of the deck around Canada Place and looks out at The Lions, the mountains across the bay. ""This piece, which includes a bronze plaque commemorating Pauline Johnson, was commissioned from Falk by the architects after a cross-Canada competition failed to turn up anything they liked. The artist's original scheme, comprising eight dogs leaping through rings of fire (""I wanted it to be a real salute"") was modified considerably."" (Elizabeth Godley, 671, The Greater Vancouver Book)",,Canada Place,999 Canada Place Way,Downtown,49.288861,-123.109588,Level 21K of Canada Place,Sculpture,Stainless steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=288,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=288&ImageId=237,Barbara Cole,226,288 | |
| Vancouver,Untitled (Dr. Stanley Ho Building),1996,Removed,"The architect designed the block for two owners, but to date, only one has chosen to build. Until the missing part of the equation is filled, a romanticized version of the lost view to the lagoon fills the wall.",,Dr. Stanley Ho Building,606 Chilco Street,West End,49.294127,-123.136859,East side of building facing empty lot,Mural,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=289,,,228,289 | |
| Vancouver,Seal's Ball,1996,In place,"At Second Beach Pool, a concrete seal once balanced a ball on the tip of its nose. An animal rights group took offense and asked the Park Board to remove the piece. The poised seal remains, but the ball's new home is on a pole on the roof of the concession stand at the foot of Denman Street.",,, S foot of Denman Street,West End,49.286661,-123.142699,Concession stand at English Bay,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=290,,,195,290 | |
| Vancouver,Rick Hansen - Man in Motion,1997,Removed,"A commemorative sculpture commissioned to celebrate the 10th anniversary of Rick Hansen's ""Man in Motion"" world tour, this sculpture is 6.5 feet high. The sculpture by Koochin sits in front of a screen printed tile collage created by Blake Williams. The collage uses excerpts from maps, diaries, and media coverage to chronicle Hansen's wheelchair journey across Canada.","""This project was timed to commemorate the 10th anniversary of Rick Hansen�s �Man in Motion� world tour. The work was intended to honour his achievements and to act as a symbol of the stuggles and hardships that disabled and able bodied people can overcome through perseverence and faith in oneself.""",General Motors Place,800 Griffiths Way,Downtown,49.278494,-123.10804,,Memorial,"Granite, ceramic tile",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=292,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=292&ImageId=238,Barbara Cole,185;257,292 | |
| Vancouver,Thunderbird Mural,1997,In place,,,Thunderbird Community Centre, 2511 Cassiar Street,Downtown,49.263387,-123.031862,,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=293,,,,293 | |
| Vancouver,Swedish Fountain,1975,In place,"This bronze fountain, donated by Vanocuver's Swedish community, depicts the history and contributions of Swedish immigrants to British Columbia. The fountain, cast in Sweden, was unveiled at the official opening of VanDusen, August 30, 1975.",,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.238041,-123.128435,Entrance Court,Fountain,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=294,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=294&ImageId=239,,242,294 | |
| Vancouver,Drinking Fountain,1977,In place,David Backstrom is a former designer with the Vancouver Board of Parks & Recreation.,,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239117,-123.129643,Near the Western North America Flora Section,Fountain,Nephrite (BC jade),City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=298,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=298&ImageId=893,Heide Dobler,245,298 | |
| Vancouver,Three Botanists,1987,In place,"The three bronze busts of Carolus Linnaeus, Archibald Menzies, and David Douglas were a Gift of Schenley Canada Inc.",,VanDusen Botanical Garden,5251 Oak Street,Shaughnessy,49.239068,-123.134604,2 in Formal Rose Garden; The bust of Carolus Linnaeus is in storage,Figure,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=299,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=299&ImageId=244,VanDusen website,241,299 | |
| Vancouver,Joy of Freedom,1995,In place,"This bronze abstract was donated to the Province of British Columbia in 1995 ""in honour of all Canadians who contributed to the liberation of the Netherlands in 1944-1945."" The Dutch Canadians Remember 1945 Society wanted to leave a permanent message marking the joy of the freedom of being liberated from oppression.","""In this design one can see two clasping hand-forms. These hands symbolize oppression. However, despite the suppression freedom has become possible. The spirit of a people will never be crushed and is depicted here by V forms. The International V sign is recognized by people worldwide. The human figure escaping from the clasped hands is symbolic of freedom and victory.""",Robson Square,Robson & Hornby Street,Downtown,49.281413,-123.122005,,Memorial,Bronze,Province of British Columbia,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=300,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=300&ImageId=245,,248,300 | |
| Vancouver,Spirits in a Landscape,1992,In place,"Commissioned by BC Gas, this bronze sculpture on the corner represents the natural world ""as a reflection of our own human pursuits and activities.""",,BC Gas Building,1111 West Georgia Street,Downtown,49.286143,-123.123505,Outside main entrance,Sculpture,Bronze,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=301,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=301&ImageId=246,,249,301 | |
| Vancouver,Dragonfly Project,2000,Removed,"Thirty-five colourful mixed-media sculptures of dragonflies can be found on fences, buildings, and bus shellters throughout the neighbourhood. The sculptures represent kingfishers, bumblebees, butterflies, ladybugs, etc. and sometimes mythical creatures.","The artist worked with more than 100 members of the Marpole community to create the sculptures around the neighbourhood. A pilot project in 1999 produced 17 ""bug"" sculptures. This was followed up in 2000 with more workshops and an expansion of the original project.",,(multiple sites),Marpole,,,,Sculpture,papier mache,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=304,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=304&ImageId=247,Eric Neighbour,251,304 | |
| Vancouver,Grandview-Terrace Welcoming Poles,2000,In place,,"These poles stand at the centre of a community revitalization project which will ultimately contain gardens and an outdoor gathering centre/outdoor classroom in Longhouse style. The project is located on the grounds shared by the Grandview Elementary School, the Grandview Terrace Childcare Centre and the Variety Learning Centre. Local residents, parents, teachers and students have been working on this project for a number of years. The ultimate vision is the environmental and cultural revitalization of the area.",Grandview/Uuqinak'uuk Elementary School,2055 Woodland Drive,Grandview-Woodland,49.265898,-123.074627,,Totem,Recycled BC hydro poles,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=305,,,66;252,305 | |
| Vancouver,Colour,2001,In place,The project includes a long winding retaining wall as well as a bench and a drinking fountain covered in colourful mosaics.,"As design consultant for the hastings community spray park itself, �the project allowed the opportunity for me to be the artist responsible for its decorative details as well - an abstract series of tile mosaics incorporating the creative contributions of over 700 local children, this community public art project provided a custom finish to a custom spray park. Hastings Park is at the base of the Hastings Street slope and in the middle of the Hastings community. A grass slope provides a natural sunny amphitheater from which parents and supervisors can oversee the activities in the water park. It was proposed that the slope be modified slightly and retained by a low 2' high concrete wall. The surface treatment of the face of this retaining wall provided a prime opportunity for the integration of a community public art piece. Water will be flowing out of the wall while the park is operating. The artwork will add interest and animation to the play area during both on and off season months. The artwork takes the form of a colourful file mosaic applied to the surface of the wall and could also incorporate metal inlays (eg. Brass, bronze, or copper to compliment and coordinate with the water spray heads). The design of the artwork and the design of the waterplay area happened simultaneously to ensure the production an appropriate piece, unique to this particular site. - Park Board web site",Hastings Community Park,3096 East Hastings,DowntownEastside,49.280674,-123.03489,Water park,Mosaic,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=306,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=306&ImageId=248,Nicole May,253,306 | |
| Vancouver,Stepping Stones to the Future,1999,In place,The project entails student and parent designed and produced surface pebble mosaics to enhance the front entry area of Jules Quesnel School. The surface mosaics are a component of our comprehensive Front Entry Greening Project. This project includes a unit-paved meeting place/ outdoor classroom with benches; woodland and frangrance gardens; and the installation of boulders to evoke naturalism and stimulate creative play. The surface mosaics have four areas of application: as the focal point of the paved meeting place; a ring of 'stepping stones' around en existing cedar tree; a path through a woodland garden; at the boulevard planting.,"This project is being undertaken, not only for the richness it will provide to a highly visible and well used site, but for the farther reaching benefit of giving students an opportunity to directly contribute to the physical enhancement of a public space. The process itself, of design and production workshops, of participation in a group determined artwork, and the legacy of a personal contribution to a significant institution in their lives, is a valuable social lesson.",Jules Quesnel School,3050 Crown Street,West Point Grey,49.25902,-123.192581,Front entry,Mosaic,,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=308,,,69;260,308 | |
| Vancouver,Photo Session,1984,In place,Bronze figurative sculpture of a casual photo session: man with a camera photographing three people.,"Johnson begins with a small clay model to fashion the gesture and pose of a figure. Once the pose is established, the artist works with a live model to sculpt the face and the exact position and a nude figure is cast in plaster. The clothes are then sewn onto the cast figure. Resin is applied to stiffen all the fabrics. The piece is then cast in wax, refined, and a ceramic mold is made in preparation for casting in bronze. Bronze details are added after.",Queen Elizabeth Park,4600 Cambie,RileyPark,49.24213,-123.112471,"Bloedel Conservatory lookout overlooking Anniversary Quarry Garden, SE of dome",Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=309,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=309&ImageId=1041,,84,309 | |
| Vancouver,Unlimited Growth Increases The Divide,1990,In place,"The text consists of 7"" copper letters above the entrance to the gallery. The text is cut from 1/4"" copper plate and installed in its original red metallic state, inviting a ""corporate"" reading. However, it will change with time and exposure, to a greenish, aged surface. The text will be visually assimilated into the existing green color of the building, and will remain permanently on the site.","""The strategy behind ""Unlimited Growth ..."" is direct. It is directed at those who operate our free-market economy in their own interests, while excluding those interests that would be 'responsive to the needs of the community'. The subtext to ""Unlimited Growth .."" relates to several aspects of public art including the need to address the use of site-specific work as a way of intervening in local issues, and in this instance, acting as a marker of resistance by the economically marginalized, as represented by a parallel gallery and a hotel providing affordable housing. Walter raises questions related to the systems underlying the transactions and power-plays that constitute normal business in the world of real estate development. In Walter's art the museum without walls is also a museum OF walls, walls new and old, as well as those walls that perpetuate economic class distinctions. Her text on the fa�ade of the Del-Mar Hotel will stand as a witness to the various power-plays, including the threat to move B.C. Hydro's head office to the suburb of Burnaby, that led to the development surrounding 553-555 Hamilton Street."" - from ""The Interventions of Kathryn Walter"" by Bill Jeffries, Contemporary Art Gallery, Vancouver, 1990",Or Art Gallery,555 Hamilton Street,Downtown,49.281487,-123.112093,On exterior of building,Site Work,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=311,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=311&ImageId=250,,50,311 | |
| Vancouver,"BC Nurses Memorial - ""When Humans Bleed""",1999,In place,,"Own this work as your own if you so choose; examine it, question it, deride it or admire it. It will satisfy some aspect of your being.I have left the original drill marks which extracted the stone from the ground. These symbolize the core issues which we must all examine without which true healing does not occur. As issues resolve and wounds heal the capacity for integrated action is rejuvenated and we can go forth free from that which binds.",Vancouver General Hospital,899 West 12th Avenue,Fairview,49.260248,-123.122348,South side of 12th Avenue,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=312,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=312&ImageId=251,,48,312 | |
| Vancouver,Milky Way,1999,In place,"Integrated into the public walkway through the Lions Developement at 1300 West Georgia, is a plaza incorporating fibre optic lights, mosaic swirls, and 3 large bronze castings of cargo ships seen from above. The lights, which are at grade level, define constellations in the night sky. The colorful swirls represent other galaxies and deep space objects, and the boats allude both to the actual cargo ships found in Vancouver's harbour and to mankind's use of the stars as navigation tools. Kerr's sculpture was commissioned by the developer of the site after a competition sanctioned by the Vancouver Public Art Committee. It has been integrated into the public plaza/walkway that runs diagonally through the site from the corner of Alberni and Broughton to the corner of Jervis and Georgia.The work addresses pedestrian traffic through the walkway both during the day and as a completely different experience at night. It also allows opportunities for viewing the work from above from suites in the towers and from neighbouring towers.""Milky Way"" has four elements layered into the work. The first is 39 colorful mosaic spiral galaxies scattered across the site. The brilliantly colorful mosaic tiles stand in marked contrast to the second element, colored stone aggregate which has been laid down in large abstract fiels and which represent the ""cosmic sea"". The third element is 170 fibre optic point lights, in four different intensities, which represent the stars in 36 constellations. These ""stars"" are each set into a black granite star shaped tile and each constellation is further defined by lines of polished brass set into the aggregate. The last element is three large bronze castings of cargo ships, commonly seen in Vancouver's harbour - a fishing trawler, a tug and gravel barge, and a BC ferry - all seen from above.This work is both public and private, it welcomes both day and night viewing (in some sense providing its own light), and it enhances both public space and the developer's concerns for place making and site harmony. ""Milky Way"" is a successful example of Vancouver's public art program which has emphasized ""site specific"" public art instead of traditional sculpture.","""By day, a swirling mosaic paints the night sky beneath our footsteps. By night, the ground plane disappears; a dazzling array of starlight guides our way. We walk like giants through a carpet of lights, our footsteps stir the universe."" (From artists' proposal)""�There are four main elements layered into the work. First, 40 tile mosaics spiral across the site in 16 brilliant colours. Each design has been abstracted from photo images of actual galaxies. Then clusters of stars are created by 160 fibre optic points of light set in granite tiles which in turn are joined by polished brass dashed lines to define familiar constellations. The granite has been designed and laid out in four shapes reflecting four different starlight intensities. Third, alluding to humankind's historical fascination with navigation of the heavens, four large bronze castings of ships, icons familiar to Vancouver's harbours, are set at each port or threshold of entry - a fishing trawler, a gravel barge and tug, and an 18-foot long ferry. Finally, the 40 colour fields of stone aggregate, which overlay and unite all the elements, are abstractions of colour maps made of the Milky Ways' ""cosmic sea."" The recurring fours and forties and their multiples in the work refer to wholeness, totality, and completion (appropriate for a work completed at the end of the millennium)."" (From news release for public opening ceremony)",The Lions,1300 West Georgia,West End,49.288328,-123.127743,Exterior plaza walkway running diagonally between Georgia & Alberni,Mosaic,"Stone aggregate, glass & granite tile, brass & bronze inserts, fibre optics",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=313,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=313&ImageId=252,Colin Goldie,51,313 | |
| Vancouver,Flame of Peace,1986,In place,"A bronze cauldron contains the flame that is also the source of the water that surrounds the flame. The cauldron rests on a granite slab supported by a granite boulder. In the original plan, twelve other boulders surround the monument.",,Seaforth Park, (south end of Burrard Bridge),Kitsilano,49.272017,-123.145862,,Fountain,"Bronze, granite",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=314,,,47,314 | |
| Vancouver,Water Work,1993,In place,,,B.C. Hydro,,Downtown,49.28167,-123.112972,,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=316,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=316&ImageId=254,,1,316 | |
| Vancouver,Space Ribbon,1985,Removed,,,Courtyard between Burrard & Thurlow (north side),1000 block Alberni Street,West End,,,,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=317,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=317&ImageId=255,,53,317 | |
| Vancouver,The Pod,1989,In place,"Commissioned as a tribute to killer orca whales, this bronze rendition of two whales riding waves is mounted on a granite base.",,,510 Burrard Street,Downtown,49.286128,-123.117586,Plaza,Sculpture,Bronze,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=318,,,2,318 | |
| Vancouver,Wilp,1985,In place,"unpainted portal pole carved in Nishga (Tsimshian) style. The pole's name, Wilp, means ""where the people gather."" Norman Tait's carving assistants were all family: brother, son, nephew, and cousin, and they are represented by the four faces around the entrance. Each man carved his own ""signature piece""; though similar, all are different. Tait's signature piece is the little bear cub.","""The carved figures tell the story of Man, taken care of by the spirits, who wandered the empty earth. Lonely, he went to the forest aned asked the Spirit of the Forest, ""Why am I alone? Isn't there anyone in the forest to help me?"" The spirit said, ""I will give you Black Bear. If you can live in harmony with him, I will send you more of my children."" He did, and Man learned to live in peace with the forest people.Paddling on the sea, Man asked the Spirit of the Sea, ""Why am I alone on the water?"" The spirit said, ""I will send you Blackfish; If you learn to live with him, I will send you more of my children."" He did, and Man learned to live in peace with the people of the sea.Noticing the emptiness of the sky one day, Man said to the Spirit of the Sky, ""Send me one of your children, for I have twice shown tha ti can live with other than myself."" The Spirit of the Sky send him Raven, and Man again proved he could live in harmony with the other creatures.That humans can live together with the children of the forest, the water and the sky is evidneced by the many animals, fish and birds that still aboun in these habitaats. If wwwe can learn to live in peace with such diverse creatures, we can surely live in peace with each other."" (from Stewart, Totem Poles, 1990)",Native Education Centre,285 East 5th Avenue,Mount Pleasant,49.266551,-123.09901,Entrance,Totem,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=319,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=319&ImageId=256,"pole being raised, June 25, 1985; photo by Hilary Stewart (in Totem Poles, 1990)",55;56;57;58;238,319 | |
| Vancouver,Community Fence,1994,In place,"This fence consists of about 400 red cedar pickets, each one hand-carved by someone living and/or working in Mount Pleasant. The project was initiated by artists connected with the grunt gallery, a storefront, artist-run centre. (from The Greater Vancouver Book)",,Community garden,Fraser & 8th,Mount Pleasant,49.26368,-123.088473,Perimeter,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=320,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=320&ImageId=257,,61;62;219,320 | |
| Vancouver,Rand and Edgar Mural (Maritime Museum Mural),1986,In place,This mural is an elaborately detailed and colourful depiction of the events and people in the history of the harbour of Vancouver.,"""Through a series of interconnected images, this mural tells of the people and ships that played a vital role in shaping the history and culture of Vancouver. Two centuries of activity are traced in time from left to right."" (information sheet from the Maritime Museum) In the upper left, the ""Lions"" represent the geographic outlook of Vancouver. The activity on the sea is represented by images of First Nations peoples and their canoes and Captain George Vancouver and his ship Discovery along with Valdes and Galiano and their ships Sutil and Mexicana from 1792.The image also shows Captain GH Richards who surveyed the area and his ship Plumber as well as the Beaver, the first steamship on the coast, a Hudson Bay Company supply vessel, along with others. In the diamond in the centre of the image is the Empress of Japan and its famous dragon figurehead which is in the Museum's collection. Modern freighters and luxury steamers complete this section of the picture. The Lions Gate Bridge, built in 1939, is depicted, as is the St Roch, the RCMP patrol vessel that worked the North-West Passage in the early 1940s, which is housed in the Maritime Museum. Also shown are the Ivanhoe and the Master, wood-hulled tugs from the early 20th century. The harbour is depicted by Canada Place with its cruise ship facility and the Saskatchewan Grain Pool elevator and a Japanese freighter. The people who work in the harbour are also shown, identifiably Joe Fortes, the legendary English Bay lifeguard. The mural was created for the Vancouver Centennial in 1986. It is a project of the Vancouver Legacies Programme in cooperation with the Vancouver Maritime Museum and a gift to the city from the firm of Rand and Edgar, Barristers and Solicitors.",Vancouver Maritime Museum,1905 Ogden Avenue,Kitsilano,49.27753,-123.148075,Mural on the west side of the Maritime Museum,Mural,Mural paints,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=321,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=321&ImageId=258,,63,321 | |
| Vancouver,Nicholas Copernicus Plaque,1973,In place,,,Vanier Park,1000 Chestnut,West End,49.275545,-123.143707,,Relief,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=322,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=322&ImageId=259,,528,322 | |
| Vancouver,House of Happiness Totem Pole,1990,In place,"This pole in the Northern style features Beaver - the busy creature that builds its own home - topped by three Watchmen, or guardian spirits, who watch over the house.","Standing as a sentinel in front of an attractive multiple-housing unit, this pole identifies one of many such units built by Vancouver Native Housing Project. The rusty red and blue used on the building's exterior echo the colours on the pole, which stands in a landscaped garden, and is spotlit at night.Each house built by the Vancouver Native Housing Project has its own pole, carved by various native artists. Each house has a name, as did the large houses of old that sheltered many families under one roof. This one is named House of Happiness.",House of Happiness,860 East 7th Avenue,Mount Pleasant,49.264037,-123.085693,In front of the building,Totem,Cedar,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=323,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=323&ImageId=260,,64,323 | |
| Vancouver,Totem Pole 1 (On Loan for Exhibit to YVR),1990,In place,"Cultural style: 'Ksan (Tsimshian)At the top of the pole, a human sits on the head of Eagle-Person, a crest said to have been taken by a family on its ancient migration from Hagwilget country to Kitwancool. In a lake they saw a large human being with an eaglelike head, wearing a headdress of grizzly bear claws that had water lily leaves around it: all these became crests.The carving on the pole depicts this supernatural being with an eaglelike head, human arms holding a frog, wings carved with human heads, and legs that end in clawed feet. The outspread wings are an unusual feature for a 'Ksan pole.Beneath is Grizzly Bear of the Sea; the two dorsal fins signify its marine affiliation. Variations in Sea Bear crests for this area also have three fins, or one fin with a carved face on it.The Gitksan have a story similar to the Haida's Nanasimget story, in which Whale abducts a man's wife. The lower section of the pole portrays this: the wife is clinging to Whale's dorsal fin; its pectoral fins are at the sides, and the tail fluke is turned over its back. The husband is at the base.",, On Loan for Exhibit to YVR since 1995,,Stanley Park,,,,Totem,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=324,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=324&ImageId=261,,223,324 | |
| Vancouver,Welcome Figures (Vancouver Museum and Planetarium),1990,In place,"Culture Style: Nuu-chah-nulthThe welcome figures, carved in the tradition of the Clayoquot, have arms that swivel at the shoulder. When positioned at the beach to welcome guests to a special event at the village, the welcome poles had their arms raised; when not in use, the arms were lowered to facilitate storage.The man wears the traditional knobbed hat of a high-ranking person, perhaps a whaling chief, while the woman wears the domed hat common among her people. Both wear skirts that in reality would have been made of inner cedar bark, softly shredded and finely woven. Examples of such clothing can be seen inside the museum, along with many other exhibits of early times.","These dramatic figures, which were originally commissioned to flank the entrance to the British Columbia pavilion at Expo 86 in Vancouver, stood near totem poles from other tribal groups.",Vancouver Museum and Planetarium,1100 Chestnut Street,Kitsilano,49.275936,-123.143107,,Totem,Clear-grained cedar logs from nearby beaches,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=325,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=325&ImageId=262,,59,325 | |
| Vancouver,Totem Pole 2 (On Loan for exhibit to YVR),1990,In place,"Cultural style: 'Ksan (Tsimshian)The Nanasimget story of the Whale abducting the man's wife is shown at the top of this pole: here the wife is riding Whale's tail. Beneath the crouched figure of the husband is Hawk, with its claws on a small human who fills the space between the ears of Owl, below.Next is a legendary being who has his head on his chest, not on his neck; hence, the arms are shown coming from the sides of the man's head. This is a crest of the carver. The being holds Frog, and at the base is Eagle.","Two of the poles in the plaza are by Earl Muldoe, a veteran carver of 'Ksan. ""I personally selected the logs I wanted to use,"" he said. ""These are old-growth cedars, with scarcely a knot on their entire length. They came from the Kitimat valley.""Originally these poles, together with two smaller ones, were commissioned by Highfield Development to grace the entrance to Airport Executive Park in Richmond, B.C. Seventeen years later they were taken down and donated to the Vancouver Museum. The two small poles went to the Vancouver Trade and Convention Centre, and the three tall ones to the Plaza of Nations - all on long-term loan.",On Loan for exhibit to YVR since 1995,,Stanley Park,,,,Totem,Cedars,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=326,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=326&ImageId=263,,109,326 | |
| Vancouver,Totem Pole (Langara College),1990,In place,Culture Style: Haida,"""Top figure: The Bear represents the cruel world or the bogey man; between its ears, a little man with an open mouth symbolizes the people who tell you to stay on the beaten path and forget your crazy dreams.""Centre figure: Here we have another Bear, without ears, devouring a man with a flute in his hand. This says, 'It doesn't matter how good you are, if no one hears, you are as good as dead.' I do not believe this applies to specific talent such as art or music; the only real talent people have is to express what is really inside themselves. ""Bottom figure: In early times a figure carved upside-down was a way of degrading a specific individual. Here we have a man being degraded and eaten by a large man. I call this figure 'man with ulcers', because both figures are the same person. The large image secretly weeps as he eats himself up inside over dreams not pursued.""",Langara College,100 West 49th Avenue,Oakridge,49.225138,-123.107627,,Totem,Cedar,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=327,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=327&ImageId=264,,60,327 | |
| Vancouver,Totem Pole 3 (On Loan for exhibit to YVR),1990,In place,"Cultural style: 'Ksan (Tsimshian)A lone Watchman sits atop four rings, called ""chief's rings"" by the carver. ""Each ring,"" he said, ""had to be earned by the owner through some special undertaking or major commitment."" Beneath the rings, Raven appears in his traditional duality - as bird and as human, with the latter crouched between the ears of Bear, who holds Frog before him. These are two separate crests carved in combination.Bear's feet rest on the head of the supernatural Mountain Hawk. ""He's always shown with both a recurved beak and a mouth with many teeth. It is a crest of my family,"" the carver said.Also belonging to the Muldoe family is a very old crest known as Halfway Out, seen at the base of the pole. The origin of this goes back to the war expedition of the warrior Naeqt against the Kitimat people of the coast. In the early 1920s, his great-grandson gave an account of the gruesome event to Canadian anthropologist Marius Barbeau: ""Naeqt started on the warpath against Kitimat. On his way down, he came upon a camp, wherein a man sat by himself. He took his knife and cut the man through the middle almost in two halves, so strong was he. The wounded man ran into the lake and stood in the water up to his ribs."" The name and the crest Halfway Out were derived from this incident and brought back by the warrior.",, On Loan for exhibit to YVR since 1995,,Stanley Park,,,,Totem,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=328,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=328&ImageId=265,,109,328 | |
| Vancouver,Collective Echoes,1999,In place,The community had input into the images and the artists designed stencils that were then used to paint images onto the sidewalks and area surrounding the community centre.,"The project intention was for a group of established artists to steward a group of young emerging artists (16-24) to create six projects addressing issues of identity. An audio element would be the only integrating feature, connecting the projects with an audio tour. The projects were developed through a collective process. Mentoring artists included Claudia Cuesta, Henry Tsang, Pia Massie, Sharon Yuen, Seth Adrian Harris, Pat Beaton, Skai Fowler, and Rob Kosinuk. Youth Project Managers were Naomi Steinberg and Dana Thorne.",Cedar Cottage Neighbourhood House,4065 Victoria Drive,Kensington-Cedar Cottage,49.248832,-123.065168,Sidewalks,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=330,,,67;68,330 | |
| Vancouver,Mainly for the Birds,1999,In place,"This project involved many ""bird-friendly"" education activities and resulted in a mural of painted wood panels with images of wild birds that inhabit the city in this area.","The Mainly for the Birds project celebrates the presence of the birds in the neighbourhood. Part of the project included studying the local birds, doing bird counts, and creating plantings and bird houses to increase the bird supportive habitat along the busy corridor from Broadway to 37th Avenue, including Main Street and four blocks on either side. About 20 trees and two planters were added to the school ground, with more planned, in an effort to create a ""bird-friendly corridor.""",Simon Fraser Elementary School,100 West 15th Avenue,Mount Pleasant,49.257173,-123.108382,South and east faces of the school,Painting,"Wood, paint",Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=331,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=331&ImageId=267,jil p. weaving,219,331 | |
| Vancouver,Memorial to Barbara Dalrymple and John Rockingham,2000,In place,A memorial garden.,,Granville Island,,Fairview,49.269881,-123.135749,,Site Work,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=333,,,195,333 | |
| Vancouver,Machina Metronoma (South Cambie neighbourhood),1997,In place,"There are seven sculptures in the Metronoma series, mounted atop 12-ft high cyclist-activated traffic poles located at three intersections along 37th Avenue Ridgeway Greenway at Granville, Cambie and Fraser Streets. On Cambie Street at the north side of the blvd is ""Machina Metronoma: Another Way to Know That You Have Worn the Wrong Shoes for Cycling"" (icon: roller skates); on the south side of the blvd: ""Machina Metronoma: Another Way to Know that You Have Worn the Wrong Shoes for Cycling"" (icon: skate blades); on the west side of traffic divider: ""Machina Metronoma: Another Way to Know that You Have Worn the Wrong Shoes for Cycling"" (icon: golf shoe soles); on the east side of traffic divider: ""Machina Metronoma: Another Way to Know that You Have Worn the Wrong Shoes for Cycling"" (icon: hiking boot soles).","These works were conceptualized as ""a series of modern column capitals....decorated with iconography celebrating self-propelled technology and local history. Each capital comprises one of fourteen ""Stations of the Crossings....""",Ridgeway Greenway,37th Avenue at Cambie Street,South Cambie,49.237256,-123.116352,Four poles at intersection,Sculpture,Fibreglass and steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=334,,,258,334 | |
| Vancouver,Machina Metronoma (Kensington-Cedar Cottage neighbourhood),1997,In place,"There are nine different sculptures in the Metronoma series, mounted atop 12-ft high cyclist-activated traffic signal poles located at three intersections along 37th Avenue Ridgeway Greenway at Granville, Cambie, and Fraser Streets. There are three poles at Fraser Street: on the west side of intersection: ""Machina Metronoma: How can you make any progress when going in a circle?"" (icon: six speed sprocket); on the NE side of intersection: ""Machina Metronoma: How can you make any progress when going in a circle?"" (icon: upward bicycle pedal and crank); and on the SE side of intersection: ""Machina Metronoma: How can you make any progress when going in a circle?"" (icon: downward bicycle pedal and crank).","These works were conceptualized as ""a series of modern column capitals....decorated with iconography celebrating self-propelled technology and local history. Each capital comprises one of fourteen ""Stations of the Crossings....""",Ridgeway Greenway,37th at Fraser Street,Kensington-Cedar Cottage,49.236546,-123.090125,Poles at crossings,Sculpture,Fibreglass and steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=335,,,258,335 | |
| Vancouver,Garland,2002,In place,Garland is a green steel archway 16' high that spans the sidewalk between the community centre and the parking lot. The arch is adorned with a cluster of forged steel oak leaves each about 3' long. It contains lights that illuminate the path.,"""garland is intended as a lyrical work creating a memorable image of arrival, passage and place. The imagery for this gateway sculpture is derived from two sources. First is the image of the oak leaf, in reference to Oak Park. The image or form of the arch reflects the arc lines and shapes of the concrete forms that are part of the walkway itself.""",Marpole-Oakridge Community Centre (Oak Park),990 West 59th Avenue,Marpole,49.217006,-123.128093,"NW corner of the park, off 59th Avenue",Gateway,6-inch rolled steel pipe; cut and forged steel leaves,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=336,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=336&ImageId=269,,131,336 | |
| Vancouver,"Four Boats Stranded: Red and Yellow, Black and White",2001,In place,"The installation is made up of four, scaled down boats located on the Gallery's uppermost rooftop.","""Taking into account several important attributes of the Vancouver Art Gallery's site, Ken Lum has created a work that serves as a directional , geographical and historical marker. The four installed boats include scaled down versions of a First Nations Longboat, Captain Vancouver's ship, the Komagata Maru (the infamous 1914 Indian immigrant ship) and a cargo ship that recently carried migrants from China's Fujian Province. The boats are each painted a single colour which speaks to a colonial stereotyping of cultural, racial and historical identification. The First Nations boat is red, Captain Vancouver's ship is white, the Komagata Maru is black and the Fujian ghost ship is yellow."" (From a VAG press release, September 2001)",Vancouver Art Gallery,750 Hornby Street,Downtown,49.282932,-123.120415,Four corners of central roof of the Gallery,Sculpture,Fibreglass,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=337,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=337&ImageId=783,Trevor Mills,3,337 | |
| Vancouver,Squid Head,2001,Removed,"Squid Head is made of parts of two reconfigured vehicles, a truck and a van and painted in bright yellow and green.","Squid Head is one of four pieces commissioned by the Vancouver Art Gallery as part of the project On Location - Public Art for the New Millennium. "".., this inventive and humourous hybrid work draws on the purposes of the spaces that surround the Gallery. Squid Head is at once animal, industry,,, commerce and entertainment - a combination that could be described as a squid-like, space-age hot dog stand. The bulbous concession area of the sculpture can be opened up to display and disseminate its holdings (reminiscent of lunchtime offerings) while the entire pseudo-architectural sculpture can be raised and lowered on movable legs. The work has nomadic potential and can inhabit various spots on the grounds around the Gallery, suggesting multiple uses and articulating the possible roles of public space and public art."" (From a VAG press release, September 2001)",Vancouver Art Gallery,750 Hornby Street,Downtown,49.282879,-123.120461,Plaza outside Robson Street entrance,Sculpture,"Hamlton steel, glass, car parts, fiberglass, wood, tires",,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=338,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=338&ImageId=271,"Vancouver Art Gallery 2000.23 A-B, Photo: Trevor Mills",268,338 | |
| Vancouver,Weave,2002,In place,"The work addresses the history of Coal Harbour and is comprised of four parts: 1) Three 8' diameter rings and one half ring 15' in diameter in cast bronze paving stones with a Douglas Fir bark pattern. The size of the rings represents the size of old-growth trees. 2) Three steel benches with waterjet texts cut in the seats. The texts are in Spanish, English and First Nations languages and include names of people, industries, plants and aquatic life relevant to the area. 3) Seven cast aluminum tree grates that depict hydrographic maps and the aviation history of Coal Harbour. 4) Bronze panels depicting annual growth patterns of trees installed on 7 columns.","""Weave is intended as a visual narrative of the history and transformation of Coal Harbour and it's surrounding environment."" Along the walkway, a series of cast bronze pavers depict the growth rings of an ancient Douglas Fir. Text cut into steel benches quote ""First Nations, Spanish, and English phrases, person names, industries, flora and aquatic life that have been and are connected to this area"". A series of tree grates support images from hydrographic survey maps and references ""the aviation industry that flourished in Coal Harbour"". Seven columns support bronze annular rings of a tree connecting visually with the inscribed pavers. ""The image in part reflects the lumber industry that also existed in the harbour. Another reference is to time, as in counting the rings of a tree to determine the tree's age"". (From Artist Statement)",The Escala,323 Jervis Street,Downtown,49.29068,-123.124115,On the northwest side of the building adjacent to the seawall,Sculpture,"Bronze, stainless steel, cast aluminum",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=339,,,131,339 | |
| Vancouver,Public Service/Private Step,2003,In place,"In this piece Storey reveals the inner workings of the building by mimicing the activity of the elevators. In a structure in front of the building, rectangular boxes travel up and down the poles and an LED screen reveals the footprints of the people inside the building as they travel up and down between floors.","""From the ground up the work is sited upon the oval of reclaimed 'Customs House' black granite on the corner of Pender and Burrard. The granite shall be set in an east/west linear pattern, except for an inner oval directly under the artwork that will be cut and set in a specific pattern corresponding to the delineation of the elements of the piece. The structure of the artwork is a series of 10""x10""x60' steel columns that are arranged in such a way as to delineate a scaled down relationship to the 5 elevator shafts in the core of the building. The 5 elevator cars are represented in their respective positions on the columns. An interface with the actual elevator system in the building will cause the artwork cars to glide up and down the columns in exact co-relation to the real cars, ie, if only elevator #2 is used, and it is taken to the 16th floor, the artwork will respond accordingly, while the remaining cars stay idle. Next, in each car in the building, placed under the pumpkin coloured carpet, will be a multi-contact membrane switch that will pick up the various passengers' foot prints as they stand or walk in the car, and transmit them out to an LED matrix screen on the underside of each corresponding artwork car. So, from a standing position on the plaza, an observer would be able to look up and see the movement and use of the inner workings of the building represented in a formal yet abstracted public realm."" A.Storey, December 2001",Environment Canada and Oceans & Fisheries Building,401 Burrard Street,Downtown,49.287072,-123.117523,NE corner,Site Work,"Steel, aluminum, electro mechanical interface with building elevators, LED screens.",Public Works Canada,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=340,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=340&ImageId=272,,140,340 | |
| Vancouver,Curtained Skies,2002,In place,"The artwork consists of three large, wedge-shaped sculptures that act as abstract paintings of layered coloured polyurethene. From the street, the three paintings appear in yellow and black vertical stripes swelling out from the surface. From inside the lobby, the pallette shifts to blue and white.",,Bayview,1529 West Pender Street,Downtown,49.290167,-123.129083,Corner of Nicola and Pender Street,Sculpture,Polyurethene,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=341,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=341&ImageId=990,,4,341 | |
| Vancouver,Leaf Stream,2002,In place,Large bronze maple leaves create a continuous path for a stream of water to flow from a circular pool above to a rectangular pool below. The leaves take on a turquoise patina from water flowing over them.,"""The site of Bayshore was once part of an indigenous forest with towering conifers and Bigleaf Maples. The view north, towards the current site will be framed by Red Maples (Acer rubrum) planed on Georgia Street. � From the beginning, Douglas Senft has envisioned large-scale leaves 'floating' on the water. Water in the top pool, welling up over the surface of a leaf, flowing across it's surface, falling from one leaf surface to the next, each acting as the carrier for the water as it cascades down to the lower pool."" - project statement, 2001","Bayshore tower ""C""",1680 Bayshore Drive,West End,49.291813,-123.131793,,Fountain,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=342,,,131,342 | |
| Vancouver,Chinatown Millennium Gate,2002,In place,"The gate follows traditional form that commonly uses one large central arch and two smaller ones. Classical Chinese architecture emphasizes odd numbers of openings and even numbers of columns. The gate in Vancouver adheres to classical proportions and observes the principles of ""feng-shui"" for proper placement. Two stone lions are on the West side of the gate.","The gate demarcates the western entrance to historic Chinatown. The Chinese word for gate is ""Pailou"" which means a tablet or sign structure. The Chinese have a reverence for the writen word and so sign structures are very important. As this is an inner city gate, it takes as its inspiration the Inner City Gates of Beijing in the 19th and early 20th centuries.",Keefer,Pender Street at Taylor,DowntownEastside,49.280719,-123.105193,Spanning the street,Gateway,"concrete, steel, ceramic tiles, vinyl, fibreglas",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=343,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=343&ImageId=884,Barbara Cole 2003,5,343 | |
| Vancouver,Scopes of Site,2003,In place,Six stainless steel and concrete shafts rise from the ground on a south facing grassy knoll that forms a public garden for a residential tower.piece is inspired by the capture of image and the play of time in film media.,"The scopes refer to exploration devices that were used for the unsuccessful discovery of coal on the site in the mid 19th Century. The pieces act as periscopes and telescopes through which the viewer can see a layered collage of actual, reflected and created views of the past and the present of the site.",Cascina/Denia residential towers,500 Nicola Street,Downtown,49.291273,-123.1275,Corner plaza of Nicola and Hastings Street,Site Work,"stainless steel, concrete, glass, fresnel lenses",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=345,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=345&ImageId=275,Barbara Cole,83,345 | |
| Vancouver,Watch Your Step,2002,In place,"Mosaics depicting colourful motifs were designed by groups of young people with the guidance of Artistic Director Leah Decter. They were designed for four sites: Downtown South Park, Gathering Place Community Centre, the Roundhouse, and David Lam Park. Decter had assistance from Dan Hill and Valerie Methot and the youth team members Stephen Blackwater, Matt Ellis, Jessie Ford, Alex Irvine, and Ally Niell with some help from Twitchy. Early planning participants included Speedy, Babette, Gabe, Sky, Twitchy, Michelle, and Kris. The works were created by the team members, street youth participants and other community members.","The project was designed to work with a team of street-involved youth with the purpose of building connections within a diverse community through creating permanent public artworks. In May 2002, the team began designing artworks, determining site details, planning workshops and doing outreach. Through this process several artworks comprised of mosaic tile pieces and glaze painted tiles were created. Our confirmed sites are as follows: ""The theme for the project is �Life Journeys�. Examples of this theme are: images relating to growth and renewal or someone who the artist has connected with in their life, dedications or commemorations about someone who has been important on one�s life journey, or someone important to the artist who has passed on."" (from the Roundhouse web site) Works are installed at the Gathering Place, the Roundhouse, the Downtown South Park and David Lam Park. Watch yOUR Step would like to thank partners, The Roundhouse Community Arts & Recreation Centre, The Gathering Place, and Street Youth Services; funders, Vancouver Foundation, The Roundhouse Community Arts & Recreation Centre, City Office of Cultural Affairs Community Public Art Program, John Hardie Mitchell Family Foundation, and the Vancouver Board of Parks and Recreation Neighbourhood Matching Funds; and sponsors, Milestones, Subway, Jugo Juice, Starbucks, Bagel Street Caf�, Panago Pizza, Stoneslab Pizza, Capers, Quiznos, Capers, Book Warehouse, and especially Soup Etc. and Yaletown Market, for their generous contributions to this project.",David Lam Park,David Lam Park West of Roundhouse Community Centre,Downtown,49.272579,-123.122657,"Various, on and off site",Mosaic,Ceramic tile,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=346,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=346&ImageId=276,,274,346 | |
| Vancouver,River of Life,2001,In place,An ephemeral painted stream runs down the building and onto the ground.,The mural was a collaboration with the students of Grandview School.,Grandview School,2055 Woodland Drive,Grandview-Woodland,49.266145,-123.07414,Playground wall,Mural,Latex paint,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=347,,,148,347 | |
| Vancouver,Entranceway,1998,In place,"Extending vertically along several stories of the building, the mural includes a hand with leaves sprouting from it, a face with long flowing hair and a feather drifting in the sky.","""Entranceway"" was painted for this social housing development with input from the residents. The design reflects "" strength in community in an area of Vancouver that is confronted with fragmentation, displacement and change.""",Jim Green Residence,415 Alexander Street,DowntownEastside,49.284264,-123.094788,Running vertically from the right of the entrance,Mural,Acrylic paint,Lookout Emergency Aid Society,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=348,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=348&ImageId=277,R. Tetrault,148,348 | |
| Vancouver,Community Walls/Community Voices,2003,In place,"A concrete relief mural with twenty-eight mosaic medallions ranging from 2 to 10' high are installed along a 170 meter (500 foot) long concrete retaining wall which borders Clark Park on Commercial Drive between 14th and 18th Avenues. The mosaics reflect the broad, multicultural community of Cedar Cottage and Trout Lake and highlight the Aboriginal community of East Vancouver. The theme of the work is Origins. One of the mosaics represents Dolcie and Vera Smith who grew up in the neighbourhood. It integrates photographs and fragments of china found in the back yard of the home. The three artists who coordinated the project did one mosaic - a montage of hands and tools representing the kinds of work in the area.","Over 300 volunteers representing a multicultural and multigenerational group worked with the artists for six months to design and create the mosaics in this project coordinated by the Native Education Centre. A number of groups participated including Youth Against Violence, Purple Thistle Youth, Trout Lake Seniors, Eastside Alternative School and Fort Good Hope, and the NWT youth organization in Vancouver on an exchange program. The artists worked with participants to design the mosaics and they did the tile work. Here are a few comments from a listing of the mosaics and individual statements: ""Swirl of Creation by Shelly Schnee, family and friends: Each child involved got to pick an animal to represent their origins. Parker picked Ogopogo to represent his dad's upbringing in Vernon. Conner picked Dolphins to represent our feeling of coming from the ocean. Melida picked the Quetzal to represent her family's Latin heritage. We translated our political words 'Community, Struggle, and Freedom into Spanish, as well as to tie the two heritages together."" ""Community by Nancy Sweedler and Allyson Prendergast: My mosaic circle represents what dominates my physical space and heart. It shows my house and the complex of houses that I live in, the greenery that surrounds us, the sky train that rushes through the neighbourhood (I live almost under it with my son Jake) and, central to everything, the people of all races and nationalities that I love and live amongst. It is a pretty basic concept, but it means everything to me.""",Commercial Drive,3200 block of Commercial Drive,Kensington-Cedar Cottage,49.25661,-123.070049,Clark Park retaining wall between 14th and 17th Avenues,Mosaic,"Concrete, ceramic tile",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=349,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=349&ImageId=982,,148,349 | |
| Vancouver,Fulcrum of Vision,2003,In place,"In this small ""pocket plaza"" dwarfed by the surrounding buildings, Baden has created three sculptures for plaza visitors to sit on, touch, and explore. One is a large patched aluminum cloud-like form, another resembles a vertical lily pad. Seated at each sculpture, the viewer's field of vision is confounded by the artwork which blocks or frames the views, echoing the effect of the surrounding built environment. One slot frames the lions at the top of the Terry Fox Memorial.","Baden makes "" sculptures that engage the physical capabilities and habits of the viewer."" This series of sculptures capitalizes ""on the viewer's physical inertia and exertion.""",,858 Beatty Street,Downtown,49.27739,-123.113126,Plaza,Sculpture,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=350,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=350&ImageId=279,,7,350 | |
| Vancouver,Untitled (mosaic),1957,In place,A decorative mosaic of blue tiles in diamond shapes covers a large portion of the building.,"Binning is quoted in Public & Office Building Art in Greater Vancouver in the Greater Vancouver Book as saying, ""A main theme was beaten out, a sort of basic tune or rhythm which we enriched with overtones of form, pattern and color.""",Electra,Burrard and Nelson,Downtown,49.280885,-123.125969,External mosaic,Mosaic,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=351,,,269,351 | |
| Vancouver,Roller,2004,In place,"At the southwest corner of the yard, a heritage Buffalo Springfield road roller that sat at the entrance of the old works yard forms the centrepiece of this sculptural tableau that includes silhouettes of men working. The road roller was used in road construction in Vancouver in the 1930�s and 40�s. The piece enshrines some of the history and work of the city works yard in years past.","City Engineer Don Brynildsen and former City Streets Engineer Bob Ross worked with the artist to develop the context for situating the heritage road roller, once a familiar piece of equipment in the workyard.",National Works Yard,Thornton Street and National Avenue,Strathcona,49.273621,-123.092675,West side of parking lot,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=354,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=354&ImageId=281,Barbara Cole,44,354 | |
| Vancouver,Posture,2003,In place,"Located on the Central Valley Greenway between Lakewood and Nanaimo Streets, the artist positioned six steel benches shaped like vine maple-seed wings. Steel silhouettes of crows high on poles overlook the cluster of benches and a crushed granite pathway. The same benches are repeated at 12th Avenue and further east at Slocan Street where another group of poles support silhouettes of coyotes.","The imagery for this work was derived from local and indigenous flora and fauna; the benches are representative of flora that once grew along the site, while the crow and coyote icons represent survival and adaptability in the urban environment.",Central Valley Greenway,Grandview Highway North from Lakewood east to Slocan Street,Kensington-Cedar Cottage,,,East of Lakewood; at 11th Avenue; at Slocan,Site Work,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=355,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=355&ImageId=282,,131,355 | |
| Vancouver,Time Top,2006,In place,"Time Top is a piece about time travelling. The artist has created what looks like a 1940s-style space ship. The piece was submerged for two years so that the surface would become encrusted with sea life. The sculpture was given a low-level electrical charge to attract crustaceans to its surface. Its position on the shoreline encourages the idea that it has washed up from the depths. For more information, cut and paste the following website address : http://vancouver.ca/commsvcs/oca/publicart/webprojects/pdf/timetoppressrelease.pdf","""The inspiration for Time Top came from a comic strip by William Ritt and Clarence Gray called The Time Top that the artist read as a child. In it�s last episode, the Time Top was slowing down over the ocean . . . And the artist has picked up the story line from there and is presenting this sculpture as �a relic of reality, building on the idea of an alternative reality which we each share with a broad diversity. � A comic book describing the artist�s creative and fabrication processes will be published to coincide with the opening event scheduled for early October 2006.After being fabricated out of silicon bronze by the Harman Foundry in Sechelt, BC, Time Top was submerged into the ocean water at Gibsons, BC for two years. While submerged, it was connected to an electrical power supply which delivered a low voltage charge to the bronze causing it to attract a deposition of seawater minerals on to it�s surface forming a crust. This process is known as �Electro-deposition of minerals in seawater� or accretion. When the accretion process was complete,the sculpture was fitted with a polycarbonate dome and now stands 13 feet tall and 10 feet wide. A series of granite cap stones, inscribed with images from the original comic strip, have been installed along the sea wall in front of the sculpture. The sculpture fabrication was completed after the artist�s death in 2003 by a team led by Margaret Pethick, Jerry�s wife, according to his fully documented drawings, specifications and nstructions."" - press release, Maureen Smith, Concord Pacific, August 2006",False Creek foreshore,,Downtown,49.2726,-123.115856,North side just west of Cambie Bridge,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=358,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=358&ImageId=1245,Trevor Mills,272,358 | |
| Vancouver,Lost Streams,1994,In place,"The artist mapped the streams that used to flow through the neighbourhood and created markers in the ground along the routes of these lost streams. The Kitsilano Community Centre has the information on the project. Copper map installations can be seen at Kitsilano Beach just south of the playground; Volunteer Park at Point Grey Road; at the foot of Bayswater, and at Jericho Beach approx. 100 m. west of the concession.","This project was the result of a long process of researching and photographing the local landscape and consultation with members of the community, Park Board and the School Board. The work consists of 16 in-ground and 4 above ground markers installed along the routes of four historical streams that once existed in Kitsilano. Each of the in-ground markers has the words LOST STREAM engraved around the outer edge. Each marker also contains engraved words on two themes; first, along the edges, two-word phrases for the agents of the demise of the stream e.g. ""Logging railway"" and second, in the centre, four kinds of plant and animal life that have disappeared e.g. ""sockeye, thimbleberry, lynx and fir"". Artist Marian Penner Bancroft writes, ""...my desire became to find a way of recalling what was now invisible, of marking the routes of the streams and in doing so to call up an earlier image of this place, to bring some history into the present... I also installed at (Kitsilano) Community Centre a set of black and white photographs, two for each (stream) path. These are close up images of where the streams once were, paired with images of trees that are fed by the underground flows, those vestiges of another landscape."" -from the Vancouver Park Board web site",Kitsilano, various,Kitsilano,49.262375,-123.162018,various,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=359,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=359&ImageId=285,,222,359 | |
| Vancouver,Community Stepping Stones,1997,In place,The artist worked with community members to create mosaics made of pebbles that are implanted at ground level. The mosaics can be found around the community centre and in other sites throughout the neighbourhood.,"""Part of the reason we are so attracted to the simple earthiness of pebble mosaics is that we wander through largely de-natured landscapes, depersonalized environments where the origins of materials is unknown. Eventually we stop wondering, and we lose emotional connections with the spirit of this place. These mosaics are conversation starters. Conversations can lead to discussions, debates, revolutions or simply new acquaintances. Mosaics are like communities; each individual piece is essential to the larger picture."" -from Parks Board web site",West Point Grey Community Centre,4397 West 2nd Avenue,West Point Grey,49.271797,-123.204533,Various,Mosaic,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=360,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=360&ImageId=286,,260,360 | |
| Vancouver,Celebration Frieze,2001,In place,"Over three hundred hand-painted ceramic tiles were made by members of the Hastings/Templeton community. The finished frieze is two tiles deep and wraps partway around the exterior of the pool building. The tiles are grouped into sections by background colour punctuated by black and white panels created by the artist ""Like a patch-work quilt, one piece of fabric holds it together�.""","Artist Cyndy Chwelos and Templeton Secondary art teacher, Karen Coflin conceptualized the project and involved community members in painting patterns that reflect traditional imagery from their varied cultural heritages. High school Career Preparation students Debbie Jung and Elisa Chee worked many hours assisting with the project .",Templeton Pool,700 Templeton Drive,Grandview-Woodland,49.278538,-123.058837,Exterior of the building,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=361,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=361&ImageId=287,,289,361 | |
| Vancouver,Glass Tile Wall,1996,In place,,"In 1996, artist Miyuki Shinkai worked with members of the community in Dunbar on the ""Glass Tile Wall"" project. Learning to paint their own portraits or image choices on glass made the project accessible and appealing to a wide range of neighbourhood participants, from pre-schoolers to seniors. Using this simple format, the artist fired the tiles, then assembled them into a mural in a grid pattern, with space around each of the 300 tiles. Seen together, the images on the tiles reflect everyday life, each tile set like a shiny ""square"" in a firm ""quilt"". - Park Board web site",Dunbar Community Centre,4747 Dunbar Street,Dunbar-Southlands,,,,Mosaic,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=362,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=362&ImageId=288,,198,362 | |
| Vancouver,Country Living in the City,2000,In place,These colourful murals are made up of puzzle-like pieces.,"Working with several community groups affiliated with the centre and neighbourhood schools, the design and concept for the mural took shape over two months of classes and workshops. ""Country Living in the City"" became the project's theme. Cut into puzzle-like pieces, the mural panels were painted by neighbourhood children, seniors, centre staff, and other groups. The puzzle shapes suggest connections amongst community members, while the images of the mural show ""the southeast corner of Vancouver, which until the late 1960's and early 70's, was the remaining rural region in an ever-expanding urban setting."" - Park Board web site",Champlain Heights Community Centre,3350 Maquinna Drive,Killarney,49.214854,-123.032018,Foyer and lounge,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=363,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=363&ImageId=289,,273,363 | |
| Vancouver,Imprints,1999,In place,The artists created decorative designs in textured concrete. The designs reference various cultural traditions of people in the community.,"""To create the textured concrete 'Imprints', artists Jacqueline Metz and Nancy Chew worked with different groups in the culturally diverse communities of south Vancouver, Their focus on traditional decorative arts can be seen in subtle designs derived from South Asian, Asian and European traditions, which reflect the current rich cultural mix of the neighbourhood. To arrive at their designs, the artists found intriguing ways to initiate discussions. For instance, they held a tea party, where seniors from the Sunbright Dance Club and the bingo club came together to drink tea and paint tea cups, in the Chinese and European traditions. The cups were exchanged, and became a tangible reminder of cross-cultural discussions."" -Park Board web site",Sunset Community Centre,404 East 51st,Sunset,49.222761,-123.09666,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=364,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=364&ImageId=290,,202;259,364 | |
| Vancouver,Britannia Banners,1995,Removed,An ongoing twice-yearly project in which the area residents participate in developing the banners to be hung around the community centre.,,Britannia Centre,1661 Napier,Grandview-Woodland,49.275649,-123.073772,Various,Banners,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=365,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=365&ImageId=291,,275,365 | |
| Vancouver,Welcoming Wall,1999,Removed,The mural depicts a tree image made up of people at play and doing leisure activities. The border is made up of words in different languages that refer to these activities.,The work was developed from workshops with people in the community.,Riley Park Community Centre,50 East 30th Avenue,RileyPark,49.243549,-123.1044,Front entrance,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=366,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=366&ImageId=292,,45,366 | |
| Vancouver,Trout Lake Community Centre Mural,2000,Removed,The artist drew on questionnaires and interviews with people in the neighbourhood to develop the visual themes for the mural. The image includes animals and the lake as well as activities such as the market and the lantern parade.,,Trout Lake Community Centre,3350 Victoria Drive,Kensington-Cedar Cottage,49.255626,-123.065282,Exterior wall facing north,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=367,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=367&ImageId=293,,278,367 | |
| Vancouver,Oppenheimer Memorial Totem Pole,1997,In place,"The totem was carved using traditional techniques taught by a master carver. The pole was created in memory of ""lives that otherwise may have gone unrecorded."" - The Art of Neighbourhoods, Park Board Brochure",,Oppenheimer Park,"Powell and Cordova, Dunlevy and Jackson",DowntownEastside,49.28238,-123.094119,Southeast side of the park,Totem,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=368,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=368&ImageId=294,,,368 | |
| Vancouver,Footprints,2001,In place,"Rectangular mosaics in the sidewalk mark historical sites at the following locations: Cordova at Richards; Alexander at the foot of Columbia; Main Street in Portside (Crab) Park; Alexander at Gore; Railway at Dunlevy; Mid 400 block, Alexander Street; Powell at Dunlevy; Powell at Gore; Gore at Cordova; Cordova at Jackson; Pender at Jackson; Pender at Heatley; Hawks at Hastings; Campbell at Keefer; E. Georgia at Hawks; Hawks at Union; Union at Princess; East Georgia at Jackson; Gore at Keefer; Hastings at Gore; Hastings at Main; Pender at Columbia; Keefer at Columbia; Pender at Carrall; Hastings at Carrall; Hastings at Abbott; Pender at Hamilton; Hamilton at Hastings; and Hastings at Cambie.","""Artists worked with participants from the Carnegie Street Program in a storefront studio over a six week period to reseach, design and produce 17 mosaic markers and 100 banners that mark the Old Vancouver Townsite."" - The Art of Neighbourhoods, Vancouver Park Board",Downtown Eastside,Various,DowntownEastside,49.281071,-123.10006,,Mosaic,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=369,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=369&ImageId=295,,,369 | |
| Vancouver,Douglas Park Bench Project,1996,In place,,,Douglas Park,801 West 22nd Avenue,South Cambie,49.252608,-123.122352,Various,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=370,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=370&ImageId=296,,123,370 | |
| Vancouver,Marking High Tide and Waiting for Low Tide Pavillions,1996,In place,There are two sculptural elements below the pump station and along the southern shore of David Lam Park (located in North False Creek between the Granville and Cambie bridges) : a circle of stones and a concrete ring resting on columns. Text is inscribed on the inside of the concrete ring.,,David Lam Park,,Downtown,49.271847,-123.12491,Below the pump station,Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=371,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=371&ImageId=297,Barbara Cole,203,371 | |
| Vancouver,New Sights in the Heights,2002,In place,Silhouettes of music notes were painted by children and parents and mounted on the school fence.,,Champlain Heights Elementary School,6955 Frontenac,Killarney,49.220697,-123.027485,Fence,Site Work,,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=372,,,273,372 | |
| Vancouver,Renfrew Ravine Sanctuary,2002,In place,"The entrance to the ravine is enhanced with a welcoming pathway, garden, and stone labyrinth.",Sponsored by the Collingwood Neighbourhood House.,,,Renfrew-Collingwood,49.251186,-123.043728,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=373,,,290,373 | |
| Vancouver,Semaphores,2003,In place,"Seventeen glass and aluminum gates designate the entranceways to the private suites. Each has a unique image inset into it, ranging from abstract forms to a representation of sailboats, water, and other images referring to the natural or social setting. The artist interviewed the townhouse residents to make the works personally relevant. The gateways embrace the idea of life as a passage. ( R. Laurence, The Art of Place, The Georgia Straight, June 5-12, 2003) The artist also created a large illuminated glass wall piece for the tower lobby.","Semaphores makes connections to historical and existing associations while drawing the viewer into new relationships to the site. This installation (34 gates when completed, summer 2004) of intended diversity and uniqueness, engages the public through its accessibility and maintains an open space for lyrical discovery. By using colored glass as a kaleidoscope of sensitive hues, the seriousness of painting is removed. Each painting acquires through its intrinsic translucency a depth and vibrancy that allows the images to float. The lobby artwork at the Carina and Callisto is made up of key components to the gates. In the Carina ""Dusk"", inspired by water (which is 4 billion years old), and ""Rib Boat Bench"", inspired by the local boat building industry in 1900, are made out of Sitka spruce, consciously resonating with the site, physically and culturally. Claudia Cuesta",Harbour Green,1233 West Cordova,Downtown,49.28967,-123.123477,Private gates,Gateway,Glass and aluminum tubing,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=374,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=374&ImageId=298,,178,374 | |
| Vancouver,Right to the City,2004,In place,"""Right to the City"" involves three elements: 1) Ten resin capsules imbedded in the ground along the pathway at Nanaimo and 41st Avenue. The capsules contain paraphernalia that might be found in someone's purse or pocket. 2) Six metal door and window frames placed in a rectangle to evoke the structure of a house. The doors and windows are made of HSS tubular steel, painted white. The frames also have plates with possessive pronouns cut out of them: ours, yours, his, hers, mine, theirs. 3) Two weathervanes located on southeast and northwest corners of Clarendon and 45th Avenue. The weathervanes are mounted on 12' poles. They are comprised of a bearing assembly, a shaft and a rectangular sign that turns in the wind with the words ""yours"" and ""ours"" cut out. (from the Artists' Project Description)","Regarding the capsules: ""Before this tract of land became part of the Ridgeway, there was a simple beaten path crossing the space. We see this aspect of our project as a ghost-like trace of an ephemeral, unplanned path - memorializing something that is so much a part of everyday life that it almost escapes notice�"" ""We have marked out this path with ten clear resin capsules with objects cast into them. The objects are things you would normally carry in your pockets: notes, bus tickets, loose change, etc."" Re door and window frames: Our intention is to raise questions around ideas of ownership of and entitlement to the city: whose city? Do we feel the city belongs to us because it is 'public'? Or do we think of entitlement in terms of private property: what we own or don't own?"" Regarding the weathervanes: ""The turning of the signs in the wind functions as metaphor for shifting notions of community, place, and a sense of entitlement we feel as citizens."" ""The title ""Right to the City"" comes from the urban theorist Henri Lefebvre's text by the same name which calls for a different envisioning of the city: for it to be organized for, and belong to, its inhabitants, rather than organized for profit. The elements in this project explore the contradictions and ambiguities of public and private space. Although we can identify in general with Vancouver as 'our city', as belonging to the public, space in the city is clearly delineated: either it belong to you or id doesn't. The space along Nanaimo is technically public space, and unlike the neighbouring yards, anyone can go on this space. However, in the larger scheme of things, do we feel entitled to it as a space? We're interested in drawing attention to the public nature of this space and the claims made on the city. Related to these ideas, this artwork addresses the ephemeral, shifting nature of the site, both in terms of the physical environment and cultural priorities. This area was once a vacant lot and is now a small park. We hope the work will open up a space for contemplation and reconsideration on the meaning of these transitions. This is a chance to look at the neighbourhood in another way, and by extension, the city."" (from the Artists' Statement, 2004)",Ridgeway East Greenway,"5500 Nanaimo at 40th, 5800 Clarendon at 45th Avenue",Kensington-Cedar Cottage,,,Greenspace on west side of Nanaimo at 40th and on opposite corners at Clarendon and 45th,Sculpture,"HSS tubular steel, steel plate, clear casting resin, aluminum plate",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=375,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=375&ImageId=299,,288,375 | |
| Vancouver,Cambie Works Yard Photo Project,2003,Removed,"The artist worked with the Cambie Yard staff to make and select photographs from the history of the old Works Yard. The images portray the diverse types of work carried out by the yard staff, views of and from the site, details of work areas, and the materials stored and used there. The photos were then digitized and printed and mounted on the fence. There are 24 20""x30"" photos, one 20""x60"" photo, and two multi-image photographic works 48"" square. The work as a whole allows the public an insider's view of the yard.",The project was the first in a series of five artworks commissioned by the City Public Art Program in conjunction with the opening of the new city works yard in False Creek Flats. Over 600 images were taken by staff and the artist and then selected from for the display. The artist's challenge was to create a final form for the work that reflected the diversity of the images and represented the various activities that take place in the yard. The artwork was fabricated by the staff of the Cambie Yard Traffic Sign Shop. Each image is marked in the upper left corner with the name of the individual who took the photograph.,"Cambie Works Yard, False Creek Flats",,Downtown,,,"On the S fence at the seawall of False Creek, E of Cambie Bridge",Site Work,Digitally printed photographs,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=376,,,277,376 | |
| Vancouver,Project for a Public Works Yard,2004,In place,"Greg Snider�s project brings together the various functions the works yard supports, and quotes them all in sculptural terms. To best describe the work, imagine that someone cut a large rectangular block out of the street, then lifted the cross-section up. What was underground is now at eye level. The fire hydrant is a cut-away exposing the valves and inner workings. We can see the water mains, the sewer lines, where the storm drains lead, and the inside of manholes. Above street level, the more familiar streetlights, parking meter and tree are no longer physically accessible.",The piece represents the services provided by the City. The various departments of the Works Yard are all represented in the piece and helped to fabricate it.,"National Street Works Yard, COV",700 National Avenue,Strathcona,49.273616,-123.09,corner of National and Chess Streets,Sculpture,"Concrete, steel, cast iron",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=377,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=377&ImageId=300,"Greg Snider, 2004",292,377 | |
| Vancouver,"Windsor Way: Moments, Memories, and Objects",2003,In place,"Twenty different cut-out aluminum images welded to framed, perforated aluminum are mounted on light poles along Windsor Street. There are two pairs of markers, one at Kingsway, the other at King Edward.","The community shared experiences; hand gestures and stories derived from significant objects from and near the home. Neighbours were photographed gesturing with their objects. These personal, sometimes intimate images were then transposed into aluminum ""drawings"" attached to streetlights along Windsor Street. These public/private images in turn, interact with weather, light, and the surrounding streetscape.",Windsor Street,13th Avenue to 32nd Avenue,Downtown,,,Cutout images on light poles along Windsor Street; markers at Kingsway and King Edward.,Banners,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=378,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=378&ImageId=301,,170,378 | |
| Vancouver,Constellation Lanterns,2004,In place,"Four large steel ""story lanterns"" fixed to the lampposts the walkway for a safer and more attractive route. The Community Constellation Lanterns recreate an ordinary functional street lamp into an object of special pride for the neighbourhood. The Constellations are large angular tapered steel covers fixed to the light standard poles, fitted with interior lights, and painted dark bronze on the outside with a bright warm vermillion color on the inside. The aspirations of the community are warmly radiated onto the pathway through stencil patterns designed by people of the neighbourhood, laser cut into the steel, and revealing the light-colored interior. These stories in light exude a warm cosy glow, enveloping and welcoming people crossing the park on their way to and from 29th Avenue Skytrain Station. At night, from a distance, the poles twinkle like the stars of the galaxy. Each pole reflects the elemental, seasonal and environmental themes of the mosaiced oval Islands below.","The Community Constellation Lanterns were created as a part of the Slocan Park Revitalization Project for the Renfrew Collingwood Arts Pow Wow�s �Creating Home� and �Community Development Through Cultural Expression� Projects. The park landscape plan was part of a community development project in which hundreds of community members were involved in redesigning Slocan Park over a period of three years. The first installation of the community�s vision was the Duchess Walkway and involved community members and park goers in all stages of the design and implementation. The Duchess Walkway includes a series of pebble mosaics (created by community members with local artist, Jennifer Norquist) and the Guardian Spirit (a totem pole carved with local carver, Jerry Sheena and youth from the neighbourhood who learned to carve from this experience). The Constellation Lanterns were the final stage of the Duchess Walkway and are made with cut out designs by local community members and artists.",Slocan Park,Slocan Park and 29th Avenue,Renfrew-Collingwood,49.244207,-123.046635,Duchess Walkway,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=379,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=379&ImageId=302,,314,379 | |
| Vancouver,Look,2004,In place,"A lamp standard of colourful geometric plexiglas panels is situated at the edge of the landscaping in Nelson Park. The design of this custom light standard was intended to reflect the historic restoration of mole hill. Its coloured cut glass component incorporates patterns created by Dr. Peter Centre day time participants and residents, Mole Hill tenants, Mole Hill Montessori School 5 year olds, west end gardeners, and west end seniors.","The artist was inspired by the designs of Frank Lloyd Wright and Scottish architect Charles Rennie Mackintosh. (Sandra Thomas, Vancouver Courier, Oct 1, 2003)The geometric designs are abstractions of images and colours taken from the neighbourhood. The project is sponsored by the West End Residents Association and Mole Hill Living Heritage Society.","Nelson Park, Mole Hill Greenway",,West End,,,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=380,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=380&ImageId=303,Nicole May,253,380 | |
| Vancouver,Trudeau Butterfly Park,2003,In place,"A collaboration between Nicole May and Pierre Elliott Trudeau elementary school artist-in-residence Alison Diesvelt, this initiative included a custom mosaic column at the schools main entrance along with ornamental planting to attract 7 different species of butterflies while enhancing the pedestrian experience along East 62nd Avenue.","""A core group of half a dozen teachers and at least that many parents wanted to improve the school grounds, not just for children and familites but for the community at large."" -A. Diesvelt, final report",Pierre Elliot Trudeau Elementary School,62nd Avenue near Prince Edward Street,Sunset,,,,Site Work,,Vancouver School Board,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=381,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=381&ImageId=304,Nicole May,253,381 | |
| Vancouver,Project Tendril,2003,In place,"A series of ""living sculptures"" using vines growing over rebar and willow-branch structures are planned next to the Ross Street Temple.",The project is sponsored by the Sunset Community Centre and the Khalsa Daiwan Society.,Ross Street Temple,8000 Ross Street,Sunset,49.211591,-123.082415,On the boulevard next to Ross Street Temple,Site Work,,Other,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=382,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=382&ImageId=305,,251,382 | |
| Vancouver,Mosaic Planet,2002,In place,Four 4'x4' sidewalk mosaics of porcelain tiles show colourful images of community life in the area.,,,10th & 11th Avenues and Commercial Street,Grandview-Woodland,49.260535,-123.069932,NW and NE corners at 10th and SE and NW corners at 11th,Mosaic,Porcelain tiles,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=384,,,69;260,384 | |
| Vancouver,WECCstoration Project,1995,In place,Three colourful murals are painted on the concrete sides of the building. The project included new lighting and awnings.,The community-based project was meant to enliven and revitalize the front entranceway of the community centre.,West End Community Centre,870 Denman Street,Downtown,49.290483,-123.136649,Front entrance,Mural,Acrylic paint,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=386,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=386&ImageId=307,,279,386 | |
| Vancouver,AIDS Memorial,2004,In place,"The ribbon of steel is composed of 20 steel panels anchored to concrete piers and is engraved with the names of nearly 800 people from BC who have died of AIDS. The panels have a natural rust-oxidized finish. It winds down the slope from the parking lot at Sunset Beach towards English Bay. The overall length may ultimately be as much as 60 feet. The names are inscribed beneath the phrase, ""With you a part of me hath passed away"", from poet/philosopher George Santayana.","""Though situated in a hub of life and activity, this unique setting provides a sanctuary of quiet reflection. Set in a treed bowl, the graceful lines of the memorial are designed to complement the rustic, tranquil beauty of the grassy, landscaped hillside� this British Columbia landmark of hope and courage is dedicated to the memory of those lost to HIV/AIDS, to the caregivers who eased their passing, and to those who live with the presence of their absence."" The project was developed by the AIDS Memorial Society. The design was chosen from over 70 submissions to a public call for designs. It took 10 years to raise the funds. After a 2-year public consultation, the Park Board approved the sight at Sunset Beach. The Society also has a mandate to educate people about AIDS. http://www.aidsmemorial.ca/",Sunset Beach,,West End,49.27788,-123.136502,on the hillside at foot of Broughton Street,Memorial,Corten steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=387,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=387&ImageId=938,,286,387 | |
| Vancouver,Three Incidents in the Life of St. John,1950,In place,,,St. John's Shaughnessy Church,1490 Nanton Avenue,Shaughnessy,49.24725,-123.13842,Over the main entrance,Relief,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=389,,,93,389 | |
| Vancouver,QAB2 (Queen Alexandra School Banner Project 2),2003,Removed,The rectangular nylon banners along the street and at the school feature safety and gardening themes and were designed and painted by the students at the school.,The intent of the project was to make drivers and pedestrians aware of the children and the need for safety on this dangerous stretch of Clark Drive near the school.,Queen Alexandra School,Clark Drive and Knight Street from 8th to 12th Avenue,Kensington-Cedar Cottage,,,On the light standards along the street,Banners,Exterior latex paint and floetril (paint conditioner),Other,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=390,,,280,390 | |
| Vancouver,Haida Eagle and Frog Totem Pole,2002,In place,"The 8 foot pole is carved on all sides and features a large eagle holding a frog between its wings. A smaller eagle is on top. The piece was designed by Reid and carved in his studio in 1986-1987 by Tim Boyko, Bill Bellis, Don Yeomans, and Doug Zilkie.",,Metropolitan Towers,940 Seymour Street,Downtown,49.279305,-123.120407,,Totem,Cedar,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=391,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=391&ImageId=309,Photo by Maxime Cyr-Morton - 2013,122,391 | |
| Vancouver,Sliding Edge,2003,In place,"""Along the seawall is a rough yet elegant waterfall of black rundle stone: the stacked, linear, irregular stone edges are abstractions of geological layers� Standing on top of the waterfall is an iconic, enigmatic human figure - man in the landscape, poised between the earth and the sky."" The text is from a poem by Earle Birney, November Walk Near False Creek Mouth. Along Hastings Street is another waterfall and black stone benches are scattered along the pool edge. Cast Iron tree grates are shaped like saw blades to remind viewers of the historic use of the area.","""Sliding Edge"" alludes to the always moving edge of the waterfront, the sea sliding in and out on the tides, the waves lapping, the shifting of the earth's edge, the changes over time. This work refers to the site's natural and industrial context, to ideas of nature and culture.""",Cascina/Denia residential towers, 500 Nicola Street,Downtown,49.291259,-123.1275,,Site Work,"Bronze figure, Rundle stone waterfall, bench and pavers, cast iron, stainless steel letters",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=392,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=392&ImageId=310,"Barbara Cole, 2004",259,392 | |
| Vancouver,CuTArT Crossroads: Community Seat,2003,In place,The artist used heritage granite curbs from the 1920s to create this seating installation. Commissioned by Rapid Transit Project 2000 for the City of Vancouver Central Valley Greenway as part of the Millennium SkyTrain.,,Central Valley Greenway,12th Avenue and Garden Drive,Kensington-Cedar Cottage,49.260258,-123.0582,Along the walkway in the green area,Site Work,Granite curbs,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=393,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=393&ImageId=992,,296,393 | |
| Vancouver,Woodlands Tree,2000,In place,The carving sits in a garden of native healing plants.,The work was completed with the help of 100 visitors/volunteers.,Woodlands Park,,Grandview-Woodland,,,on the East perimeter of the park,Sculpture,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=394,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=394&ImageId=311,,251,394 | |
| Vancouver,Shipwreck,2001,In place,Four twisting chunks of cedar lay end to end resembling a fallen column.,This work was completed with the help of more than 1400 visitors/volunteers many of whom happened on the project and picked up a mallet and chisel and started to carve. Some dedicated enthusiasts sayed every day for more than two months.,Harbour Green Park,,Downtown,,,South edge near marina,Sculpture,Cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=395,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=395&ImageId=312,,251,395 | |
| Vancouver,False Creek Totem,1999,In place,This tall carved totem has a kayak passing through its centre.,"This work was completed with the help of more than 800 visitors/volunteers, some working everyday for more than a month.",Sutcliffe Park,False Creek,Fairview,49.268961,-123.1349,East lawn,Totem,cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=396,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=396&ImageId=313,,251,396 | |
| Vancouver,Patterning: A Time Project,2001,In place,The artwork is a ceramic grid of tiles with majorlica glaze.,,Thunderbird Community Centre, 2311 Cassiar Street,Renfrew-Collingwood,49.263608,-123.032104,Main and upstairs foyers,Mosaic,"Ceramic tiles, majolica glaze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=397,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=397&ImageId=314,,289,397 | |
| Vancouver,Our Neighbourhood Mural,2002,Removed,"The panoramic mural shows the greenspace of the park and the activities of neighbourhood people in the park and community centre. People are shown practicing meditation and martial arts, picnicing and walking.","This was a Park Board Artist in Residence project.The project was a combined effort of artist, community centre staff and members of the public who wished to create a remembrance of the current facility, its activities and its neighbourhood, specifically to transport to the new site of the Community Centre in 2005. Invitations to participate were made to the public and to community groups. Each group was provided with disposable cameras, to document activities inside the Community Centre, and neighbourhood activities and landmarks during walkabouts led by the artist. The combined photos were selected to represent a cross-section of interests and these photos formed the basis of the mural design. The remainder of the photos were given to seniors� groups to use in a parallel collage project. The mural was painted with the collaboration of community members and represents a joyous celebration of people, events and places within and around the original Mount Pleasant Community Centre.As a user of Mount Pleasant Community Centre, I shared the same feelings of anticipated loss at the idea of the Community Centre�s facility being restored to green space once the new facility at #1 Kingsway is completed. My purpose was to create a happy remembrance of the original building and its surrounds, which are themselves fast disappearing, and to create a legacy of today for tomorrow.",Mount Pleasant Community Centre,3161 Ontario Street,Mount Pleasant,49.257318,-123.1062,Main Entrance,Mural,"Oil paints, varnish",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=398,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=398&ImageId=315,,283,398 | |
| Vancouver,"Luna, The Moon",2001,In place,There are 13 carved posts each 10-12'.,,Napier Street Greenway,Napier Street at Commercial Drive,Grandview-Woodland,,,Throughout,Site Work,Red cedar,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=399,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=399&ImageId=316,,219,399 | |
| Vancouver,Three Watchmen,2003,In place,This black bronze sculpture 14' high and 4' wide represents three crouching human figures wearing exceptionally high hats.,"The piece is based on legendary Haida figures who remain watchful to alert the owner to the approach of an enemy or any threat. The three figures can be said to represent the past, present and future and the interior, exterior and supernatural worlds.","Marguerite House, Quilchena Park",4655 Valley Drive,Arbutus Ridge,49.244637,-123.1518,Park in centre of driveway,Totem,Bronze,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=400,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=400&ImageId=906,,285,400 | |
| Vancouver,Tribute to the Cambie Works Yard,2004,In place,"A transparent film is applied to the glass on the sliding doors of the meeting room off the main lobby, creating a panorama in sections. The images are drawn from photographs of the layers of marking on the asphalt of the old Cambie Work Yard. Many different employees over the course of many years, contributed to the patterns of white and yellow dashes, circles, and lines as a result of testing the line-painting equipment. Isolated and blown up they become abstract images with cryptic symbols and letters. The panoramic image is complete when the doors are closed, and layered when open.",The artist took numerous photos of the layers of markings made over the course of years by the employees in the course of their work.,National Works Yard,700 National Avenue,Strathcona,49.273792,-123.0927,Interior on sliding doors,Site Work,Electrostatic Protective clear-Luster film,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=401,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=401&ImageId=318,,277,401 | |
| Vancouver,Aperture Project,2005,Removed,"The Aperture Project is a an installation of three 22'x10'6"" banners in the second story windows in the promenade of the library building overlooking the food court. Artists are commissioned to develop projects related to the library context. The banners were initially rotated every six months, then 9 months. To date, the following artists have been commissioned: Allyson Clay (June-November 2005), Kyla Mallett (December 2005-May 2006), Ed Pien (June 2006-February 2007), Karin Bubas (March 2007-November 2007); Carol Sawyer (Feb 08-September 08), Angela Grauerholz (","In 1995 City Council established an endowment fund ""to fund ongoing public art initiatives at Library Square"" from the public art funds for the original Library Square development. The program for these funds was developed by Barbara Cole in 2005.",Main library,350 West Georgia,Downtown,49.279698,-123.115556,Second story windows in the lobby area,Banners,polyester w/pvc coating,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=402,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=402&ImageId=319,Allyson Clay,304;305;306,402 | |
| Vancouver,Solar Patterns I & II,2004,In place,"Brightly coloured aluminum banners are mounted on light poles along Prince Edward Street. This first phase was between 42nd and 54th Avenues and the second extended the project to Marine Drive. The banners each have a variation on a stylized sun motif. A series of small circular cut-outs represent a portion of the path of the sun through the year. Students from the two elementary schools along Prince Edward Street were invited to create drawings for three of the graphic cut-outs on the banners. The Prince Edward Public Art Committee (PEPART) selected the winning drawings, one of which was used in two ways: fistly, to ceate a banner design, and secondly, to create a concrete stamp for any curb or sidewalk work done along Prince Edward.","The imagery of the sun is ""the one energy that links all life. By introducing symbols from many cultures throughout history, the banners widen our perspective by recognizing this multi-cultural neighbourhood and its interconnectedness with the world community. The colours yellow, saffron and orange are echoed in the Punjabi Market spices and in the Chinese symbols for prosperity. In Western culture they are also associated with fall,�. The banners will compliment the street gardens and draw the eye upward. In winter months, the bold colour of the banners will provide a welcome contrast to Vancouver's typically grey skies, acting as a reminder of the sun's return.",Prince Edward Street,,Sunset,,,Between 42nd and Marine Drive,Banners,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=403,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=403&ImageId=320,Shirley Wiebe,298,403 | |
| Vancouver,LightShed,2004,In place,"The artwork is located on the downtown seawall near the Coal Harbour Community Centre and facing Stanley Park. It is based on the old boat sheds that used to line the shoreline. The artist cast a � scale model in aluminum and coated it with luminescent paint. It is perched on top of cast pilings. At night a soft glow emanates from inside. Grosvenor, an international property group, commissioned this work by Liz Magor as a gift to the city. The artwork was cast in the Harman Foundry in Robert's Creek operated by Stephen Harmon, son of artist Jack Harman.",,Harbour Green Park seawall,,Downtown,49.290948,-123.123173,Bullnose projection near marina at west end of park,Sculpture,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=404,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=404&ImageId=915,City of Vancouver,95,404 | |
| Vancouver,2000 Views of Strathcona,2000,In place,The artist worked with people in the community to create this digital photo mosaic.,,"Strathcona Community Centre,",601 Keefer Street,DowntownEastside,49.27978,-123.091546,Main lobby,Mosaic,inkjet prints,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=405,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=405&ImageId=322,,301,405 | |
| Vancouver,Leaning Towards Frame Dragging,2005,In place,A standard light pole is tilted 6 degrees. At the top is a wind device that transmits rotational forces down the shaft to a pod beside the base. On the face of the pod is a vortex-like surface with the centre appearing to recede into the ground. The rotation of the anemometer above causes the hands to move around a sort of clock face that registers time by millennia and details significant events in the life of the Killarney region.,"""The title of the work refers to a theoretical notion taken from Einstein's Theory of General Relativity, that the time/space frame can possibly be distorted or 'dragged' towards a large rotating gravitational mass. Experiments are currently being conducted in space by NASA with an orbiting lab, .., that may prove or disprove this theory."" -Artist's statement",Killarney Park,45th & Killarney,Killarney,,,NW corner of the park,Sculpture,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=406,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=406&ImageId=323,,140,406 | |
| Vancouver,Untitled (medallions),1995,In place,Bronze street medallions located at Jervis and West Georgia.,The artist provided original artwork and carved 2.5� yellow cedar panel to be cast for the medallions.,Jervis and West Georgia,,Downtown,,,Jervis and West Georgia,Relief,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=407,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=407&ImageId=324,,300,407 | |
| Vancouver,Monument to All Boulders in Vancouver and on Planet Earth,2005,In place,"This monument commemorates the dynamic histories of all boulders in Vancouver and on Planet Earth, from glacial action to the recent urbanisation of the area. An accompanying publication titled ""Geologic Time Capsules Revealed � Map & Guide to Vancouver�s Erratic Boulders for Locals and Visitors,"" gives information on 20 other erratic boulders scattered around the city.The artwork consists of placing this boulder in a site where it can be contemplated as an object. ""Erratic"" boulders such as this one are potentially 80-100 million years old and are erratic because they are not from this place but were uprooted by glacial activity. The rock is not fixed to the site and may move again.","""As with most glacial erratics in Vancouver, this salt and pepper granite likely spent several thousand years buried in similar glacial sediments. It was unearthed during downtown sewer expansion, and place in the City's boulder dump on National Street, where it acquired West Coast surficial algae coating. After months of city negotiations this boulder was relocated in 2005 to act as [a] monument to all boulders in Vancouver and on Planet Earth. Over the last 15,000 years it has been transported by glacier, front-end loader, and dump truck."" - from Geological Time Capsules Revealed Map & Guide published by the artist and the Or Gallery, Vancouver.",SE False Creek Seawall,West of Science World,Downtown,,,Edge of water next to walking path,Site Work,Five ton granite boulder,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=408,,,303,408 | |
| Vancouver,Red Horizontal,2005,In place,"""Red porcelain enamel panels are embedded in the upper portion of concrete benches that run along a portion of the seawall in the North False Creek neighbourhood. In cooperation with area residents, photographs were taken of the interior spaces of the apartments, condominiums, lofts or seniors' housing. These photographs were then arranged into a number of different sequences and appear as transparent halftone images layered on the red panels. A total of 257 photographs appear in the work, 29 of which are repeated. The photographs of the residences were taken in the spring and summer of 2004."" - the artist","""The work�was conceived to function both from a distance and in close proximity. When approaching the artwork from a distance - such as the water or walking along the seawall - the work appears as a thin red horizontal line in contrast to a predominantly vertical architectural environment. In close proximity the viewer can see in a high degree of detail the various residences that compose the photographic aspect of the work. The choice of material, porcelain enamel, is intended to refer to the tradition of ceramic benches and tile work found in both exterior and interior public spaces. The rich red of the porcelain adds a strong element of colour to the predominantly glass, steel and concrete environment."" -the artist",False Creek Sea Wall North,David Lam Park Extension,Downtown,49.271763,-123.125023,Seawall benches,Site Work,Porcelain enamel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=410,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=410&ImageId=326,Tomas Svab,255,410 | |
| Vancouver,Untitled (light work),2005,In place,"A thin shaft of light emerges along the length of the 149m building at sunset. The LED light can be seen from a distance and changes from green to blue as it gets higher, reflecting the transition from earth to sky.",,Shaw Tower,1067 West Cordova Street,Downtown,49.288318,-123.117871,North Point,Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=411,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=411&ImageId=327,Photo Credit:James K.M. Cheng,291,411 | |
| Vancouver,Suan Phan: Abacus,2005,In place,"The artwork is a dark concrete gate structure that supports a curved steel beam painted in cinnabar and frames a 1200 lb abacus with jade stones from Ogden Mountain in BC. The stones are movable and were carved by Deborah Wilson and engineered by George Noble to ""float"".","""The abacus and jade are integral parts of Cinatown's history. Because I was born and lived here they are also part of my past and present. Traditionally jade is said to emanate ""chhi"", a power conducive of good health and luck. It was and is treasured for that silent effluxion as well as for the calm beauty of the stone. The abacus is known to the Chinese as ""suan phan"" (counting board). It is a mechanical aid once commonly - and still sometimes - used in chinatown shops. Calculations are made by moving the beads up and down and from right to left. Those beads would not be jade - probably wood."" from the announcement of the completion of the piece, October 29, 2005",Shanghai Alley,550 Taylor,DowntownEastside,49.279584,-123.105903,On Keefer,Sculpture,Jade,private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=412,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=412&ImageId=328,K.Henry,19,412 | |
| Vancouver,Moving Pictures,2005,In place,"Moving Pictures ""uses simple camera optics to capture a ""real-time"" film strip of flowering street trees and people and cars passing by. At night, the tree's natural seasonal cycle is theatrically accelerated by a colour-changing LED fixture located in one of the art objects."" ""Each of three viewfinders holds a series of different perspectives of the tree and its context behind to create a different cinematic composition. The multiple images are inverted, similar to those created by a primitive camera, and may appear to be static and unchanging. The realization that the images are actually real-time ""moving pictures"" may be further understood once another passer-by or a car moves through the image plane that is reflected onto the viewing surfaces."" - artist's proposal","""Moving Pictures illustrates cinematic elements of changing perspective and the play of time, to create a greater understanding of film media. Formed from the composition of three vertical viewfinders, natural and artificial lighting, and landscape elements, the piece assembles a filmic montage in which images of the same object, captured and framed from different points of view and through different perceptions of time, can be seen by the viewer."" - artist's proposal",Vancouver International Film Festival Centre,1133 Seymour,Downtown,,,SW corner,Site Work,Galvanized steel and lenses,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=413,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=413&ImageId=329,,83,413 | |
| Vancouver,A Tale of Two Children: A Work for Strathcona,2005,In place,"Two large aluminum frame panels are printed one side with an image and the other side with a text. One shows an unhappy caucasian boy and the text reads, ""What an idiot! What an idiot you are! What an utterly useless idiot you are!"". The other shows a smiling young Asian girl and an adult woman and the text reads, ""You so smart. You make me proud you so smart. I so proud you so smart.""",,National Works Yard,Malkin Avenue,Strathcona,,,NW corner at Malkin and Thornton Streets,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=414,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=414&ImageId=933,Barbara Cole,3,414 | |
| Vancouver,'til the cows come home,2005,In place,"The free-standing work consists of 6 cow images (3 positive silhouettes and 3 panels with negative cut-outs) cut from 1� steel plates. The cows are shown to be standing, walking, and grazing. The galvanized finish references the protective coating process used on some of the metal components within the dairy and serves as well to provide corrosion protection.",""" For the Avalon Greenway I want to acknowledge and celebrate the dairy as well as the origins of the main product; the cows. These sculptural images also reference the fact that the cows would have grazed in the fields across from the dairy. The intention is to engage physically as much of the greenway site as possible with elements located at the beginning of and in various sites along the greenway, culminating near the dairy and central landscape area.""",Avalon Dairy Greenway,43rd Avenue between Clarendon & Wales,Killarney,,,,Sculpture,1� hot rolled steel plate (silicon restricted),City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=415,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=415&ImageId=331,D.Senft,131,415 | |
| Vancouver,China Gate,2005,In place,"The gate is made of marble and features carvings of four important legends or events in early Chinese History, together with traditional animals of good fortune.","The marble is donated by Guangzhou City. The gate marks the 20th anniversary of the Sister City agreement between Vancouver and Guangzhou, Guangdong Province, China. This gate replaces an earlier one which was part of the China Pavilion for Expo 86.",Chinese Cultural Centre,50 East Pender,DowntownEastside,,,plaza in front of the building,Gateway,marble,"Guangdong Province, China",https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=416,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=416&ImageId=880,Maxime Cyr-Morton,284,416 | |
| Vancouver,Strathcona Park Pavilion,2005,In place,"Paper cutting is the foundation of this community-based project that resulted in a decorative pavilion. The artist worked with people of all ages in the Strathcona neighbourhood through the Strathcona and Seymore Schools, Strathcona Community Centre, Raycam Community Centre, The Core Artist Co-op and small gatherings. The pavilion is located in Strathcona Park at Hawkes Avenue and Prior Streets.","The Strathcona Pavilion links community processes and art making to Vancouver�s Public Art Program. In 2004 a collaborative process between myself, Architect David Rose and the Strathcona Park Committee was begun to build a Pavilion in Strathcona Park that would celebrate the lives of the people living in the area. The new structure would feature artworks created by community members generated through a process that spanned half of the following year. Through the fall of 2004 and winter 2005 workshops were held to make paper cut designs that would then be translated into the cut wood and cut metal designs, which now adorn the Pavilion. Paper cutting has many traditions in many cultures and it was an interesting process, which captured people�s imaginations and engaged all ages in the Strathcona neighbourhood. Artworks were created by children, parents, families and neighbours at Strathcona School, Seymore School, Strathcona Community Centre, Raycam Community Centre, The Core Artist Co-op, and through gatherings at people�s homes. Altogether there are over 200 individual designs on the Pavilion.The Pavilion and artworks were completed in July 2005 and a community celebration was held in the park.",Strathcona Park,Prior and Hawkes Streets,Strathcona,49.275504,-123.0854,,Relief,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=417,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=417&ImageId=333,Barbara Cole,219,417 | |
| Vancouver,Our Community Story,2005,In place,"Our Community Story (OCS) was a community-engaged public art project produced by Media Undefined 2005-06. OCS engaged fourteen youth, thirty-five seniors and six artists in Vancouver�s Hastings/Sunrise neighbourhood in an oral history process that used artistic processes to recover and document some of the area�s living history. OCS culminated in a month-long exhibition in neighbourhood shops and cafes, which opened with a weekend of screenings and events. Four long-established shops were transformed into cinemas in which films about the shop keepers and their patrons were screened. A street corner became an outdoor cinema where an animation about the waterfront was projected, and four cafes were installed with sculptural jukebox-style story-stations, inviting visitors to listen to excerpts of stories as told by long time community residents. Creating a lasting legacy in the community, ceramic tile markers (each three foot square) were created to embed a selection of stories and images that emerged through the project into the neighbourhood landscape. These markers are installed in the sidewalk at eleven locations along East Hastings Street.",,East Hastings Street,Various,Hastings-Sunrise,,,East Hastings Street between Templeton and Lillooet (11 locations),Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=420,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=420&ImageId=335,Media Undefined,307;308,420 | |
| Vancouver,One in Light,2006,In place,"Eight stainless steel towers are anchored in the pond. They are filled with glass and resin chunks representing raw coal and rough diamonds. The ""diamonds"" have different colour hues and are illuminated at night with multi-coloured LEDs that produce white light but reflect a variety of colours. A grid of perforated pipes on the bottom of the pond release bubbles to represent a grid of streets. The patterning of the ""streets"" changes occasionally. The water is illuminated with a dark blue light.",The project was inspired by the history of the site [from glacial ice to mineral resources] and its transition into a setting for a series of beautiful residential towers set on a spectacular waterfront.,One Harbour Green,1169 West Cordova,Downtown,49.289295,-123.1209,West of pedestrian access to Harbour Green Park,Sculpture,"Electro-polished stainless steel, glass and clear resin, LED gemtubes",ASPAC Developments,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=421,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=421&ImageId=336,,309,421 | |
| Vancouver,Khenko,2006,In place,Khenko is made up of a wire sculpture of a heron with a recently swallowed fish visible in its belly and four large sails that move with the wind.,"During the industrial era of False Creek, many fish and wildlife left the area. The piece celebrates the heron's return to False Creek as a symbol of hope and restoration. The main focus of my practice, as a sculptor, has been to build kinetic assemblages which are in some way moved by the wind or water. The presence of a whimsical element is signature to my work and in part accounts for it�s popularity with children. I often combine folk art sensibility and hi-tech mechanics to thematically explore the relationships between society, technology, and the environment. I then relate this sculptural practice to the specific demands of public art.",George Wainborn Park,,Downtown,,,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=423,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=423&ImageId=903,,236,423 | |
| Vancouver,People Amongst the People,2008,In place,"These three beautifully carved red cedar portals are constructed to represent the traditional slant-roof style of Coast Salish architecture with carved welcome figures in the doorways. They are intended as a gesture of welcome to the traditional lands of the Coast Salish people of the area. The artworks reflect the history of these aboriginal people as well as the modern culture that still thrives. Three years in the making, the artworks were developed through collaboration with Coast Salish Arts; Vancouver Storyscapes (a City of Vancouver Social Planning project to encourage aboriginal people to share their stories through a variety of media); the Musqueam, Squamish, and Tsleil-Watuth First Nations; and the Vancouver Board of Parks and Recreation.","Drawing on Coast Salish design elements, People Amongst the People�s three portals represent: 1) Male and Female Welcome Figures - Framing the view at the east entrance to the site, these two upright figures greet visitors in a traditional Coast Salish gesture of welcome. Both figures wear Salish blankets incorporating weaving designs and a salmon motif. On the reverse side, the male has traditional design elements and the female has a motif influenced by Salish berry basket designs. 2) Grandparents and Grandchildren Honoured - On the upright poles located southwest of the path an intertwined braid of hair links the three female faces of the grandparents pole, illustrating the powerful matrilineal ancestry of the Coast Salish. The abstract design on the back represents the salmon, once so plentiful in the area. The grandchildren pole pays tribute to the importance of the family bond. On the reverse side, a carved herring design reflects the living culture in the area as it has been transformed through history. 3) Salish Dancer and Killer Whale - Visible from the seawall and park drive north, the third portal articulates the evolution of Salish design. A Coast Salish Dancer shows a human figure holding a sea serpent rattle and above it, the Thunderbird, the most powerful of all spirits and a symbol of protection. On the opposite face of the Dancer, tree roots connect us to the land, sea and sky. The Killer Whale upright depicts five whales, each with a raven fin and salmon pectoral, representing the close link between humans and orcas. The Salish believe that when great chiefs die, they become killer whales. The crossbeam is carved with a Salish textile motif.",Brockton Point Totem site,Stanley Park,Stanley Park,49.301064,-123.117,Three locations within a system of converging paths and mounds.,Gateway,Wood,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=424,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=424&ImageId=910,Coast Salish Arts,300,424 | |
| Vancouver,Watercourse,2008,In place,Water feature and planter.,"�Historically, the site of this plaza was crossed by a major stream flowing north towards the bay. Though not practical to construct the waterworks following the exact direction, the fountain and waterfalls here reflect the history of the original landscape while giving a vibrant edge to the pedestrian side of the office tower plaza along the length of Burrard Street. The flow of the original stream is demarked by a curving dark granite line across the southern part of the plaza. It is inscribed with the details of the history of the site. The geometry of the fountain, waterworks and planting beds is also designed to be seen from above from the surrounds buildings. Gray green Canadian granite, with polished, honed and natural cleft surfaces was used to create the pools, waterfalls, planting bed edges and seating.�",Bentall 5 Plaza,588 Burrard Street,Downtown,49.285718,-123.118287,"Main entry of the Bentall 5 tower, west of the Pavillion",Sculpture,Solid granite stone and stone cladding.,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=426,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=426&ImageId=1068,www.jonathancruz.com,276,426 | |
| Vancouver,VGH Energy Centre,2008,In place,"An interactive and integrally functional work that humanizes and animates the 45 or so intake, vent, steam and exhaust stacks rising out of the giant boiler plant below ground level. A somewhat parabolic stainless steel spiral pipe descends from the 3/4 point of one of the main stacks, down and across the site, ending over a vortex/whirlpool in the pool. The last 20 metres of the spiral rains cooling water into the pool, recycling it from, and back, into the plant itself. A number of the concrete pavers in the plaza are in fact pressure sensitive, that also cause the playful release of some of the excess steam from various vents of the system.",,VGH Energy Centre,12th Avenue at Willow Street,Fairview,49.260111,-123.122523,Plaza south side of 12th Avenue,Site Work,"Stainless steel, steam, concrete, water",Vancouver General Hospital,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=427,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=427&ImageId=1109,,140,427 | |
| Vancouver,Untitled,2008,In place,,"The ambition was to place an autonomous work into the chaos of downtown, with its traffic lights, signage, newspaper boxes, street lamps and traffic, that could sit independently from all of that - an anomalous and allusive object that would create its own context and exist on its own terms amidst the downtown swirl and still belong, while strongly suggesting otherness. In other words to be both part of yet separate from the surrounding architectural reality.The references are many yet suggest nothing to anchor the sculpture into a specific interpretation. The black and white bands of stone may recall 12th century Italian church architecture. The gold leafed spheres with the projecting necks are suggestive of the retorts of the medieval alchemists whose putative ambition was to transmute lead into gold. The gold forms also suggest the popular symbols of the male and female. In addition the tower or column elevates the gold objects and, by making them inaccessible, enhances their mystery. Resting lightly on the column in spite of their considerable mass, the scale and precarious position of the spheres imply the possibility of arrival from some unknown place and time to briefly alight before moving on - a suggestion of a mind or consciousness, of the anthropomorphic? Or the kinetic potential of a bird that briefly alights on a rooftop before flying on.The placing of real gold - which one usually finds in the sanctity of the church, in museums, or bank vaults - into the public realm is a means of acknowledging that there can be riches for public pleasure, treasure above ground for the eye to see and the spirit to ponder; a recognition that public art is, in every sense, an honouring of and a gifting to the community.",Cielo - Hastings and Bute (1205 W Hastings),1205 West Hastings Street,Downtown,,,Northwest corner of Hastings and Bute,Sculpture,Marble and gold leafed aluminum,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=428,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=428&ImageId=342,,221,428 | |
| Vancouver,Plot,2008,In place,Granite grave cover commemorating the artist's performance of digging the grave. This project was made possible through support from Mountain View Cemetery and the British Columbia Arts Council.,"On August 29th, 2006, I dug a grave by hand from beginning to end at Mountain View Cemetery in Vancouver. This entire process, six hours and fifteen minutes, was captured on HD video in one continuous take. The static shot is composed from the side with the plot at the bottom of the frame. The video ends when I have completely disappeared from the frame and have stopped shoveling. This work was initially exhibited as a scale video projection at the Or Gallery, Vancouver, in February 2007. Along with the video, a scale photograph of the empty gravesite, taken from directly above, was exhibited. The proportions of the excavation (the standard dimensions of a gravesite) happen to be the same as a �tombstone� or artwork label, typically found in gallery or museum exhibitions (one aspect of my job at the Vancouver Art Gallery was to produce such labels). This grave cover thus lists the artist�s name, biographical information, title, media, and date of the work. After its installation at the cemetery, the stone was photographed from the same perspective as the original photograph of the excavation. This photograph will be included in future presentations of the project.",Mountain View Cemetery,,RileyPark,,,"Masonic Section, Plot 28, Lot 9A (just north of 41st Avenue). See ""project page"" link below for exact location at the cemetery.",Site Work,Light grey granite,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=429,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=429&ImageId=343,,310,429 | |
| Vancouver,Weathervane,2008,In place,"Copper sculpture of the artist as the philosopher, Erasmus, seated backwards on a horse reading a book.","Riding high among the rooftops in Vancouver is an unusual sight that awaits the casual viewer looking upward from street to sky; a 58 inch-high bright copper sculpture of a historical-looking figure riding a lively horse with a ringleted mane, reading a book while sitting backwards. The figure faces the direction of the wind as indicated by the four directionals and the tipped arrow upon which it rests. Closer investigation reveals this to be Rodney Graham�s Weathervane sculpture, which depicts the artist dressed as 16th Century humanist and classical scholar, Erasmus. Absorbed in the solitary activity of reading, the figure is lost in thought and contemplation, not having to worry about where he is going or what lies ahead but, as Rodney Graham puts it, is able to �ponder on horseback� moving forward but also looking backward, to the past. Rodney Graham based the weathervane on a contemporary anecdote which claimed that Erasmus wrote his most well-known work, The Praise of Folly, on horseback during a journey from Italy to England circa 1510. Graham plays on the absurdism inherent in reading a philosophical treatise on human folly whilst riding on a horse backwards and continues his ongoing philosophical enquiry into cyclical and backward movement; like all his work it contains a complex narrative and is brimful of references: literary, philosophical, self-referential and art historical. Rodney Graham�s poetic and humourous weathervane, helpfully indicating wind direction and compass points for any serious traveller who looks upward to contemplate the conditions for travel, continues his preoccupation with un-urgent journeying. Erasmus travels from Italy to England leisurely by horseback, the cowboy meanders gently off the beaten track, the buccaneer�s unknown voyage which has thrown him up on a �treasure island�, and the chemically-induced mental journeys that take place in the artist�s head, remind us even if we are not going anywhere in particular that �the trip is the thing�.(Rodney Graham in conversation with Iwona Blazwick, Director, Whitechapel Gallery, October 14th 20082 Rodney Graham in Rodney Graham, Whitechapel Art Gallery, London 2002 p.109)",Pomaria,"1455 Howe Street, Vancouver, B.C. V6Z 1C2",Downtown,49.275678,-123.130832,Third level tower on Pacific Avenue,Sculpture,Copper and steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=430,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=430&ImageId=1066,,316,430 | |
| Vancouver,Park,2008,In place,"Park consists of two sculptural objects each approximately the size and weight of a small automobile. They will be situated in the curb lane among the parked cars and will be relocated from time to time to various addresses along the Ontario Greenway. The future public presence of Park, in large part, will depend upon ongoing interest and participation by the citizens of Vancouver. For more information, contact the City of Vancouver�s Public Art Program at publicart@vancouver.ca or call 3-1-1.",Park explores the nature and value of public and private space in our urban experience.,Current sites: 955 W 19th Ave and 911 E 59th Ave. (Map defaults to City Hall),,Downtown,,,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=431,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=431&ImageId=345,,174,431 | |
| Vancouver,Peaceable Kingdom,2008,In place,"In Dean's ""Peacable Kingdom"", serene beasts coexist in a precarious sensual paradise. The leopard lies with the goat kid, the sow and the python are in love, and the child and the bear are intimate. But it could collapse in a moment into sex and violence as a demon beaver leads berserker rats into paradise, and a giant vulture waits patiently for someone to die in paradise.",,King Edward Village,4078 Knight Street,Kensington-Cedar Cottage,49.249072,-123.075344,"Inner courtyard, adjacent to the new branch of Vancouver Public Library with additional pieces on the exterior of Building 2.",Sculpture,Bronze,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=432,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=432&ImageId=1124,SITE Photography,315,432 | |
| Vancouver,day off - night out,2008,In place,"Thirty stainless steel embedded plates. Two images: one of a place setting and the other of a film reel. Both surface finishes are reflective, each catching the light differently depending on the daylight conditions.","The intention was to create visually playful iconic imagery referring to the ""village"" on Cambie Street. This is an area with many restaurants and the historic Park Theatre.",Cambie Village,Cambie Street between 17th and 19th Avenues - both East and West sidewalks,South Cambie,49.256044,-123.1151,Cambie Street between 17th and 19th Avenues - both East and West sidewalks,Site Work,"Stainless steel plate (3/8"") -- alloy 304L",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=433,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=433&ImageId=996,,131,433 | |
| Vancouver,turn,2008,In place,Three sculptural elements fabricated from stainless steel pipe plate.,"turn began through an investigation of the Public Art site. It developed as a way of defining site parameters, and assessing the physical reality of creating an iconic marker for that site and the surrounding area. It was important that the work be read at a distance as well as have some aspect of the work that would be more intimate in its relationship to the viewer and the site. The intention was to create an iconic sculpture acting as a gateway marker defining the entrance to the City of Vancouver. turn acts as an identifier of place, creating an image in the viewer�s mind that connects them back to the site. The imagery and form for turn evolved from ideas about �driving� and �fixing� in particular, with the final form of the sculpture column based upon the twist drill. The two ground elements were intended to provide a more intimate relationship to the site as well as to the scale of the viewer.",Grandview Highway Canadian Tire,2820 Bentall Street,Renfrew-Collingwood,49.258316,-123.031001,In front of commercial complex along Grandview Highway - landscaped area east of stairway to parking level.,Sculpture,Stainless steel - alloy 304L,Canadian Tire,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=434,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=434&ImageId=348,,131,434 | |
| Vancouver,walking the line,2008,In place,Integrated work � six sculptural grates for fresh air intake vents for underground parking.,"This work was conceived for a pedestrian experience of the landscape and makes reference to the visible landscape of the city: the mountains of the north shore. The imagery was derived from the topography of the coast of British Columbia using geo-positioning computer software. The resulting image of the work was refined by hand drawing, further computer work as well as computer directed plasma cutting and then fabricated-assembled by hand.",The Rise,455 West 8th Avenue,Mount Pleasant,49.264171,-123.1138,Cambie Street between 7th and 8th Avenues,Site Work,Galvanized steel,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=435,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=435&ImageId=349,,131,435 | |
| Vancouver,Double Blind,2008,In place,"Double Blind is a large-scale sculptural installation by Antonia Hirsch, commissioned for the atrium of the new Vancouver Community College�s Broadway Campus Phase One Expansion building. Spanning four stories of the building, Double Blind translates a Snellen, or eye, chart into Braille by using dome mirrors in order to emulate the raised dots of Braille script.Dome mirrors are endemic to public spaces and can be found in pedestrian underpasses, hospital corridors, and in commercial retail contexts. They are used for surveillance as well as for the prevention of collisions in pedestrian traffic flow. Public space is often highly contested since it must typically answer to the idealist demands of communal space while also satisfying the concerns for public safety that are frequently associated with control and surveillance. Like many atriums, the new Vancouver Community College�s interior public space has a panoptic tendency: emphasizing �insight� into various interior spaces from specific vantage points. This panoptic tendency is echoed in the domed mirrors, each reflecting a 360� view of the surrounding space.Double Blind deliberately and emphatically utilizes elements that are commonly found in public space and re-purposes them, thereby highlighting the quality of the space itself, rather than offering a pictorial escape from its reality. Double Blind queries the interlinked ideas of seeing and controlling, acknowledging the importance of the context in which information is acquired and processed, whether that context is a scientific doctrine, social matrix, or language system.This sculptural work is accompanied by a T-shirt multiple that echoes the installation�s oxymoronic premise: those who can see the work likely don�t read braille, and those who read braille can probably not see the work.On the back of each T-shirt, an eye chart is rendered in raised letters. Though reproduced in a colour identical to that of the shirt and thereby nearly invisible, the characters are tangible. Conversely, the front of each shirt mirrors the installation�s graphic arrangement in reflective foil, yet these braille dots are entirely two-dimensional, visible, but not available through touch.",See 'Description of Work'.,Vancouver Community College: Broadway Campus,1120 East 7th Avenue,Mount Pleasant,49.264344,-123.0808,Building Interior: Atrium,Site Work,Mirrored acrylic domes,VCC,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=436,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=436&ImageId=350,Photo Technic,317,436 | |
| Vancouver,The Drop,2009,In place,"A large, gentle ""raindrop"" captured in its descent at the moment of contact.","Thrust into the waters of Burrard Inlet, The Drop playfully invites the viewer to reflect on our relationship with this precious commodity of water, and by extension, on the history, complexity, and future of our waterfront.The Drop pays homage to the element of water and the un-tameable forces of nature which are omnipresent in Vancouver. The slender, elongated sculpture balances as if a huge raindrop were on the verge of landing on the sea walk.Although the sculpture takes a natural phenomenon as its starting point, it displays a technical perfection, artificially coloured to correspond to the sky and contrasting with the pale yellow mass of the mountain of sulphur visible on the horizon, waiting to be loaded into cargo ships.The sculpture�s angle and orientation create a visual dialogue with the architecture of the Convention Centre West, as well as with the bows of the gigantic cruise ships frequently docked nearby. Like an abstract, radiant-blue ship�s figurehead, it marks the interface between land and water, between nature and technology.",Vancouver Convention Centre,1055 Canada Place (foot of Burrard Street),Downtown,49.289384,-123.114089,Bon Voyage Plaza,Sculpture,Polyurethane over EPS,BC Pavco,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=438,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=438&ImageId=908,City of Vancouver,321,438 | |
| Vancouver,Monument for East Vancouver,2010,In place,Freestanding illuminated sculpture,"Monument For East Vancouver develops from a graffiti symbol that has circulated for several decades in East Vancouver. It is a symbol that has circulated in largely provisional terms. My idea was to formalize the symbol through scale and permanence. Although its precise origins are not known, the symbol does date back to at least the late 1940s (according to the memory of some senior citizens), which is the beginning of the post 2nd World War period. Its roots may be linked to the Catholic inscription of East Vancouver culture at that time, home as it was to many Italians, Greeks and Eastern Europeans. Over the years, the symbol has been adopted as an emblem for East Vancouver as a whole but its appearance has generally been tentative rather than overt. The lack of overtness is, I feel, symptomatic of the underlying meanings that the symbol expresses. These meanings have to do with problems of injustice, inequality, subjugation and the trauma of poverty and acculturation, particularly as it relates to immigrant life. My proposal is for a site that sits on a visually messy and peripheral site in East Vancouver. The East Vancouver symbol is rendered as a 57 foot sculpture that lights up after dark, the word East and Van encircled by a cross delineation that seems to float all on its own. The sculpture faces westward towards downtown, towards the centre. It is an expression of hope and defiance.",,Clark Drive at East 6th Avenue,Grandview-Woodland,49.265426,-123.077613,North West Corner of Clark Drive,Sculpture,"Concrete, Steel, Aluminum, Impact Modified Acrylic, LED Illumination",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=441,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=441&ImageId=765,Robert-Keziere,3,441 | |
| Vancouver,The Solar Bike Tree,2010,In place,"The Solar Bike Tree is functional art. Part sculpture, part bike rack, the tree has motion-detected, solar powered lights in the treetop. A �nest� houses the battery and electrical components. Up to 15 bikes can be parked at the tree: 12 in the root �racks� around the base; three more can be hung from the tree trunk. The Bike Tree is sited at Science World, close to the 2010 Olympics Athletes' Village. It sits at the confluence of three major cycle paths, including the city's premiere Central Valley Greenway. The Solar Bike Tree replaces a street lamp at the end of an arc of large trees in planters, becoming one of the �trees� in effect. The round hoops of the tree�s canopy echo the spherical shape of Science World. BC Hydro funded the solar component of the piece and Webster Solar Energy was the solar consultant.","Bike racks typically don't beautify outdoor spaces, they are merely functional and are often seen to just take up space. The Solar Bike Tree turns a bike rack into a work of art, making it cool to ride and park your bike and perhaps more desirable to have a bike rack in front of businesses or in public spaces. By turning a bike rack into a sculpture, we hope to bring more attention to ""alternative transportation"" in this time of rising fuel costs and peak oil concerns. It also gives bike owners a safer, more theft and vandal-resistant way to securely park their bikes.�Spring Gillard, Garden Heart Production",Science World (Creekside Park),Quebec and Terminal,Downtown,49.273084,-123.102799,In front of Science World,Sculpture,Structural steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=442,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=442&ImageId=767,,322,442 | |
| Vancouver,A Bright Future,2009,Removed,"1. Light Shelter Bus Shelter: City bus shelter #50244 (west side of Main Street at 20th Avenue) adapted to become a light therapy bus shelter. Light fixtures are triggered by sensor when approaching shelter. (Temporary Project)2. Blanket Bus: Full bus wrap on city bus driving East and West on Main Street displaying four images of afghan blankets. (Temporary Project)3. Interior Cards: King Panel bus driving East and West on Main Street. Artists invited to create designs on the ambiguous theme of Instant Coffee. Twenty artists� designs were printed on cards, replacing the interior bus ads.Exterior King Panel: Through text messaging, the public voted on a �winner� of the interior ad cards, who received a prize and had their design featured on the King Panel for the remainder of the project. (Temporary Project)4. Sandwich Boards: Metal sandwich boards painted bright colours with Instant Coffee slogans painted on the front and back. (Permanent Sculptures)","As part of Instant Coffee's self-proclaimed �Year of Bright Days,� the exhibit, A Bright Future was a four part public commission for ""88 BLOCKS Art on Main"". Instant Coffee has a reclaimed aesthetic and a social intention that played out over the four components: Blanket Bus; Instant Coffee 500; Say Nothing in Bright Colours; and Instant Coffee Light Bar Bus Shelter. All the components functioned as short moments of reprieve as visual fields that are most typically reserved for advertising. Even though Instant Coffee often formally plays with the style of advertising it does so without a clear focused point of sale.For Blanket Bus, Instant Coffee re-positioned and re-scaled the typical hand crafted afghan blanket, wrapping five sides of an articulated bus with large realistic photo images of the blankets. With its erratic and saturated palette and its repetitive grid line and block form, this vernacular aesthetic of the afghan was synthetically ripe, easily appropriated from its modest domestic crafting place and resituated at a larger scale into a public space, one of advertising. Since the artist collective's inception in 2000, Instant Coffee has used language as part of their practice, designing slogans like ""it doesn't have to be good to be meaningful and ""get social or get lost."" It is through succinct catchphrases, which at times drip with the sincerity of self-help jargon, ring with the urgings of advertising slogans or resound with a dissonant irony, that Instant Coffee applies to Say Nothing in Bright Colours, a series of seven individually hand painted sandwich boards that will be permanently installed in various locations along Main St in Vancouver. Instant Coffee often invites other artists to participate in their projects and they continued this tradition for Instant Coffee 500, where they asked 14 artists to design 16 interior car ad cards to be displayed in one bus. Instant Coffee then asked bus patrons to vote on which artist ad card they like best. For two weeks, transit riders voted on their favorite design via text messaging and online. The winning artist received a $500.00 prize and their design was featured on the outside of another number three Main Street bus for the remainder of the project. For the Light Bar Bus Shelter, Instant Coffee adapted the Main and West 20th bus shelter into a full spectrum light therapy bar. In a place, such as Vancouver, Canada, with much darkness and rain, the negative effects from this lack of sunlight has on individual psyches and the larger social milieu seems at times seems paramount. Instant Coffee offered a moment of solace; only fifteen minutes at the bus shelter was needed for a daily dose of vitamin D and a brighter future.",Various locations on Main Street,,Downtown,,,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=443,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=443&ImageId=355,,323,443 | |
| Vancouver,Everything Is Going To Be Alright,2009,In place,Neon text affixed to the restored masonry parapet of the southern fa�ade of the six storey portion of the building. The art piece is set back from the three storey Pender fa�ade but visible from farther vistas.,,The Wing Sang Building,51 East Pender Street,DowntownEastside,49.280538,-123.103112,Southern fa�ade of the six storey portion of the building,Site Work,"15 mm diameter, single tube white neon",Bob Rennie,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=444,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=444&ImageId=356,http://www.renniecollection.org,325,444 | |
| Vancouver,Aerodynamic Forms in Space,2010,In place,"A major figure in Canadian and international contemporary art, Vancouver artist Rodney Graham is well known for his conceptual and often humorous sculptures. His piece for the Georgia Street entrance to Stanley Park, a spectacular 400-hectare evergreen oasis in the downtown peninsula, is a 35 foot abstract stainless steel sculpture that replicates a balsa wood toy glider set; abstractly assembled as a modern sculpture. The work includes an impression of the twisted blue elastic band that would be used to power the glider, a propeller that slowly turns in the wind and wheels that whimsically bob.","The work takes its title from a series of photographs I shot in Vancouver in 1977�which documented a series of �incorrectly� assembled toy glider kits�I put the models together not with a view to having them fly correctly, but with an eye to their aesthetic value as purely abstract sculptural forms� Part of the challenge inherent in making these works was the very limited instrumental set from which I had to draw.When I was asked to create a sculptural proposal for the entrance to Stanley Park, it occurred to me that it might be interesting to return to this work�and try to realize a large-scale version of one of these sculptures: to use the same very limited instrumental set with which anyone who has put together a toy glider would be familiar. The theme of flight seemed appropriate given the location too, for seaplanes are common sights at the entrance to the park.And the park, of course, is a place where children and adults may very well play with gliders� Plus it would be something that would be interesting when glimpsed only briefly by passengers in vehicles moving at relatively high speed along West Georgia.The title of the work is meant to evoke, in a slightly humorous way�that of a classical modernist public monument of a bygone period, elements of which the sculpture plays with.",Stanley Park,Georgia Street entrance,West End,49.294667,-123.13608,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=445,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=445&ImageId=769,,316,445 | |
| Vancouver,Walk In/Here You Are,2009,Removed,"Vancouver artist Christian Kliegel�s architecturally inspired structure on the Vancouver Central Library�s north plaza serves as an open-air theatre for Here You Are, an outdoor exhibition of video, still and performance works by local artists. Curated by Cate Rimmer, curator for the Charles H. Scott Gallery at Emily Carr University of Art and Design, the installation will feature six different exhibition programs during 2010.Walk In/Here You Are explores ideas of presentation and location. It invites visitors to interact with the installation�s physical components and to use it as an outdoor social space while viewing works by both established and emerging Vancouver artists.Part One of the exhibition explores themes that indirectly relate to the Olympic and Paralympic Games: spectacle, promotion, endurance, camaraderie and physicality. Artists include Stan Douglas, Jamie Hilder, Shannon Oksanen, H�vard Pedersen, Laura Piasta and David Catherall, Kevin Romaniuk, Jeremy Shaw and the performance group, Weekend Leisure (Erich Gerl, Curtis Grahauer, Christy Nyiri, Pietro Sammarco).","Walk In/Here You Are is a large-scale installation on the Central Library plaza that serves as a venue for visitors to engage with a curated program of projected videos and live performances. A form of a drive-in theatre has been created to encourage viewers to temporarily interact with clusters of street furniture found within the jurisdiction of the Vancouver Board of Parks and Recreation.The furniture is imbedded into a large wooden deck. As the library plaza slopes down towards the entrance of the library (the location of the screen), the furniture increasingly disappears into the deck. The relationship between what is foreground or background is eventually inverted. This change in interface constrains the use of the seating while simultaneously opening up new possibilities of interaction.�",Vancouver Central Library,350 West Georgia Street,Downtown,49.279698,-123.115556,North plaza,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=449,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=449&ImageId=1075,C Kliegel,329;330,449 | |
| Vancouver,THE WORDS DON�T FIT THE PICTURE,2010,In place,"A large freestanding, three-dimensional sign with 1280 LED light nodes with the text THE WORDS DON""T FIT THE PICTURE. The lights change with a computer programmed sequence.","THE WORDS DON�T FIT THE PICTURE is a text-based work made in response to the context, building and public surrounds of the Vancouver Public Library. The work takes the form of a large freestanding sign that sits in front of the VPL just off the southern entrance of the building in a heavy pedestrian traffic area. The sign takes its cues from an era of signage when signs were once seen as celebratory, grand and iconic � in effect, as landmarks in their own right as a kind of symbolic architecture (think: Caesars Palace, The Flamingo, The Stardust � to the landmark of all landmarks, Hollywood). In tracing this lineage, the work also acknowledges a local history when Vancouver was once seen as one of the neon-light capitals of North America. Reminders of this once past persists in signs like BOW-MAC �on Broadway� (now retro-fitted with the Toys R� Us sign) and of course the W atop of what once was the Woodward�s building. In adopting the form of a sign, THE WORDS DON�T FIT THE PICTURE elides the classifications of traditional sculpture, by evoking a typology that is at once familiar and accessible. Taken within the context of a public library, the work touches upon � in a very poetic way � the use of words and language as boundless and imaginative, as a catalyst for a multiplicity of meanings.","Vancouver Public Library, Main Branch","350 West Georgia Street, Vancouver BC V6B 6B1",Downtown,49.279552,-123.116458,West Plaza,Sculpture,Aluminium,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=450,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=450&ImageId=1077,Karen Mills ,331,450 | |
| Vancouver,Boulevard,2009,In place,"Canadian artists Adrian G�llner and Pierre Poussin created three artistic lighting schemes for the Cambie Street corridor and Yaletown. Both are recognized for site-specific works that incorporate a variety of mediums and contrasting materials to animate environments. For this Vancouver installation � and their first collaboration - the duo developed decorative, playful street lighting elements to provide a sense of place for visitors.Fireworks Boulevard is a series of LED fireworks between King Edward and 12th on Cambie Street. Rain Barrels , in Yaletown, on Mainland Street, are a series of cool blue animated LED barrels in which the lights sequence similar to a Vancouver rainfall. Flames, is a set of candle-like LED lights.","Beneath a long, dark Canadian winter, Vancouver will be a hive of activity during the 2010 Olympic Games. As a way of brightening the nights, adding to the sense of excitement and making the City visually remarkable, we developed three artistic lighting schemes for the City�s downtown core and Cambie Street.Fireworks Boulevard, a series of sequenced LED fireworks, chases down Cambie Street, transforming it into a grand entrance boulevard to the City. Vivid and unequivocally joyful, one can imagine watching the street lighting against a sky filled with actual fireworks.[Downtown] will be marked with a path of blue LED lights, which will feature animated rain sequences. In Yaletown, these cool-toned LED rain barrels will be complemented by a series of warm coloured flickering LED flames. The flames atop the lampposts will bring a touch of the Olympic Torch from BC Place Stadium, where it will be housed, outside to the city streets. Flickering candle-like flames will also provide a sense of warmth for the cold winter evenings and recall a time when gaslight was used to illuminate the streets of Yaletown.",,"Cambie, Hamilton and Mainland Streets",Downtown,49.275046,-123.121383,,Site Work,LED Lighting,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=451,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=451&ImageId=854,,332;333,451 | |
| Vancouver,Surface,2010,Removed,"Surface is a live documentary of the underwater life of False Creek, transmitted from a camera mounted under an aquabus (a small commuter ferry). The submerged camera feeds streaming video 24 hours/day directly to www.surfacer.ca and to a TV monitor mounted inside the boat, which people can watch while riding the ferry. The live footage can also be seen on screens at various locations on Granville Island. The live stream functions as an abstract mix of colours and impressions, until crustaceans or fish swim by. After dusk, Surface takes on a more intimate world, when tiny crustaceans, larval animals and eels can be seen. During the term of its installation, Vancouver artist Fiona Bowie hopes to track the health of False Creek�s marine life as evidence of our collective footprint.","Surface will evolve over time, reflecting the health of marine life as evidence of our collective activity: the future of the work and what is manifest is wholly dependent on us.",,,Fairview,49.271127,-123.133831,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=452,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=452&ImageId=363,,334,452 | |
| Vancouver,Ice Light,2010,In place,"At the edges of the buidling white LED light lines are installed. Every hour a visual spectacle takes place�as it is well-known of historic City Halls: Over a period of 1 minute the white lines are set in motion so that they appear like a water fall of light. Afterwards calm is restored: The frozen light lines accentuate the horizontal, downwelling character of the building. The work refers to Vancouvers' special characteristic: a modern industrial city surrounded by wild and pristine nature.","My pieces are about concerns which play an important role in everyday life as well as in art, in painting, sculpture, architecture: space�movement�time�light. My pieces are not about that what we see, not about that what appears in front of our eyes but about that what is behind them, about that what presupposes seeing. My pieces in the urban environment, in a building or in the outer space do not exist without contact to their surroundings. They exist in a social and local context. This context is defined by the architectural surrounding, the architectural idea and the social situation: the co-operation of different historic, functional, organizational, visual, acoustic, tactile, communicative moments.The conditions of perception, orientation, movement and communication determine my thoughts about the situation and the development of an idea for the special place. So, my pieces refer to the place and the context, explore existing rooms, architecture, places, situations with different medias and react to the specific parameters of the surroundings: the place�the situation�the function. On the other hand everyday moments and social connections play a role. I am interested in the specific site that the work exists in. My intention has been to change the nature of the public space. This space altered by my input, becomes the art. Light is my most preferred media I deal with because of its special quality. Light is a basic element. Without light there is no life. Besides, light is a very changeable element: Actually light�daylight and artificial light�exists in endlessly different versions. And light is a very ephemeral element; that's why I like it. I am very interested in all these special qualities.",City Hall,453 West 12th Avenue,Mount Pleasant,49.260791,-123.113986,LED lines along the horizontal borders of the building,Site Work,"White LED lines, electronic control",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=453,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=453&ImageId=1083,Colin Fenby,326,453 | |
| Vancouver,Every Letter In The Alphabet,2009,Removed,"Every Letter In The Alphabet (ELITA) is a yearlong project that will commission, collect and produce text works for distribution and placement in and around Vancouver and its environs.Through this process, Farmer aims to create dialogue about the texts and the city itself. The primary format of the works will be simple black and white text posters, although banners, newspaper ads and other print vehicles are also possible. Located in East Vancouver, the project space is open to the public and features both a reading room and an exhibition space. The project begins on November 15, 2009 and will continue through the fall of 2010. A book of the collected documents will be published in December 2010.The first exhibition, openned November 20, 2009, THREE LITTLE WORDS. People were invited to send their favourite three words to everyletterinthealphabet@gmail.com and each submission was turned into a small handcrafted sign and displayed in the studio as part of the exhibit. Signs were sold for three dollars, with all proceeds going towards future ELITA projects.",,,,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=454,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=454&ImageId=365,,335,454 | |
| Vancouver,Kingsway Luminaires,2009,In place,"Vancouver artist David MacWilliam�s six hand-cast translucent forms stand as beacons on lamp standards in the medians on Kingsway near Knight Street. Inspired by combinations of historical streetlights, Kingsway Luminaires features LED lights that slowly change colour, beginning at dusk and continuing through dawn. The artist�s intent is to provide nearby residents and commuters a multi-hued marker as part of their everyday experience.","My intention is to produce a light work that provides a subtly changing daily experience for repeat audiences. Kingsway Luminaires will provide a marker for those neighbours and commuters who pass by it, delight in it, and claim it as a part of their everyday experience.",,Kingsway at Knight Street,Kensington-Cedar Cottage,49.251147,-123.077956,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=455,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=455&ImageId=1090,Scott Massey,172,455 | |
| Vancouver,The Birds,2010,In place,"Vancouver artist Myfanwy MacLeod has always been interested in the ability of public art to convey political and historical meaning. The Birds, her artwork for Southeast False Creek Olympic Plaza, sits on the last large tract of available waterfront near downtown Vancouver and has been shaped by this new community�s focus on sustainability. The work attempts to highlight both the lighter and graver sides of what can happen when a non-native species is introduced to an environment, how the beauty of birds can sometimes mask their threat to biodiversity.","My work for the Olympic Village tries to infuse the ordinary andcommonplace sparrow with a touch of the ridiculous and the sublime. The Birds is a pair of sparrows (male and a female) that, through their large scale� they stand 18 feet tall (5.5 metres) � inverts the normal relationship existing between these typically small birds and the human population.Locating this artwork in an urban plaza not only highlights what has become the �natural� environment of the sparrow, it also reinforces the �small' problem of introducing a foreign species and the subsequent havoc wreaked upon our ecosystems�. The Birds reminds us of our past, but it aspires to challenge the future.It is my hope that the work stimulates understandingthat will lead to a greater sense of shared responsibility and caring.",Milton Wong Plaza at Olympic Village,1 Athletes Way,Mount Pleasant,49.271428,-123.106698,,Sculpture,"Stainless steel, hardcoated EPS foam, bronze",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=456,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=456&ImageId=1043,Robert Keziere,374,456 | |
| Vancouver,Flow,2009,In place,"Flow is Vancouver's first photo/media-based permanent public art work. Over the course of the day and night, Flow shifts between live and constructed or theatrical tableaus. During the early morning and after dusk Flow presents as a continuously changing tableau in which hundreds of photographic portraits and landscapes, shot by Fiona Bowie over the last few years, are blended and projected onto a special projection material (switch glass). As viewers come close to the image, this material causes portions of the imagery to disappear as panels of it's surface switch from translucent to clear. A system custom-designed by Bowie and Sidney Fels allows figures shot at different times to appear as if they simultaneously present, with a core group of these figures or actors recurring in a manner that implicitly suggests they're part of a larger narrative. The scenes in Flow change every two to four minutes. The transitions from one scene to another are so slow that the work has been described as having a dream like or hallucinatory quality. Because the project system constantly varies the scale of images (between life size and zoomed in), a particular shot of a particular character may vary from scene to scene, seemingly either fore-grounded or backgrounded. During daylight hours, Flow's dynamic glass projection surface ceates viewing portals, framing details the activity inside and outside. This provides individuals inside with shifting views and details of the street(these views change according to their proximity to the street) and passersby to view activity going on inside the building.The online component of Flow allows viewers to see the work unfold during the day when the site image projectors are off and the site glass is the active component. Visitors are encouraged to engage with the work by clicking on the ""Put words in our mouths"" link to play with dialogue and attribute phrases tocharacters pictured within the work. This collection of phrases is dynamic and will be added to over time. After choosing the phrase(s), the scene still can be saved and added to the Flow archive.",,Mount Pleasant Civic Centre,1 Kingsway,Mount Pleasant,49.264032,-123.100272,Street level at 1 Kingsway,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=457,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=457&ImageId=775,,334,457 | |
| Vancouver,Salish North Star in Maple Leaf,2010,In place,"Stainless steel with sandblasted finish on granite base, the design is a contemporary Coast Salish North Star within the Canadian maple leaf symbolizing the Winter Games and also welcoming the world internationally to the community.",,South East False Creek Plaza,1 Athletes Way,Mount Pleasant,49.272196,-123.106964,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=458,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=458&ImageId=369,,10,458 | |
| Vancouver,Chief Dan George Welcome Pole,2010,In place,"This pole honours Zac George's grandfather, Chief Dan George, who was chief of Tsleil-Waututh First Nation as well as author and Academy Award-nominated actor. Chief Dan George is descended from the wolf clan. The wolf is particularly important animal to the Tseil-Waututh people, according to their traditional story of origin. The carving features a killer whale, an animal honoured by the Tsleil-Waututh people. In times past, the killer whale would travel freely through the waters of the Burrard Inlet, part of the traditional territory of the Tsleil-Waututh, who are known as the �people of the Inlet�.",,Pacific Coliseum,100 North Renfrew Street,Hastings-Sunrise,,,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=459,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=459&ImageId=876,,328,459 | |
| Vancouver,Sacredness of Four,2010,In place,"Water-jet cut granite mounted on stainless steel, this work features designs based on the sacredness of things in four: four directions (north, east, west, south); peoples of the world then coming together from these four directions; four seasons; four stages of life (infant, youth, adult and elder).",,Trout Lake Ice Rink,"Trout Lake Community Centre, 3350 Victoria Drive",Kensington-Cedar Cottage,49.255147,-123.065904,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=460,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=460&ImageId=371,,408,460 | |
| Vancouver,Bright Futures,2010,In place,"A sandblasted glass whorl on a stainless steel base, the design is a Salish face as the central figure surrounded by larger triangles that represent athletes of today. The smaller faces represent our future athletes.",,Killarney Ice Rink,"Killarney Community Centre, 6260 Killarney Street",Killarney,49.22695,-123.044018,,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=463,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=463&ImageId=861,Vancouver Park Board,337,463 | |
| Vancouver,Blue,2010,Removed,"Blue is an experimental film and dance documentary that features members of the Canadian Women�s Ski Jumping Team as well as settings in a rapidly changing Downtown Eastside. Both are in a state of transition, whether it be waiting for a chance to compete or witnessing the transformation of a community. Blue marks these historical, geographical and cultural changes.","The project takes off from Yves Klein�s photograph, Leap into the Void, representing an acrobatic engagement with cityscape and calculated risk akin to the efforts of ski jumpers to defy gravity. It is the transitional space between taking off and landing that is expressed in relation to the colour blue. Women ski jumpers presently occupy an additional liminal space as they both wait and prepare for a chance to compete in the Games. The Downtown Eastside is currently faced with rapid transition. Blue attempts to track these historical, geographical and cultural changes, through a cinematic presentation of embodied movement (of cityscape and of physical flight).",Various viewings in downtown Vancouver,,Downtown,,,,Other,Video Installations and a free publication,Project Rainbow,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=465,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=465&ImageId=1095,,375,465 | |
| Vancouver,Spindle Whorls,2010,In place,Five spindle whorls cast in white concrete on stainless steel mounts. Spindle whorls are well known to Coast Salish carvers who made these disc shaped weights and long spindles for the spinning of wool.,,Vancouver Olympic Centre/Vancouver Paralympic Cent,Hillcrest Park,RileyPark,49.244221,-123.106548,East building entrrance,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=466,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=466&ImageId=374,,336,466 | |
| Vancouver,Digital Natives,2011,Removed,"Other Sights for Artists� Projects was pleased to produce Digital Natives, a public artwork sited on the electronic billboard at the Burrard Street Bridge between April 4 and April 30, 2011. Curators Lorna Brown and Clint Burnham invited artists and writers from across North America to contribute messages to be broadcast over the month of April, coinciding with the 125th Anniversary of the City of Vancouver. Curators: Lorna Brown, Clint BurnhamArtwork Contributors: Candice Hopkins, cheyanne turions, Chris Bose, Christian B�k, Daina Warren, Edgar Heap of Birds, Emily Fedoruk, Henry Tsang, Larissa Lai, Lisa Robertson, Lori Emerson, Marianne Nicolson, Marie Annharte Baker, Mercedes Eng, Michael Turner, Peter Morin, Phillip Djwa, Postcommodity (Raven Chacon, Kade L. Twist, Steven Yazzie, Nathan Young), Rachel Zolf, Raymond Boijoly, Rita Wong, Roger Farr, Sonny Assu, Tania Willard.","Digital Natives intervened in the physical, social and historical context of the site, the billboard and the city with a series of ten-second text messages interrupting the rotation of advertisements. Taking the form of Twitter messages, invited contributors responded to the site�s charged history, the ten-second format and the 140-character limit of tweets. The contributed messages in English were selectively translated into Skwxw�7mesh; Kwak�wala and h?n�q�emin�?m� and these, along with messages resulting from workshops with urban Aboriginal youth, completed the launch of the project. The billboard itself became an artistic and literary space for exchange between native and non-native communities exploring how language is used in advertising, its tactical role in colonization, and as a complex vehicle of communication. Encouraging dialogue among artists and writers, between First Nations and non-First Nations communities, and between artists, writers and the public, Digital Natives is public art that the public not only �receives�, but also produced. Local and remote audiences were welcomed to tweet their messages to @diginativ, and they were considered for broadcast. Contributor messages were formatted in blue text on a red background: public tweets displayed as red text on a blue background.",Burrard Street Bridge,Burrard Street Bridge,Kitsilano,49.275561,-123.1376,Electronic Billboard,Other,Digital text displayed on existing illuminated sign,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=467,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=467&ImageId=375,,469,467 | |
| Vancouver,A Temporary Gallery for Permanent Change (as part of Bright Light),2010,Removed,"Installation of a canopy of assembled lanterns, made out of umbrellas each cp illuminated with red LED transform magically at dusk from white to deep red.","Set in one of Chinatown�s oldest and almost-forgotten courtyards, (just off of West Pender Street and close to the Chinese Cultural Centre), GO! transforms one of Vancouver�s undiscovered courtyards into an illuminated canopy of light and space. Utilizing umbrellas, video projections, light installations and programmed events, the courtyard becomes a lively gathering space, encouraging participation and play, gatherings and discovery, celebrating neighbourhood and community.",Yue Shan Courtyard (Chinatown),Courtyard of 39 East Pender (Chinatown),Downtown,49.280702,-123.103328,spanned over the courtyard,Other,900 white umbrellas,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=468,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=468&ImageId=376,,338;339,468 | |
| Vancouver,Aperture Project - Contingent Matters,2011,Removed,Six text-based banners,"The artist describes the work as: �� premised on the library�s role as a site of knowledge production. Though the activities of the library�s users are immensely varied and particular, this work imagines them as a shared curiosity directed towards a differently articulated future. The general concern of the text is the provisional character of knowledge as expressed through language�The texts use tertiary colours (red-orange, blue-green, etc.) to represent knowledge as a variegated phenomena coloured by things at a distance, always motivated and never neutral. The texts are placed against a background approximating the colour of the walls of Library Square to appear as if inscribed directly on the building�s surface.�","Library Square, Vancouver Public Library (Downtown)",300 West Georgia Street (Downtown),Downtown,49.279698,-123.115556,Atrium,Banners,flexface vinyl with no topcoat,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=469,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=469&ImageId=377,,372,469 | |
| Vancouver,Nighthawk Aboriginal Arts & Music Festival - Bright Light,2010,Removed,festival celebrating indigenous arts & music,,Crab Park,149 East Waterfront Road,DowntownEastside,49.285291,-123.0978,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=470,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=470&ImageId=378,,366;367;377;378;438;439;440;441;442;443;444;445,470 | |
| Vancouver,Passage - Bright Light,2010,Removed,Sculptural light installation,"Access Gallery is pleased to present a new work by Osvaldo Yero as part of Bright Light: a temporary public art project commissioned by the City of Vancouver that involves fourteen local art organizations. Guest curated by Charo Neville, Passage is one of a series of cultural projects that will be on view through the months of February and March along the Carrall Street Greenway in the Downtown Eastside. Yero�s project will be visible from the street during the day through the window of Access Gallery. Peering through a revealed slot in the otherwise darkened window the viewer will experience intense flashes of light, created by flickering LED lights which momentarily highlight knife blades set against a black backdrop in a completely darkened room. The brief beams of light on the spikes of metal suggest the reflection of light created from a lighthouse beacon, announcing a vast dark sea. Engaging the individual senses, yet disorientating the viewer and evoking the feeling of being alone in the middle of a dark ocean at night, the work offers a sense of solitude within the public space of the street. Its contrasting beauty and brutality also incites inevitable reflections about violence and self-preservation in the marginalized neighbourhood in which the work is situated. As an immigrant to Canada from Cuba, Yero has consistently been concerned with themes that relate to his experience as part of the growing Cuban diaspora. Since living in Canada, Yero still frequently visits his homeland, where many of his family and friends continue to live with limited possibilities to leave. Like the paradoxical freedom and panic that swimming in a wide dark ocean may induce, Cubans are legally bound to their country, which is both home and prison. Many who try to escape across the ocean do not survive, or arrive on the other side only to be returned. The metaphor of death prevails in Yero�s practice. The title of the work, Passage, reflects these ideas � water is evoked as the dual possibility of freedom and death. This new work also addresses myriad issues of integration and dislocation facing immigrants to a new country. Exhibited during a global event promoting nationalistic pride through marketing terms such as �dream,� �discover,� and �celebrate,� the installation in turn speaks to the underlying complexities of these utopic ideals. This project will also include a forthcoming exhibition catalogue, to be published by Access Gallery, in collaboration with the artist and the curator.",Access Gallery (Downtown Eastside),"206 Carrall Street Vancouver, BC V6B 2J1 (Downtown Eastside)",DowntownEastside,49.282989,-123.103934,Front window of gallery,Other,"LED lights, knives, enclosed room",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=471,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=471&ImageId=379,,341,471 | |
| Vancouver,Brawl - Bright Light,2010,Removed,Two hour performance (temporary),"Artspeak presents Brawl, a new performance work by the Vancouver artist collective Norma. The performance will occur on Andy Livingstone Field, dramatically lit by lights normally used for sporting events. The field is located off Carrall Street, in view of GM Place and other Olympic venues.Tying in ideas of sport and spectacle at the crossroads of contrasting areas of the city, Brawl highlights the fine line between violence and theatre. By extending the collective's interest in exploring group identity, public space, and collective behaviour, their choreographed and scripted performance includes texts and actions drawn from historical archives, film, and popular culture. Norma�s work troubles the defining actions of fan and protestor, peacekeeper and instigator.Norma�s past work draws from diverse sources, including visual and performance art histories, and social behaviour. The collective members are Vanessa Kwan, Diana Lopez Soto, Josh Neelands, Christy Nyiri, Pietro Sammarco, Erica Stocking, and Kara Uzelman. All members of Norma are undergraduates of Emily Carr Institute of Art and Design (now Emily Carr University) and have individual art practices.",Andy Livingstone Park,Carrall and Keefer Streets,DowntownEastside,49.279416,-123.1061,Field,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=472,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=472&ImageId=1050,,461,472 | |
| Vancouver,DTA Downtown Ambassadors - Bright Light,2010,Removed,"As the initial public-art project for the Audain Gallery at SFU Woodward's, four visual artists who are SFU Alumni have been commissioned to create new site-specific public art works. Coming Soon will address the qualities of the neighbourhood and the context of the new location of the School for the Contemporary Arts. As a public interface for the Audain Gallery Jamie Hilder created a project specifically designed for the internet on the Audain Gallery�s website. Hilder created a video work that documents his performance as a Downtown Ambassador.",,Audain Gallery ,149 West Hastings,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=474,,,365,474 | |
| Vancouver,I said no - Bright Light,2010,Removed,"Vinyl panels on each window section, with text","As the initial public-art project for the Audain Gallery at SFU Woodward's, four visual artists who are SFU Alumni have been commissioned to create new site-specific public art works. Coming Soon will address the qualities of the neighbourhood and the context of the new location of the School for the Contemporary Arts.I Said No exclaims variations on the ability and potential to say �no� as a civic and social right: in this sense, I Said No is a work about intellectual freedom the public sphere.",Audain Gallery at SFU Woodward�s (DTES),149 West Hastings (Downtown Eastside),DowntownEastside,49.282788,-123.107762,"Front windows, facing West Hastings Street",Other,Vinyl/ Text,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=475,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=475&ImageId=381,photo credit not available,3,475 | |
| Vancouver,AdmIndex - Bright Light,2010,Removed,"As the initial public-art project for the Audain Gallery at SFU Woodward's, four visual artists who are SFU Alumni have been commissioned to create new site-specific public art works. Coming Soon will address the qualities of the neighbourhood and the context of the new location of the School for the Contemporary Arts. As a public interface for the Audain Gallery, Lorna Brown has created a project specifically designed for the internet on the Audain Gallery�s website. Lorna Brown has created a database index that uses the language of organizations in the Downtown Eastside.",,Audain Gallery ,149 West Hastings Street,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=476,,,462,476 | |
| Vancouver,World Tea Party - Bright Light,2010,Removed,"Animated by lead-artist Bryan Mulvill, Centre A hosts the latest incarnation of the World Tea Party, a social, interactive gathering space that acts as a work of art. For the Vancouver installation of this international f�te, the gallery will welcome visitors into a form of �social sculpture�. Tea will be offered for free both inside the gallery and on the street, while video projections are shown on the building�s exterior windows. Internet technology will connect Centre A with tea parties in other world cities, including Montr�al, Yokohama, Vienna and Calcutta. Skwxumesh First Nations artist Cease Wyss will contribute a First Nations welcome event featuring indigenous local teas. The traditoonal Japanese tea ceremonies will be presented by Urasenke Vancouver. The relaxed atmosphere of the World Tea Party will encourage conversation and informal performance.",,Centre A,2 West Hastings,DowntownEastside,49.281317,-123.105123,Centre A & Pigeon Park,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=477,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=477&ImageId=382,,446;447;448;449;450;451;452;453;454;455;456;457;458;459;460;463;464,477 | |
| Vancouver,Window with Fake Newspapers - Bright Light,2010,Removed,,"Window with Fake Newspapers is a site-specific public work Commissioned by Fillip in collaboration with the City of Vancouver and Roma Publications, the Netherlands. Window with Fake Newspapers occupied the fa�ade of 20 East Hastings Street, Vancouver�the former location of The Only Sea Foods, which operated as a restaurant since 1916 until it was closed this past summer due to health and drug infractions. The project utilizes a subtle fictive language to recast The Only Sea Foods as a site of both opacity and exchange. The work is part of Manders� ongoing Self Portrait as a Building, a project the artist began in 1986.",The Only Sea Foods,20 East Hastings Street,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=478,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=478&ImageId=383,,342,478 | |
| Vancouver,"Signs, City Wall, City Path - Bright Light",2010,Removed,"Signs, City Wall, City Path is a series of outdoor installations that humourously co-opts billboard marketing, tourist maps and other forms of official public signage.","Jen Hur and Avery Nabata�s project investigates the relationship between the commercial advertising that surrounds real estate development and site-specific outdoor installation. By co-opting the billboard, scaffolding and lighting structures that are typical to these advertisements, Hur and Nabata subtly subvert these familiar features of Vancouver�s ever-changing cityscape in an interrogation of the utopic promises implicit in such developments.A significant departure from their usual interventions (which are usually staged without permission), their work for Bright Light appears more officially sanctioned.",Suzhou Alley (DTES),,DowntownEastside,49.280516,-123.1043,"Suzhou Alley: each ends of alley, BC Electric Bldg hoarding wall; Carrall Street (between Keefer & Pender), Carrall Street (between Pender & Hastings)",Other,"Alu-panel, Plants & Planting soil",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=479,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=479&ImageId=384,,340;346,479 | |
| Vancouver,We are watching - Bright Light,2010,Removed,"It is an installation piece that has two component in two different locations. One component is a large-scale, outdoor, public projection projection of unedited Olympic video clips. The audience can view the projection from the sidewalk outside the gated courtyard that is situated between buildings at 1 and 57 East Cordova Street. The security camera provides real-time surveillance of this audience and this surveillance is then projected into the Jeffrey Boone Gallery space.","We Are Watching, 2010 is a participatory video exhibition that teases ideas focused on public space, surveillance, public art policy and representational power. There are two components: a large-scale projection in public space, and an interior projection within the gallery fed by a live surveillance camera. By using participants� video clips documenting the Vancouver 2010 Olympic, Paralympic and related events, viewers are asked to consider the ways in which the International Olympic Committee and the City of Vancouver is represented officially, and the alternative views that are largely dismissed, or written over, by the spectacle machine, which serves to homogenize the Canadian subjectivity. Issues explored are surveillance versus sousveillance, the ways in which we watch events, the ways in which we watch each other and the ways in which we are being watched.Participation consisted simply of video documenting the Olympic, Paralympic and Torch Relay events with cell phones (or any other video capturing device) and the clips were submitted by email and larger files were uploaded to an ftp site. The files were automatically pulled from the inbox and inserted into the video line-up at fifteen minute intervals. These clips were then projected onto the Gallery building, in a gated and locked courtyard, mimicing the inaccessibility of the Olympics. The people could gather on the sidewalk to watch the projection, and that area was monitored by the surveillance camera, which was projected on the wall in the gallery by a live. The gallery audience was essentially watching the audience outside watching the projection of the audience watching the Olympics. There is a two-part archival book project that accompanies the work and is available online at www.liddlethought.blogspot.com. The first part includes contextual texts by Kristina Lee Podesva and Danna Vajda and images of the Torch Relay. The second part of the book will be available in April. It will function as an archive of the event as it unfolds over the time of the Olympic and Paralympic games. This book project will not only document the work, it will also function as a vehicle for the dissemination of the representations collected that provide an alternate view of the �official� versions sanctioned and circulated by VANOC and the City of Vancouver. Multiple subjectivities will add complexity to this overarching image of Vancouver. Rina Liddle is a visual artist, researcher and educator. At the core of her practice is the belief that art making is a polyvocal practice. Her work often takes the form of installations and interventions that deal with ideas regarding public space, and include digital media, photography, sculptural elements and collaborations. The material forms that she chooses are, for her, a means to renegotiate and make visible the conditions of the social body. Or something like that. Do you know what I mean? Subtle traces of the absurd in sociological methodologies are discernable in her work.",Jeffrey Boone Gallery,1 East Cordova Street,DowntownEastside,49.282576,-123.103734,Projection installed in 57 East Cordova Street and projected onto the east wall of 1 East Cordova Street. Security camera installed on south wall awning of 1 East Cordova Street. Projected inside the Jeffrey Boone Gallery and the wall opposite the window of 1 East Cordova Street,Other,Video,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=480,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=480&ImageId=385,,355,480 | |
| Vancouver,Procession of Performing Circles - Bright Light,2010,Removed,"A parade of 6 groups performing dance routines (Circle Dances), led by a Parade Marshall, with other artists giving out gifts of stick lights or carrying signs. The sign carriers asked spectators �What do you wish for Vancouver in the future?� They then wrote the replies on their signs and carried them in the procession. There was also a projector mounted on a Chinese bicycle rickshaw that projected archival photographs of the building along the route intercut with portrait shots of current people in front of the same buildings.","The producers of LIVE, a bi-annual performance art festival in Vancouver, join forces with local performers, community members and dance and theatre groups to present Procession of Performing Circles, a ceremonial parade of lights, dance, music and a bit of magic through the city�s Downtown Eastside neighbourhood. Curated by Glenn Lewis, the event includes works from choreographers Margaret Dragu, Coleen Lanki and Karen Jamieson with her Carnegie Centre troupe, as well as performances by Leaky Heaven Circus, Vancouver Carnival Band, Vancouver Morris men, Randy Gledhill, and others.",Downtown Eastside,"LIVE office, 21 E Pender St (Downtown Eastside)",DowntownEastside,49.28065,-123.104079,"The Procession took place on Carrall, Powell, Columbia, and Pender Streets",Other,"Procession with costumes, lighting materials, musical instruments, and signs on sticks.",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=481,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=481&ImageId=386,,356;357;358;359;360;361;362,481 | |
| Vancouver,Makeshift - Bright Light,2010,Removed,Two projections that reflected the process of a year long project called Makeshift. This dusk to dawn installation was visible to all passers by in the form of a circular backlit window projection.,"Makeshift is a year long project by Natalie Purschwitz during which time she will only wear things that she has made herself including all clothing, shoes etc. Makeshift Bright Light illuminated the process and involvement of making clothing and made it accessible to anyone walking by in the evening. By creating awareness of the processes, viewers were shown the complexities of making clothes while simultaneously shedding light on the possibility and potential for anyone to do it.",�Parking Spot� (Downtown Eastside),"6 East Cordova Street, Vancouver, BC (Downtown Eastside)",DowntownEastside,49.282107,-123.103728,Cordova St at Carrall St in Gastown,Other,"Projections, water, light, installation",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=482,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=482&ImageId=387,,363,482 | |
| Vancouver,Fearless City Mobile - Bright Light Edition,2010,Removed,"W2�s Fearless City streams mobile video projections and text messages, remixing social media to reveal our Downtown Eastside neighbourhood to local and Olympic visitors. During public gatherings, VJs mix in interactive content from the public sending Tweets and SMS text messages.","Fearless City fosters public input about the Downtown Eastside neighborhood, its culture and environment. Participating artists include Suez Holland, Sammy Chien, AHA Media, as well as local residents and artists who have been involved in the W2 inner-city mobile technology project.",W2 Perel Building (Downtown),112 West Hastings (Dowtown),Downtown,,,Screens in the foyer of the W2 Perel Building,Other,Digital video projection and screens,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=483,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=483&ImageId=388,,364;460;465,483 | |
| Vancouver,Coming Soon,2010,Removed,,"As the initial public-art project for the Audain Gallery at SFU Woodward's, four visual artists who are SFU Alumni have been commissioned to create new site-specific public art works. Coming Soon will address the qualities of the neighbourhood and the context of the new location of the School for the Contemporary Arts.Kathy Slade will produce a work for the Audain Gallery�s front windows, to be installed mid-June as the final installment of the Coming Soon Exhibition.",Audain Gallery at SFU Woodward�s,149 West Hastings (Downtown Eastside),Downtown,49.282788,-123.107762,"Front windows of the gallery, facing W. Hastings Street",Other,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=484,,,466,484 | |
| Vancouver,Lying on top of a building the clouds looked no nearer than when I was lying on the street�,2008,In place,"The artwork consists of a running line of repeated text:lyingontopofabuildingthecloudslookednonearerthanwhenIwaslyingonthestreet (lying on top of a building the clouds looked no nearer than when I was lying on the street�)This phrase is repeated on the lower half of the 48-storey building, demarcating those floors that are occupied by the Fairmont Pacific Rim Hotel. The 2� high stainless steel letters stand proud of the building�s fa�ade along narrow concrete fins that sharply turn and wrap the building�s most public corner.",�This artwork is designed for this specific location. Working closely with the architects and the curator/organiser of the project the extension of the concrete floor plan of the building was identified as a location for a text work. Having experimented with a number of different possibilities I decided to work with a text that could work on two sides of the building � a form of call and response rather than question and answer. The work is intended as a self-conscious reflection upon the idea of development and demonstrates a simple yet evocative response to the notion of progress and achievement. Much of my work deals with the semiotics of the built world. It tries to find a contingent position in between the idea of development and urbanism. The work is both a truism and a statement of desire.�,Fairmont Pacific Rim Vancouver,"1011 W Cordova, Vancouver",Downtown,49.287868,-123.116324,"The artwork is integrated into the fa�ade of a mixed use, 800,000 square foot, 48-storey, highrisetower. The total 'field' the artwork occupies is approximately 28,260 square feet andextends from levels 5 to 22.",Site Work,Stainless steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=485,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=485&ImageId=389,Photo Credit: Colin Goldie,368,485 | |
| Vancouver,Girl in the City,2011,Removed,"Four 30-second animations that depict a character, Girl, as she wanders around Vancouver and interacts with various local landmarks.Commissioned by the City of Vancouver Public Art Program with the support of Vancouver 125 and the participation of the Government of Canada","I am interested in how certain human-made structures can function as stand-ins for a city. As icons, they become emblematic of a place. They appear and reappear in personal photographs, are reproduced into small plastic objects sold in tourist gift-shops, and are pictured in mass-produced postcards. These items become souvenirs, tokens of remembrance � in this case of an experience of a place -- that are meant to be severed from the original location and moment of experience, in order to be collected, shared, or circulated.Girl In The City follows the character Girl as she encounters some noted Vancouver landmarks. In the animations, Girl interacts with these structures, approaches them, then picks them up, revealing them to be toys or miniatures. She then takes them away with her, to add them to her collection of objects. The animations are 30 seconds each, the approximate length of a single television ad, and are meant to be played interspersed between regular programming on a screen.",Granville and Robson Screen (Downtown),"Corner of Granville and Robson Streets, Vancouver (Downtown)",Downtown,,,Video screen,Other,Digital animation,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=486,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=486&ImageId=390,,369,486 | |
| Vancouver,Aperture,2008,Removed,"Carol Sawyer - Trace Ingredients. Aperture Banners: late Feb. 2008-Sept. 2008; Library installation: Late April- Sept. 2008.Esther Shalev-Gerz - The Open Page. Aperture Banners: Early June 2009-Dec. 2009; Library installation: July 16-Dec. 2009/ Extended for the Olympic Games to Feb. 28, 2010; Public Artist�s Talk and Exhibition Launch: July 16, 2009, 6 pm, Special Collections Room and Boardroom, Level 7.Angela Grauerholz - Reading Room for the Working Artist: After Alexandr Rodchenko's �Reading Room for the USSR Workers� Club�, in Paris, 1925, 2003-2004; Privation, 2005, series of Giclee print; Ladder of Ascent and Decent, 2008.",,Library Square Promenade,"Vancouver Public Library, 350 West Georgia Street, Vancouver",Downtown,49.279698,-123.115556,,Banners,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=489,,,277;370;371,489 | |
| Vancouver,Lines in architecture and art,2011,Removed,"The photomural on the west window is a repeated image of a coastal landscape emphasizing the line where the land and water meet at high tide. This perfectly level naturally occurring ""reveal"" is echoed in the surrounding architecture as the gap between the level plane of the floor and the vertical plane of the wall. The work is a subtle reflection on the relationship between the natural and built environments.","Lines in architecture and art is a large photomural of a section of coastal landscape, focusing on the frieze of land where forest and water meet, commonly called the high-water mark or high tide line. This naturally occurring, perfectly level line � made evident by the saltwater rising to the level of the overhanging trees, makes a natural reveal, a feature seen and used in architecture to visually divide the floor from the wall.En route from the north coast back to Vancouver, I developed the idea to create this large format photographic mural. A reveal is typically the empty space at the bottom of a wall, where a measured gap is left so the floor and wall do not meet. In this proposed photomural we will see how the saltwater rises twice a day, cutting an acutely accurate level in the tree boughs as they hang down from the forest landscape. My interest was first drawn to this subtle occurrence when I realized the visual similarity to the architectural reveal, seen in homes, galleries and museums, a feature that is essential in the contextualizing and display of artwork.For this mural I decided to repeat the same photo three times in order to draw attention to the architectural references of this work and remove it from the genre of pure photographic documentation.Situated within the public sphere this proposed photomural presents a very simple meeting of land and water, highlighting how we draw from different ecosystems, the ocean and the forest, to simultaneously sustain our city. The allusion to the endless rise and fall of the tide will hopefully foster a connection to the changing of time and rethinking of urban space with an environmental sensitivity and an understanding of the shoreline that frames our city.",Canada Line Granville (Downtown),Granville Street and Georgia Street (Downtown),Downtown,,,West wall of transit entrance,Mural,Adhesive outdoor Non Permanent Vinyl,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=490,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=490&ImageId=392,,379,490 | |
| Vancouver,Benchmark,2009,In place,Benchmark is a community-involved public art project that engaged members of the Hastings Sunrise neighbourhood in transforming an underused pocket of green space into a vibrant social gathering place.,"Through an interview process local residents generated an archive of stories about the neighbourhood�s past and present. A selection of resulting anecdotes were integrated into the site through imagery and text. Sculptural seating in the form of ramped benches and cubes were created to provide increased opportunities for social interaction and pause, and to aesthetically enhance the existing green space.",,"East Hastings Street at Kamloops, NW corner",Hastings-Sunrise,,,,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=491,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=491&ImageId=850,Media Undefined,307;373,491 | |
| Vancouver,Wood Work,2011,Removed,"Wood Work is comprised of seven short video sequences, ranging in duration from 56 seconds to 1:49 seconds. The videos use as their source footage 16mm film shot in the Lower Mainland in the 1930�s by Alfred E Booth.","Carol Sawyer's video segments collectively titled Wood Work provide a fragmentary glimpse into the history of the logging and lumber industries in BC, employing historic local 16mm film footage shot in the 1930s by Alfred E. Booth. The source footage shows first growth trees being cut down by hand with axes and handsaws, sorted in booming grounds, and sawn into lumber. All of these activities are at the heart of Vancouver's history - a town founded on the site of a sawmill. The artist's careful selection and processing of these source images brings this history back into the present. Inserted into the flow of fast-paced modern advertising on the CoreVision Screens, the images seem grainy and dream-like, as if a memory of the land has returned to haunt the present.",Robson and Granville Video Screens,Northeast corner of Robson and Granville Streets,Downtown,,,CoreVision Video Screens,Other,digital video,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=494,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=494&ImageId=395,,277,494 | |
| Vancouver,Canoe,2011,Removed,2-minute animation,"This two-minute site-specific animation was created by digitally redrawing 1800 frames. Using a series of manipulations and special filters, each frame of the video is hand processed to select and replace the figure in motion with the background of the image, which is water and sky. In the final animated image, the canoeist is barely visible, seamlessly melded to the moving water and sky. The work was created for display on the Georgia Street CBC video situated near the end of False Creek by the Georgia Street Viaduct. Georgia Street was named in 1886 after its namesake, the Georgia Strait. This work marks the entrance to, and historic transportation on, the Salish Sea, via False Creek. The name Salish Sea is now officially recognized in both the United States (2009) and Canada (2010). Its major bodies of water are the Georgia Strait, Strait of Juan de Fuca, and Puget Sound. This work aims to connect the contemporary flow of urban traffic to the larger rural water-based traffic of both historic and contemporary times.",CBC Outdoor Video Billboard,Hamilton and Georgia,Downtown,49.280131,-123.1142,Side of building,Other,Digital Video. 1280 x x720p,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=495,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=495&ImageId=396,,507,495 | |
| Vancouver,The Belonging Action,2012,In place,"80 people participated to complete a painting 24' x 32', acrylics on panels, that speak the stories of migration of peoples and cultures to this land since time immemorial.","""what are your peoples' stories?...do you hear them spoken?...have you seen them written?...do you feel them walking?"" The artist invited over eighty participants from all ages and backgrounds to reflect about their sense of belonging while looking back at the timeline of migration of peoples and cultures to this land since time immemorial. This is a self-envisioned project created and produced by independent local artists and community members. All of the content and artistic decision making emerged from five months of collective work with facilitators and participants in 2011. In no way does this mural intend to tell every story, rather to amplify undertold stories that are important to participants, and inspire more storytelling. Harbour Center generously allowed the use of the wall on Homer and Cordova. This project was partially funded by the City under Celebrate Vancouver 125 Mural Program.",Harbour Centre Parkade,350 W Cordova Street,Downtown,,,Wall facing East on Homer (Homer & Cordova),Mural,Acrylics on wood panels,Polaris Realty / Harbour Centre,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=496,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=496&ImageId=397,,468,496 | |
| Vancouver,St. James Mural,2011,In place,,"The St. James mural is an example of a dynamic collaboration with artists Joey Mallett and Rita Buchwitz. Together the team dug deep into the history of the area to produce a mural that is a reflection of the community, past and present: The smell of the smoke of ancient fires wafts up from the cedar baskets behind glass in the Museum of Anthropology, still. For artists Joey Mallett and Rita Buchwitz, who were studying Coast Salish basket patterns, the smoke was an integral part of the St. James mural because ""it is such a tangible connection to the past�"" A Salish design stamped on a totem pole, a branch of cedar, and an eagle circling above the area once known as Japantown, honor the history of the area. Pink cherry blossoms reach into the view above several old buildings still standing today - once a grocery, a rooming house - across the street from the Oppenheimer Park then a thriving Japanese fishing fleet that was confiscated during WW2, when the Japanese were sent to internment camps. The boats glow like a ghostly city at sunset. A school of herring swim in a wave of abundance - the herring roe industry was big then. Shells of shucked off clam shells formed a midden off what is now Crab Park. And the seagulls? They are as they were. The St. James Mural was funded by a grant from the City of Vancouver for Vancouver's 125th Anniversary.",St. James Community Services Society,Intersection at Gore and Powell Street Vancouver,DowntownEastside,,,north-east corner of Gore and Powell,Mural,Acrylic latex paint,St James Community Services Society/BC Housing,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=497,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=497&ImageId=736,,45,497 | |
| Vancouver,Evangeline and Flowers,2004,In place,,,Bayshore Drive in Coal Harbour,,Downtown,,,,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=498,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=498&ImageId=399,,267,498 | |
| Vancouver,Portal,2011,In place,Three Circular Paintings of Vancouver Architectural Icons,"Drawing upon Vancouver's architectural history Portal transports the viewer from one iconic Vancouver space into another � the interior of the B.C. Binning House (1941), the interior of the Bloedel Conservatory (1969) and a domestic view of the Graham House (1963) by Arthur Erickson.","Second Beach Concession Stand, Stanley Park","8501 Stanley Park Drive, Vancouver, BC",West End,49.295631,-123.140744,West facing wall adjacent to Men's Washroom,Mural,"Wood, Paint, Metal Flashing",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=499,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=499&ImageId=738,,381;409,499 | |
| Vancouver,10 Seconds,2011,Removed,"Eight 10-second video works by Vancouver artists created for the video screens at Canada Line SkyTrain Stations. List of works: Chelsea O�Brian Escape Velocity, 2011; Dana Claxton Hippie Chick, 2011; Douglas Coupland Vancouver Codes, 2012; James Yan One Percent, 2011; Jeff Chiba Stearns An Ode To Vancouver Hockey Fans, 2011; Laiwan Movement for Two Grannies, 2011; Michael Turner Slash Forward, 2011; Tony Pantages Polar Bear: Native to Vancouver, 2011. All of the 10-second pieces can be viewed on YouTube, Facebook, and www.onmaingallery.com.","This unique exhibition included work from student, emerging and established artists who delivered a collection of diverse points-of-view that converged in common themes. Artists reclaimed privatized space by interrupting the steady flow of commercial advertising through placement of media art works. The artists used a wide range of innovative approaches that explored using the video medium in 10 seconds. This included the cinematic, graphic, poetic, animated, performative, dramatic and the mining of archives. This experimental project claimed and recontextualized privatized space for the creation and presentation of new forms of public art for mass audience consumption. The placement of the works was both subliminal and subversive. 10 Second launched April 2011 with archival film footage of the first Stanley Park Easter Be-In depicting a hippie chick dancing freely.Themes included intergenerational and cross-generational arcs in addressing the shared trajectories of family and community histories, and in the process uncovered and preserved history as contemporary media. A grandfather�s legacy is remixed into a multi-screen montage; in a touching portrait two Chinese grannies walk on water taking us through the ages; a performance artist soars over the city suspended from a helicopter; a new immigrant uses technology as a measure to contrast shifting cultures; Twitter becomes op art, and QR codes function as art that takes us into portals. Events such as the Stanley Cup Riot, inspired the animation of fire-breathing serpents. This work can be seen as a reflection on the recent past and of things yet to come in the year of the water-dragon.",Canada Line SkyTrain Stations,,Downtown,,,25 HD Video Screens over 13 stations,Other,Video,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=501,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=501&ImageId=1040,,344,501 | |
| Vancouver,West Pender Place,2011,In place,,This work was commissioned by Reliance Properties. The desire was to have an integrated light art work on the concrete cores of the two towers that would set apart the building and at the same time relate to its surroundings.The idea for the light installation was inspired by the natural surroundings.The city skyline holds a spectacular backdrop of mountains and water. But the work also responds to the architecture of the building which is constructed of glass all the way around apart from the concrete core. The two towers are connected by a lower section between them. The building is not rectangular but instead protrudes at different angles drawing diagonal lines in the glass facade. These angles can be seen as mountain peaks and they became the starting point for the light design. Led light lines were mounted on the concrete core horizontally. The lines reveal 40 different preset modes which have been uploaded to the rgb modules. One state is a graphic pattern of a single angle that meets up with angle of the building representing the sihouette of a mountain. This image remains the same but the colors change very gradually. The flow of the colors was inspired by the changes of the seasons and the changes of the day. They blend into each other with fades making the transitions look natural as part of the environment. The graphic state is sometimes intercepted by a dynamic state where a motion is simulated of water running down the building. The whole sequence takes more than 8 hours so it is not to be seen as a light show but more as a general presence.,West Pender Place,1499 West Pender Street,Downtown,,,,Other,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=502,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=502&ImageId=1061,,516,502 | |
| Vancouver,The WALL at CBC: News of the Whole World,2011,Removed,digital print on vinyl,"News of the Whole World consists of a digital image of a small-scale architectural model loosely based on a combination of Russian Constructivist Agitational Stands and theatrical stage designs. The Agitational Stand , or Agitational Propaganda designs, employed a variety of strategies to disseminate information in the public realm in order to shape public opinion and sentiment. By creating vertically-oriented structures that projected sound and images, these designs pre-dated the technological capacity to create multi-media environments which are now de-rigeur in the urban landscape.",The WALL at CBC (Downtown),700 Hamilton Street (Downtown),Downtown,49.2796,-123.1141,Hamilton street plaza,Other,Digital print on vinyl,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=503,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=503&ImageId=404,,517,503 | |
| Vancouver,Offsite - Horizon (Sky),2009,Removed,"Photographic print on vinyl, series of six. ","Horizon (Sky) is an adaptation of an earlier work in which O Zhang photographed girls between the ages of four and six from the countryside. Living in a fairly remote part of the country and never having been photographed, O Zhang's subjects have an innocent, unencumbered relationship to the camera and they return a gaze that is remarkably direct and penetrating.",Shangri-la - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,Photographic print on vinyl,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=505,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=505&ImageId=830,Photo Credit: Henri Robideau,518,505 | |
| Vancouver,Offsite - from shangri-la to shangri-la,2010,Removed,"For his sculptural installation, Ken Lum constructed scale replicas of three squatter's shacks from North Vancouver's Maplewood Mudflats settlement. Lum recreated the cabins of renowned writer Malcolm Lowry, artist Tom Burrows and Greenpeace leader Dr. Paul Spong.",,Shangri-La - Offsite,1128 West Georgia Street,West End,,,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=506,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=506&ImageId=827,"Trevor Mills and Rachel Topham, Vancouver Art Gallery",3,506 | |
| Vancouver,Offsite - Plaza,2010,Removed,"""Heather and Ivan Morison explore architecture as it relates to ideas of fantasy, escape, sheltor and refuge. For Offsite, Plaza, they created a pavilion which hovers between sculpture and architecture. The walls were made of heavy timber beams, burnt to a dark charcoal using a Japanese technique for preserving and protecting wood from the elements called shou-sugi-ban."" - Offsite, Vancouver Art Gallery Website",,"Shangri-La, Offsite",1128 West Georgia Street,West End,49.285396,-123.1221,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=507,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=507&ImageId=819,"Rachel Topham, Vancouver Art Gallery",519;520,507 | |
| Vancouver,Offsite - Second Date,2011,Removed,Elspeth Pratt draws on architectural forms as inspiraton to investigate how built environments define public space.,,"Shangri-La, Offsite",1128 West Georgia Street,West End,49.285347,-123.1221,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=508,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=508&ImageId=809,"Rachel Topham, Vancouver Art Gallery",271,508 | |
| Vancouver,Offsite - Hand Vote,2012,Removed,"""For Vancouver Art Gallery Offsite, Ezawa�s large-scale wooden tableau pictures a group of people raising their hands to vote in what appears to be a town hall meeting. The work is a visual representation of democracy by one of its most prevalent signifiers: the vote. Ezawa�s rendering is faithful to the original source image by maintaining the photograph�s basic structure and framing. By eliminating details, the image refers less to a specific group of individuals, and more to a general sign of a collective body united in a common purpose. In light of recent events in which demands for societal reform have become apparent both in Canada and abroad, Ezawa�s portrait of democracy could not be more timely."" - Vancouver Art Gallery Website",,"Shangri-La, Offsite",1128 West Georgia Street,West End,,,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=509,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=509&ImageId=825,"Rachel Topham, Vancouver Art Gallery",383,509 | |
| Vancouver,"Aperture Project - Red, Blue and Yellow (2007)",2007,Removed,,"The three images presented depict a single person reading in a serene Vancouver setting and are all inspired by Fragonard's lighthearted paintings of people enjoying the outdoors while reading. The images on their own work as studies in landscapes and reading, but from a distance can be viewed as an examination of primary colour. On one level, the works refer to modern painting and studies in abstraction. Consequently, the three images depict not only a solitary figure reading, but if one were to step back and view the works in their entirety, they would be overwhelmed by the graphic primary colour palette.",Vancouver Public Library (Downtown),350 West Georgia Street (Downtown),Downtown,49.279698,-123.115556,Aperture windows in library foyer,Banners,inkjet print on outdoor banner fabric,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=510,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=510&ImageId=410,,311,510 | |
| Vancouver,"Abbott & Cordova, 7 August 1971",2010,In place,Photographic re-enactment of the Gastown Riot,"The photo depicts an actual violent confrontation between police and the city's counterculture in what came to be known as the Gastown Riot, during which uniformed and undercover police officers attacked a peaceful ""smoke-in"" protest organized to oppose what was regarded as police harassment of the counterculture.",Woodward's Heritage Building (111 West Hastings Street),,DowntownEastside,49.282716,-123.108077,Woodward's Atrium,Mural,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=511,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=511&ImageId=934,Stan Douglas,521,511 | |
| Vancouver,Young Artist Warriors Mural,2012,In place,,"Over the past 8 months, Young Artist Warriors has facilitated a number of different artist workshops to youth ages 6 - 24 to complete the mural at 2026 Wall Street. All aspects of the program were free, and included nutritious meals for the youth and volunteers. Britannia Community Centre graciously partnered with Young Artist Warriors on this project, and provided great storage and workspaces for these workshops to take place. 14 sessions were held in which youth were mentored to create their own large-scale works, featured in the mural. Jeska Slater painted portraits of each of the youth artists that were working to complete a large-scale piece. The portraits and the youth's original work are displayed side by side. This meant to be a celebration- both of the youth themselves, their artisitic accomplishments and their commitment to their community.",BC Housing Wall,2026 Wall Street,Grandview-Woodland,49.285612,-123.0626,Just east of Aboriginal Mother's Centre,Mural,"Killz primer, acrylic paint, acrylic link, spray paint",BC Housing,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=512,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=512&ImageId=691,,384,512 | |
| Vancouver,Ecce Homo,2011,Removed,Photographic installation,,Canada Line - Vancouver City Central Station,,Downtown,49.282597,-123.1181,Georgia Street and Granville Street,Mural,Photographic digital adhesive,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=513,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=513&ImageId=1186,,385,513 | |
| Vancouver,Soul Gardens Mural Project,2011,In place,"Soul Gardens, a W2 community public art project, investigates the cultural history of the Downtown Eastside as told through stories of food, gardening and community. Soul Gardens is a collaboration between five muralists (Indigo/Shallom Johnson, Take 5/Michael Fraser, Scott Sueme, Jordan Bent, Melanie Schambach) and five artist researchers (Cease Wyss, Sid Tan, Lani Russwurm, Anne Marie Slater, Wayde Compton) all from diverse cultural and ethnic backgrounds. Through a process of inquiry and research, the artists draw heavily on individual and shared narratives within the founding DTES cultural groups including the Squamish, Tsleil-Waututh and Musqueam Nations, and African, Chinese, Japanese and European settlers. In addition to a large public mural on Hastings Street, Soul Gardens created a dynamic online interface inviting individuals to share recipes, stories, photos and other information about how food played a role in shaping their experience of Vancouver.","The words painted in brightly-coloured, stylized graffiti text across the base of the mural represent an expression in the S?wx w�7mesh Snichim (Squamish language) � �Ha7lh en Skwalwen�. �Ha7lh� - good; �en� - my; �Skwalwen� - heart as a seat of affection.From muralist Take 5: �It means a good feeling that you carry in your heart, written in the language of the people that have lived here a long, long time.� From lead artist researcher Cease Wyss: �The Skwxwu7mesh quote used in this work �ha7lh en skwalwen� which translates as �my heart feels good� is a reminder that the First Languages, like the First Peoples, continue to thrive and live here. The Salmon represent resilience, as well as hope for sustainability. The Woman and the Child represent what we are holding onto, and what we are reaching for: hope and life. The visual stories represented in this mural weave themselves into the many culturally diverse groups of neighbors and what we all share in our daily lives, and a hope for those who view it daily to be lifted up during their work at the garden or their daily commute, or even just their walk in the hood.�",Astoria Hotel,769 East Hastings Street,DowntownEastside,49.281411,-123.087887,"East side of hotel - reverse ""L-shaped"" section overlooking East Hastings",Mural,Aerosal/spray paint - a synthetic oil based paint; exterior latex paint - a waterbased paint,Yang-Myung Holdings Ld,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=514,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=514&ImageId=750,,522,514 | |
| Vancouver,Nothing Happens in Good Weather,2011,Removed,"""Nothing Happens in Good Weather"" is a short-term public art project that activates a narrow empty lot on a busy section of South Fraser Street. With wide stripes and strident colour, what was once a gap in the streetscape has been transformed into an aesthetic and social space. The mural runs down one wall, across the ground plane and rakes up the opposite wall.","""During numerous research visits to South Hill, we found community members, sitting together on makeshift stools made out of milk-crates, stumps and shipping palettes on the sidewalks and grass easements. For our project, we wanted to encourage and reflect this informal socializing by converting an underused space into a bold aesthetic place where people can hangout"". (Instant Coffee)",,6204 Fraser Street at 46th Avenue,Sunset,49.228129,-123.090289,The length and width of an empty lot between Pita House Restaurant and CIBC,Mural,Exterior flat latex paint & latex traffic paint (standard dry),Canadian Imperial Bank of Commerce,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=515,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=515&ImageId=415,,323,515 | |
| Vancouver,Cat & Mouse,2012,Removed,"""Cat & Mouse"" consists of three large scale texts work on glass applied using adhesive vinyl.","""Cat & Mouse"" consists of graphic ""poems"" cut from adhesive vinyl. Text fragments derived from popular culture and colourful graphic styles related to commercial signage become entangled to stimulate word play and associative layers of meaning. ""Cat & Mouse"" is commissioned by the City of Vancouver in collaboration with InTransit BC and the Canada Line Public Art Program.",Canada Line - Vancouver City Central Station,,Downtown,49.282685,-123.1181,Georgia Street and Granville Street,Mural,Adhesive vinyl,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=516,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=516&ImageId=416,Photo Credit: Henri Robideau,386,516 | |
| Vancouver,Abundance Fenced,2011,In place,"The 42-metre-long steel fence sits on top of a retaining wall and shields the pedestrian pathway. The artwork, with its distinctive design that is a fusion of Haida formline and graphic animation, reminds those who pass by of the historic and contemporary influences of indigenous nations along the Pacific Northwest coast. The steel fence, with its grids and rivets that delineate the eyes, mouths and fins of the whales and the salmon, represents a type of vessel similar to the ships that anchor at Port Metro Vancouver�the destination of the majority of the trucks driving along the street below the artwork. The sculpture depicts two sets of stylized whales facing opposite directions with their tale flukes meeting in the centre. The whales pursue salmon cascading down the slope towards the North Shore mountains.",Taking delight in the refractive qualities of the materials and a location that sweeps down and up to the Two Sisters we created a bracelet large enough for a City to wear.,Kensington Park,"4900 Knight Street, Vancouver BC",Kensington-Cedar Cottage,49.240476,-123.0763,North west quadrant of park. South east of traffic lights at intersection of 33rd & Knight Street,Sculpture,Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=517,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=517&ImageId=935,,387,517 | |
| Vancouver,A-maze-ing Laughter,2009,In place,"This sculpture portrays Yue Minjun's own image in a state of hysterical laughter. These laughing figures are the trademark of the artist. This sculpture was part of the 2009-2011 Vancouver Biennale, which is a biennial exhibiton of international contemporary art in pubilc spaces. A-maze-ing Laughter was donated to the City by Chip and Shannon Wilson through the Wilson5 Foundation on August 11, 2012.","""My work is both fantasy and fiction. It is a description of the real world through my eyes, reinventing oneself through non-reality"". -Yue Minjun (translated from Chinese).",Morton Park - English Bay,English Bay,West End,49.287753,-123.142,English Bay,Sculpture,Patinated bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=518,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=518&ImageId=951,Rachel Topham,388,518 | |
| Vancouver,A False Creek,2012,In place,"Painted chromatic blue stripes, applied to ten Cambie bridge pilings and fifteen lampposts along seawall. The stripe pattern starts at ground level, and runs up each piling and lamppost to a point that is five meters above sea level.","The Intergovernmental Panel on Climate Change projects sea levels rising between four and six metres as a result of the partial melting of the earth's major ice sheets. False Creek, which once extended as far as Clark Drive before massive infill projects altered its shape, is a site that provides an opportunity to reflect on the past, present and future of Vancouver's highly managed shoreline. ""A False Creek"" marks the midpoint of these IPCC sea rise estimates (five metres), with painted chromatic blue stripes on the pilings of the Cambie Bridge, and on the lampposts near Cooper's Park. This abstract pattern of stripes inevitably produces a decorative effect, one with an ambiguous relation to the pattern's function as a marker and visualization tool. The work points to the potential and problems of such tools. The scale of the engineering of False Creek and the Cambie bridge, along with the scale of potential future environmental change, are made visually and physically palpable, yet the experience takes on an aesthetic related to philosophical concepts of the sublime.",Cambie Bridge,,Fairview,49.272544,-123.114779,Ten Cambie bridge pilings & fifteen lampposts along seawall,Other,Acrylic latex paint,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=519,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=519&ImageId=699,Trevor Mahovsky,389;508,519 | |
| Vancouver,To Connect (Metro Vancouver Pump Station),2008,In place,,"""To Connect"" can be understood as an associative process connecting concepts in an open and flexible way. The idea of, ""Cognitive Mapping"", defines art making as an engagement with environments in an ongoing process. ""To Connect"" is intended to evoke a multitude of ideas and associations connecting place and community through time, metaphor and story. The project re-examines contexts, makes connections and questions assumptions about our communities.",Metro Vancouver Pump Station,"111 Alexander Street, Vancouver, BC",DowntownEastside,49.284133,-123.1018,"Front window area, sculptural courtyard, text in sidewalk in front of building",Other,,GVRD (Metro Vancouver),https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=520,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=520&ImageId=420,,390,520 | |
| Vancouver,Digital Orca,2009,In place,,"The raison d'etre of the piece was to commemorate the workers in and around Burrard Inlet and Coal Harbour. The site's owners, Pavco specifically wanted artists to consider the past, present and future of the site.","Jack Poole Plaza, Vancouver Convention Centre",Jack Poole Plaza,Downtown,49.289775,-123.116774,North edge,Sculpture,Powder Coated aluminum on a stainless steel frame,Pavco,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=521,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=521&ImageId=997,,391,521 | |
| Vancouver,Terry Fox Memorial,2011,In place,Four bronze figures in sequence transforming from life-size to twice life size.,,Terry Fox Memorial Plaza,Corner of Beatty and Robson,Downtown,49.277434,-123.113959,Centre of plaza,Memorial,Bronze,Citizens of British Columbia via PAVCO,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=524,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=524&ImageId=763,Martin Tessler,391,524 | |
| Vancouver,Vectorial Elevation,2010,Removed,"Vectorial Elevation, an award winning installation created by Canadian artist Rafael Lozano-Hemmer, created a quiet canopy of moving lights in the night sky above English Bay during the period of February 4-28, 2012. Viewers were invited to choerograph the installation's 20 robotic lights over the internet to create their own patterns. The designs changed every eight seconds, and the light sequences were visible from 15 kilometres away.",,English Bay (West End),,West End,49.286341,-123.1435,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=525,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=525&ImageId=1104,,394,525 | |
| Vancouver,Infinite Tire,2012,In place,,"""Southwest and Southeast Marine drive has always loomed in my mind as Vancouver�s spookiest strip. Since childhood, every time I�ve driven down it, I�ve been creeped out by the scary 1930s and 1940s industrial structures to the south � by the endless repetitive loop of fast food and dead underwatered lawns, and by its overabundance of appallingly cheap commercial architecture. In my mind, when children die, their ghosts went to work inside those scary brick buildings. Inside the fast food joints, the fare was probably saltier and greasier than anywhere else, and if you went into one of the businesses or professional buildings, cults would hand you religious pamphlets, and when you left, your clothing would smell like your grandmother�s front hall cupboard and a moldy copy of Life magazine with Pat Nixon on the cover.I�ve been watching the strip�s ongoing redevelopment over the past decade, and while I�m glad it�s finally changing, I�ve been slightly unsure of what it�s changing into. The stores are now big and clean and shiny and no longer coma inducing � but maybe every time you buy something there, a penguin dies in Antarctica or a tree is chopped down up north, never to be replanted? Well, that�s just me being morbid. It�s now actually much better than it was before � the air of unipolar depression is gone � replaced by the early 21st century�s version of perfected retail, that of inventory-optimized big box shopping. The city has also kept what little good architecture there was and is making a definite attempt to green the place up. So when it came time to think of something for this location, I thought, �Why not revel in the consumer fantasia that is the Big Box?� To do something earnest or minimal in the way that we expect public art to be seemed like a defeatist strategy. Anything sparse or overly cerebral would be optically clubbed to death by a staggering amount of colorful signage, and a chance to say something exciting or uplifting about the place would be lost in a possible miasma of jargon and Corten steel slabs.Canadian Tire is a store about possibilities; we all know the wonderful sense of creative omnipotence we feel walking down the aisles: Oh, the things I could do with those slats! And why, are those thin-veneer doors useful as tabletops? And look! An eight-can paint-shaker! We know the smell of fertilizer, plywood and galvanized nails. And we most of all know the smell of rubber tires � the smell of long-chain carbon molecules off-gassing in a way that no ventilation system can ever fight. And in Canadian Tire, the rubber you smell is possibly a Motomaster whitewall, and that�s what Infinite Tire is: a Brancusi-esque expression of joy in all things suburban, a wink to the notion of better living through abundance, and a totem of sorts that acknowledges and revels in the choices and creative freedom that can be inherent in industrial sizing systems."" - Douglas Coupland, 2012",Canadian Tire,26 South West Marine Drive,Marpole,,,,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=526,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=526&ImageId=702,Emma Peter,391,526 | |
| Vancouver,Whaling Wall,1994,Removed,"The 7,200 square foot mural is a depiction of orcas.",,Old Continental Hotel (Downtown),1290 Granville Street (Downtown),Downtown,49.276384,-123.1276,"Exterior, south wall",Mural,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=527,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=527&ImageId=426,Photo Credit - Rachel Topham,216,527 | |
| Vancouver,Mind Crystal,2012,In place,"""Mind Crystal"" is part of a series of works based on hexagonal city planters found around Vancouver and the pattern of the human eye retina and crystal formations. It was commissioned by the Public Art Program through a selection process for artworks to celebrate the City's 125th anniversary. The forms are influenced by the shape and contingencies of the stone itself during the carving process, and was carved in China under the artist's supervision.","Kerr's sculpture is associated with images and forms that we see around us. His practice is to give new life to these associations through different materials and scale. This granite and inlay sculpture is exquisitely carved, and is visually grounded in modernist architecture, art history and local cultural iconography.",�xexn Xwtl�a7shn,Georgia & Hamilton,Downtown,49.280003,-123.113895,north west corner of plaza,Sculpture,Marble & Granite,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=528,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=528&ImageId=707,Karen Henry,382,528 | |
| Vancouver,Geyser for Hillcrest Park,2012,In place,"There have long been rumours of underground water at the Hillcrest site, but Hillcrest Geyser arises from other hidden sources and pressures � the infrastructure of the new �green� water recycling system in the building. This public artwork is inspired by Old Faithful and other natural water spouts arising from geological pressures under the earth�s surface. A natural geyser is a spectacle that brings attention to what is going on below the surface of things. As a public monument, Geyser for Hillcrest Park replicates this sense of wonder and acts as a spontaneous reminder of underlying forces at work on the site. It is a civic �natural wonder� that makes the green initiatives of the building apparent for all to see. It is not a fountain that operates with a recycling pump. The Geyser acts according to the rhythms and needs of the community, as evidenced by the levels and flow of water through the site. The geyser spray is around 15 feet in height. The duration of the spray is determined by the amount of water needed to fill the tank. The run-off from the Geyser is connected to the grey water cistern in the Hillcrest facility. This cistern is used for all the building�s non-potable water needs, including flushing toilets and irrigation throughout the park grounds. The cistern is fed by collected rainwater from the roof and some grey water from underground sources. However, when the water in the cistern is low, it draws on the city�s drinkable water supply. This is where the Geyser comes in. It is incorporated into this water �loop"" so that clean potable water needed to top up the cistern will first be propelled out through the Geyser and then flow back to the cistern as grey water.","Because its eruptions are unpredictable and seemingly random, the artists believe the geyser will cultivate a sense of wonderment and play, attaining a reputation less like that of a civic monument and more like a mysterious element of the natural world.",Hillcrest Park,,RileyPark,49.245084,-123.107076,Northeast side of park,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=529,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=529&ImageId=709,Blaine Campbell,345;411,529 | |
| Vancouver,SeeSawSeat,2018,In place,"SeeSawSeat is a public artwork by Germaine Koh that crosses a bus bench with a teeter-totter. Waiting for the bus is transformed from a passive pause into a modest social activity. Made of wood and metal and resembling the benches in Vancouver's bus shelters, the artwork is located in close proximity to an existing transit shelter with an integral bench making the visual references clear.A transit bench as teeter-totter creates a playful situation full of possibilities for interaction and negotiation. Uncomfortable when used by only one person, the artwork is best experienced with another person and thus becomes a tool for whimsical social exchange.SeeSawSeat is built with the fulcrum of the bench slighly to one side, so that when then bence is unoccupied, it drops to one side, a clear sign that it is not a fixed bench. The highest point of teh 8-foot-long bench is approximately 28"" above grade when fully tilted.SeeSawSeat was one of three public art projects developed through the Main Street Urban Transportation Showcase (UTS), a plan to encourage reduction of greenhouse gas emissions and more energy efficient transportation practices by improving pedestrian and transit services along Main Street. As part of the Main Street UTS, an art plan was created which led to the commissioning of three public art projects to be installed in the Main Street corridor, including temporary artworks for three Main Street articulated trolley buses. Artists were selected by a panel consisting of three art professionals, and one representative each from Translink and City of Vancouver.This artwork is part of a transit and corridor improvement project and funding partnership between Translink, the City of Vancouver and the Federal Government",,,,Mount Pleasant,49.223788,-123.101717,South-east corner of Main Street at 51st Avenue,Site Work,Anodized aluminum and Ipe Wood,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=531,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=531&ImageId=1250,Dani Boynton,395,531 | |
| Vancouver,Ga'akstalas,1991,In place,"Ga'akstalas, carved by Wayne Alfred and Beau Dick in 1991, is based on a design by Russell Smith.","""We wanted this pole to be a beacon of strength for our young people and show respect for our elders. It is to all our people who have made contributions to our culture."" Beau Dick",Brockton Point,Stanley Park,Stanley Park,,,,Totem,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=534,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=534&ImageId=788,Maxime Cyr-Morton,398;399,534 | |
| Vancouver,Writing to You,2007,In place,"This artwork is inspired by over 800 letters that were exchanged between Major Lloyd Augustus of the British Columbia Regiment (Duke of Connaught's Own) and his wife Mary Augustus, while Lloyd was stationed overseas.",,,620 Beatty Street,Downtown,49.279606,-123.1107,Adjacent to the British Columbia Regiments's Beatty Street Drill Hall,Sculpture,Bronze,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=535,,,400;401,535 | |
| Vancouver,Offsite - Large Painting and Caryatid Maquette in Studio at Night (Sculpture Version),2012,Removed,"Moppett's installation for Offsite is inspired by the artist's studio as a site of production. Moppett based this current piece on an earlier work, ""Large Painting and Caryatid Maquette in Studio at Night (2008)"", a painting that portrays his studio with various works in progress. Moppett adapted the painting into a sculptural installation by taking shapes from the painting and reproducing them as large-scale cut-outs in metal. The result is a set of large, flat pieces of aluminum, colourfully painted and mounted on steel supports.",,"Shangri-La, Offsite",1128 West Georgia Street,West End,49.285368,-123.1221,West of the Shangri-La Hotel,Sculpture,"Aluminum, paint",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=538,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=538&ImageId=824,"Rachel Topham, Vancouver Art Gallery",529,538 | |
| Vancouver,Capturing the View,2012,In place,Three tapered sculptures reach upwards and outward to capture and absorb Vancouver vistas for pedestrians - vistas typically seen only from Coal Harbour penthouses,"""A composition of three sculptural tree-like towers reach upwards and outwards towards Vancouver�s most desired views: the Mountains, the Park and the Water. The art elements capture distant vistas, absorbing them within the pieces� inner cores as glowing coloured landscapes. The sculptures� outer shells simultaneously reflect the local surroundings reaffirming the intimacy, beauty and significance of their immediate urban context."" [http://www.jillanholt.ca/projects/capturing-the-view]",Three Harbour Green,277 Thurlow Street,Downtown,49.288707,-123.118827,Public plaza at building entrance,Sculpture,"Stainless steel, backlit acrylic, LED's",Three Harbour Green Strata Corporation,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=539,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=539&ImageId=712,Jesse Caswell,83,539 | |
| Vancouver,Peek-a-Boo,2013,In place,,"""(peek-a-boo) pays homage to the long history of the Cedar Cottage area as a residential neighbourhood, one of the villages of early Vancouver. There are two related interventions - one along the two streets, and one set into the public breezeway. The artwork is based on photographs taken of the children at the Trout Lake Community Centre day care program. Fragments of a face, a glance, a playful 'peek-a-boo' - the artwork is a community of glances, mischievous, playful, intimate. It is about the neighbourhoods we live in and a marker of home."" Artist/Project Statement - Jacqueline Metz and Nancy Chew",Porter Homes,"3615 Victoria Drive, Vancouver, BC",Kensington-Cedar Cottage,49.252777,-123.0662,,Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=540,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=540&ImageId=679,,202;259,540 | |
| Vancouver,Sculptures 2012,2012,Removed,"These sculptures are temporarily on display at Queen Elizabeth Park. They are part of a series of works based on hexagonal city planters found around Vancouver and the pattern of the human eye retina and crystal formations. Kerr worked in his studio to shape the smaller pieces of marble weighing from 5,000 to 7,000 pounds. The larger pieces (7,000 - 10,000 pounds) were carved in China under the artist's supervision. The forms are influenced by the shape and contingencies of the stone itself during the carving process. Kerr's sculptures were commissioned by the Public Art Program through a selection process for artworks to celebrate the City's 125th anniversary. The granite and inlay sculpture, entitled Mind Crystal located on the corner of Hamilton and Georgia is a part of this series of works and is a permanent artwork.","Kerr's sculptures are associated with images and forms that we see around us. His practice is to give new life to these associations through different materials and scale. The sculptures are exquisitely carved and are visually grounded in modernist architecture, art history and local cultural iconography.",Queen Elizabeth Park,Bloedel Conservatory Plaza,Oakridge,,,Bloedel Conservatory Plaza,Sculpture,Granite,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=541,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=541&ImageId=436,Tamara Tosoff - City of Vancouver,382,541 | |
| Vancouver,Offsite - Calm,2013,Removed,,"""Made from a seemingly random selection of materials sourced from nearby construction sites, Shanghai-based artist collective MadeIn Company�s installation at Offsite prompts us to think about perception. At first glance Calm appears to be debris from a recent disaster, demolition or construction project, but upon closer inspection the pile of rubble slowly undulates, simulating a mirage. In a state of constant flux, this site-specific sculpture evokes the endlessly changing cityscape that has become typical in present day China and elsewhere. Calm�s ambiguity, along with its unexpected ability to move, provokes us to question ways of observing, believing and understanding facts, and reminds us that the truth often differs from what it seems."" - Vancouver Art Gallery","Shangri-La, Offsite",1128 West Georgia Street,West End,,,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,Mixed media,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=543,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=543&ImageId=822,"Rachel Topham, Vancouver Art Gallery",402,543 | |
| Vancouver,Candelabrum,2009,In place,An electronic chandelier with cyan LED bulbs that hangs from a street lamppost. The brightness of each bulb is directly related to the change in exterior moisture and wind. This is monitored by resistance sensors integrated into the metal chandelier frame.,,Vancouver Convention Centre,,Downtown,,,,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=544,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=544&ImageId=866,Germaine Koh,395,544 | |
| Vancouver,Echoes,2010,In place,"This sculpture is a series of stainless steel chair forms, akin to kitchen or caf� chairs.The installation is secured by a concrete base. Each seat has english or french poetic text etched into them. This sculpture was part of the 2005-2007 Vancouver Biennale, which is a biennial exhibiton of international contemporary art in pubilc spaces."" Echoes"" was donated to the City by The Vancouver Biennale and Michel Goulet on April 9, 2013.",,Kitsilano Beach Park,,Kitsilano,,,,Sculpture,Stainless steel and bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=545,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=545&ImageId=440,Vancouver Biennale,403,545 | |
| Vancouver,Chinatown Memorial Monument,2003,In place," IN COMMEMORATION OF THE SIGNIFICANT CONTRIBUTIONS OF CHINESE CANADIANS TO THE GROWTH, VITALITY AND PROSPERITY OF VANCOUVER, BRITISH COLUMBIA AND CANADA. THE CHINATOWN MEMORIAL MONUMENT IS FUNDED BY THE CITY OF VANCOUVER, PROVINCE OF BRITISH COLUMBIA, AND GOVERNMENT OF CANADA UNDER THE VANCOUVER AGREEMENT.","This piece is in the shape of the Chinese character ""zhong,"" symbolizing moderation and harmony.",Chinatown Memorial Square,Keefer and Columbia,DowntownEastside,,,,Memorial,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=548,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=548&ImageId=882,"Karen Henry, 2013",284,548 | |
| Vancouver,Line of Work,2009,In place,This sculpture is a Worksafe BC public art project that celebrates the role that safety plays with BC's workforce. Laminated wood elements peel backwards from the steel elements on the slope that increases in length and angle to produce a growing waveform that extends out to pedestrians.,A memorial for BC workers composed of wood and metalforms that captures the energy of a wave as a metaphorfor the growing diversity of the province�s workforce.,Vancouver Convention Centre,,Downtown,,,,Sculpture,"Laminated yellow cedar, stainless steel, lighting and landscaping",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=549,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=549&ImageId=444,Martin Tessler,83,549 | |
| Vancouver,A Sign for the City,2011,Removed,"Twelve posters designed as transit shelter ads; twelve full-page ads in The Georgia Straight; an edition of calendar notebooks; and a website: www.asignforthecity.ca. Commissioned by the City of Vancouver Public Art Program with the support of Vancouver 125 and the participation of the Government of Canada. Supported also by the BC Arts Council. Research: Kim Duff, Donato Mancini, Lorinc Vass.","A Sign for the City is a public art project by Sabine Bitter and Helmut Webber that reassigns the meaning of Vancouver's Nine O'clock Gun. The twelve-pound cannon in Stanley Park is now fired nightly to mark the time. Previously it was fired to signal the close of the fishing day and as a navigational aid. For this project, each daily cannon blast is symbolically dedicated to a cultural, social, or political figure or event in Vancouver or BC's history relevant to that date. The project acoustically memorializes the culture and politics that ground this history, towards imagining Vancouver as a socially and spatially just city. For one year, beginning May 2011, ""A Sign for the City"" circulated the 365 dates through monthly memorial calendars in the form of transit shelter ads, full-page ads in The Georgia Straight, and an edition of calendar notebooks, which could be picked up at the Audain Gallery SFU Woodward's; Or Gallery; READ Books, Chareles H. Scott Gallery, Emily Carr University; The People's Co-op Bookstore; Pulpfiction Books and Spartacus Books",,,Stanley Park,,,"Transit bus shelters in Vancouver; Georgia Straight, weekly newspaper",Other,"posters, newspaper ads, book, website, tweet",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=550,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=550&ImageId=445,,404;405,550 | |
| Vancouver,Untitled (Mural),1972,In place,Geometric abstraction wall mural.,"Painting and graphic design was a natural extension of Warrington's love of lines and shapes in the built environment. Warrington produced many paintings in his lifetime, including murals such as this colourful geometric abstraction commissioned for the renovation of Vancouver City Hall in 1972.",Vancouver City Hall,"453 West 12th Avenue, Vancouver",Mount Pleasant,,,Elevator Lobby - Subground Level of City Hall (Main Building),Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=551,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=551&ImageId=446,Guy Warrington,406,551 | |
| Vancouver,Century Winds of Change Mural,2001,In place,"""This mural paints a picture of key times within the Millennium span from 1881 to 1996. This mural outlines the struggles & perseverance of Chinese Canadians in Canada. From Military Soldiers to Members of Government this mural shows the key people and situations that formed the local Chinese Culture & Chinatown Vancouver, as we know them today. The mural includes key Chinese - Canadian figures such as:- Dr. Sun Yat-Sen (Father of modern China)- Wing Wing (Military Soldier from WWII)- Cam Yow Won (First Canadian-Born Chinese citizen to Vote)- Douglas Jung (First Chinese Federal legislative member)- David D. Lam (First Chinese Governor of British Columbia)"" - Information obtained from website: http://www.mycrosstown.com/Centurys-winds-of-change-mural-Chinatown-Vancouver.ubr",,,11 West Pender Street,DowntownEastside,49.280788,-123.104816,West Side of Building,Mural,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=552,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=552&ImageId=874,Tamara Tosoff,284,552 | |
| Vancouver,Western Han Dynasty Bell,2001,Removed,This landscape design piece was gifted to the citizens of Vancouver from the city of Guangzhou to commemorate the 15th anniversary of the twinning of the two cities. The Western Han Dynasty BelI marks the location of the first Chinese settlement in the lower mainland of BC. It is a replica of one unearthed in 1983 during an excavation in Guangzhou. The original bell dates back over two millennia and symbolizes the age of settlement in the Pearl River delta in Guangzhou.,,,Centre of Shanghai Alley - Allan Yip Circle,DowntownEastside,49.280031,-123.1051,,Other,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=553,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=553&ImageId=1058,,195,553 | |
| Vancouver,Nike,2014,In place,The statue Nike is a 3.8m bronze representation of the Greek Goddess of Victory. Nike is mounted on a 2.5m base at the intersection of Cordova and Thurlow Streets in downtown Vancouver.,"Nike was donated to the City of Vancouver when Mayor Gregor Robertson and B.C. Premier Gordon Campbell were in the City of Olympia (Ancient Olympia), Greece, to inaugurate the Olympic Torch Relay leading up to 2010 Olympic and Paralympic Winter Games in Vancouver. The first edition of Nike was donated to Atlanta, Georgia, to mark the centenary of the modern Olympics Games in 1996. Since then other editions have been donated to other cities, including Beijing in 2008 and London in 2012.",Median on east side of Cordova at Thurlow,West Cordova & Thurlow Street,Downtown,49.288293,-123.118824,,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=555,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=555&ImageId=662,Elaine Ayres,412,555 | |
| Vancouver,TAG,2013,In place,,,"""The Mark"" on Seymour at Pacific",1372 Seymour Street,Downtown,49.274639,-123.1278,,Other,High-temperature-fixed porcelain enamel on steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=556,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=556&ImageId=686,Maureen Smith,396,556 | |
| Vancouver,Radius Mural,2013,In place,"This mural is one of the City's Year of Reconciliation Projects, and is based on the cultural links and connectivity of Aboriginal, Chinese and Japanese cultures. The convergence of these groups is protrayed in a woven design with symbols, narratives and text from each culture. The mural was conceived with input from each of the three communities, and incorporated into the final design. The mural includes many unifying elements including a large wave suggesting constancy, adaptability, humans' relationship to nature and connectivity to roots and language. Artists Eri Ishii, Richard Tetrault, Jerry Whitehead and June Yun worked with mentored youth from each cultural group on the painting of the mural.","Four paddles of Salish design, represent the four directions, and contain images of Salish serpents, and other glyph forms. The tops of the largest paddle is in flames, alluding to the great fire of Vancouver in 1886, an event that left many from the early city trapped on the shores of the Burrard Inlet. Indians of the Coast Salish Squamish arrived in their dugout canoes to rescue people, sheltering them in their nearby village church. The poem that was sung as they paddled the inlet is inscribed on the bow of the canoe. The movement of the paddles is echoed in vertical bamboo along the left side, superimposed with the Hanji character meaning 'Harmony"" and aims to emphasize the collaborative nature of this project as well as the unique characteristic of the Downtown Eastside where several cultures co-exist in harmony.",Firehall Arts Centre,,DowntownEastside,49.282311,-123.0979,,Mural,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=557,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=557&ImageId=689,Richard Tetrault,148,557 | |
| Vancouver,Komagata Maru,2013,In place,,,Coal Harbour,,Downtown,49.289661,-123.119663,Located near the steps of the seawall that lead up to the Vancouver Convention Centre in Coal Harbour,Memorial,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=559,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=559&ImageId=454,Rachel Topham - 2013,538,559 | |
| Vancouver,Russian Hall Mural,2009,In place,"This mural covers three walls of the building, a painted area of about 5000 square feet.",,Russian Hall,600 Campbell Avenue,Strathcona,49.27911,-123.0847,,Mural,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=560,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=560&ImageId=455,Maxime Cyr-Morton,148,560 | |
| Vancouver,Dreamweaver,2012,In place,,,Skwach�ys Healing Lodge,31 West Pender Street,DowntownEastside,49.281147,-123.1062,Roof,Totem,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=561,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=561&ImageId=1055,Maxime Cyr-Morton,407,561 | |
| Vancouver,Offsite: 8 Days,2013,Removed,"""8 Days"" is a collection of recent films that brings the viewer to the streets of Toronto, London and Beirut. One film is screened per day on an eight-day rotation. Some of the films isolate everyday moments and emphasize them with a deliberate slowness. Other films are deconstructed by way of its own components.",,Shangri-la - Offsite,1128 West Georgia Street,West End,,,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=562,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=562&ImageId=829,"Rachel Topham, Vancouver Art Gallery",54,562 | |
| Vancouver,Rose Cole Yelton Memorial Pole,2009,In place,"This pole was raised in 2009 to honor Rose Cole Yelton, her family, and everyone who lived in Stanley Park. The pole is situated in front of the house site where the Cole family lived until 1935.",,Brockton Point,Stanley Park,Stanley Park,,,,Totem,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=563,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=563&ImageId=458,Maxime Cyr-Morton,413,563 | |
| Vancouver,Through the Eye of the Raven,2010,In place,,,,456 East Hastings,DowntownEastside,49.280916,-123.094182,,Mural,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=564,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=564&ImageId=905,,148;294,564 | |
| Vancouver,Wish You Were Here,2014,In place,,"""wish you were here... is a whimsical concept which uses a particular moment in the Vancouver calendar (cherry blossom fall) to create a work intended to function on a human scale and thereby compliment the pedestrian and vehicular experience along the Howe St. side of the building.""",The Maddox,1304 Howe St,Downtown,49.276449,-123.1289,,Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=566,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=566&ImageId=459,photo credit not available,540,566 | |
| Vancouver,Idea for a Trellis,2014,In place,"Idea for a Trellis is comprised of 24 separate letters which form the final phrase from Voltaire's novella Candide: "" � we must cultivate our garden"". The letters are fastened to the north fa�ade of the building in a vertical fashion running from the top storey down to where the building meets the public sidewalk at grade. Functioning as a sign on the building, the letters are rendered in a font designed by the artists which references the motif of a formal trellis structure employing trompe l'oeil techniques to create illusory depth and space. The spacing between the words in the phrase is based on a section of a Fibonacci sequence - reinforcing notions of the ideal, perfection and pragmatism which Voltaire explored so richly in Candide.",,SALT / 1308 Hornby,1308 Hornby Street,Downtown,49.277092,-123.129766,The southwest corner of Hornby & Drake Street,Site Work,"3/8"" Aluminum plate (alloy 6061)",private,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=567,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=567&ImageId=460,Maureen Smith,389;508,567 | |
| Vancouver,The Underlying States,2014,Removed," ""The Underlying States"" was a collaborative drawing project by Tania Willard, Gabrielle Hill, and Peter Morin that appeared as a series of four bus shelters throughout May of 2014. The images were created in the style of the exquisite corpse, a technique made popular by the surrealists in the early 20th century as a way of exploring the unconscious and associative powers of images. The three artists worked from different geographic areas, on-reserve and off, in urban and rural contexts, and these differences inform the imagery and speak to the complexity of Aboriginal identities. The images explore reconciliation through relationships to land, territory, nationhood and concepts of spirituality, faith and ""wholeness.""",,Transit shelter ad spaces,,Downtown,,,,Other,"Ink, and pencil crayon on paper",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=568,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=568&ImageId=461,Dylan Robinson,418;509;545,568 | |
| Vancouver,"Markusie, Edith, Tilu / See Me, Seemi",2014,Removed,,"""I worked from my own photographs to draw onto linoleum, carve, and handprint images of youth I have met in the Canadian arctic: their laughter, their shyness, their exuberance, their playfulness, their wisdom, their wonder. This piece is a reminder that without positive action for reconciliation we are denying the joy that is deserved equally by all children. The relief-printed images I created have a very tactile feel, as you can see the physical carving to define the images. This quality will serve as a contrast to the smoothness of advertisement posters that we are used to encountering."" - Alexa Hatanaka",Transit Shelter Ad Spaces,,Downtown,,,,Other,Bristol coated translucent stock,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=569,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=569&ImageId=462,"""See Me, Seemi"" by Alexa Hatanaka, 2014",416,569 | |
| Vancouver,Making Circles: The Chilkat Dancing Blanket,2014,Removed,The 2:47 long silent video contrasts close-ups of the hands of master weaver Donna Cranmer with images of the 100-year-old Anislaga Chilkat Blanket that was recently returned to Alert Bay from Europe. Shot on location at the U'mista Cultural Centre.,,Robson/Granville Screens/CBC Plaza/VanCity Theatre,,Downtown,49.281384,-123.119,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=570,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=570&ImageId=463,"Emilie Crewe, 2014",414,570 | |
| Vancouver,Open Handed,2014,Removed,"Six 12 x 24 inch paintings were created using acrylic on stretched canvas. These six paintings were then documented via photography and printed to scale of the original paintings to the final size of 6.5 meters x 3.25 meters each. The six paintings are meant to be hung side by side as a complete series, each panel hanging vertically.","How would a nation of people with unique paths and histories approach truth and reconciliation? In this series, I hope to invite the country to be in a posture of openness. When our hands are open, we are ready to learn, grow, give, receive, and share. It is only in this place of openness that we can properly approach healing and building of our future. In many cultures, open hands are a symbol of hospitality, love and the human spirit.","Vancouver Public Library, Main Branch",350 West Georgia Street,Downtown,49.279754,-123.114941,Main Atrium,Other,"Original paintings: Acrylic paint on stretched canvas (12"" x 24""); printed reproduction",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=571,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=571&ImageId=671,,420,571 | |
| Vancouver,Her Story,2014,Removed,"The Canada Line City Centre photo mural is derived from a production still from a 1967 CBC documentary about Krista Belle Stewart's mother, the first Aboriginal public health nurse in BC. Krista Belle Stewart�s companion video to her Canada Line photo mural aired on the Vancouver Live! And CBC video screens in the Summer of 2014. It too draws on footage from the CBC documentary about her mother, Seraphine: Her Own Story.","For close to a century, Canada's residential school system worked to fragment and eradicate the cultures of its indigenous nations. While the legacy of this violence has resisted its suppression, it is only in recent memory that the trauma of this history has become public discussion. It is through this lens that watching Richard C. Bocking's 1967 documentary ""Seraphine: Her Own Story Told by Seraphine Ned"" draws one into a web of uncertainty. Seraphine was produced for the CBC Vancouver's Camera West series and was screened on September 17, 1969. The film tells the story of Seraphine Ned, journeying from the segregation of residential schools into a career in public nursing.",Canada Line City Centre Station / Video Screens,West Georgia & Granville Stn. / 789 Granville / 700 Hamilton / 1181 Seymour,Downtown,,,Various Downtown Video Screens & Canada Line City Centre Station,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=572,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=572&ImageId=465,,539,572 | |
| Vancouver,Giants Among Us,2014,Removed,"'Giants Amoung Us"" explores monsters and giants from Northwest Coast indigenous oral history and how these stories relate to and parallel reconciliation and dealing with present day challenges.","Giants Among Us is my response to the role of reconciliation between Indigenous Peoples and Settlers to this land. Contained in the entire image are four separate scenes, which reflect narratives about monsters and giants based in oral history from the Central Coast. The themes to be taken away from these scenes are Protection, Escape, Rejection, and Balance.The image at the top is titled Raven Meets the Cannibal and the theme of this scene is Protection. The Raven in this scene is both human and bird figure. The Raven is known up and down the coast as a trickster, creator and hero or helper of the people. The figure to the right is known as Baxbaxwalanuksiwe or the Cannibal of the North Door. He is known for keeping humans captive and consuming them. This spirit of consumption can affect humans of all backgrounds. In this image the transformer Raven protects himself and returns the cannibalistic energy of greed and consumption back onto its purveyor. The second scene down depicts Escape. The captive child spirit has found his way out of the basket of the giantess known as the Atsi. Stories of this giant reach up and down the coast, and she goes by many names. My grandfather, Johnny Hanuse, called her �Skwanee.� She is known to steal unsuspecting children as they wander too far from the village. Often in the stories told about her, it is the most overlooked child who devises the plan to elude her. This piece was made to honour all of the Residential School child escapees. Over the years I have heard heroic stories of successful and attempted escapes from these schools, and many more fled within their imaginations. The children wanted to go home.The third scene down contains the story of Rejection. P'kvs also known as the Wildman of the Woods is a forest ghost who tries to charm the living into crossing over into the ghost world. He offers gifts, but they are not what they seem. I feel his spirit parallels many figures and entities we deal with in our world today. Many of us choose to cope with reality by accepting illusions, resulting in suffering and living as a ghost. This piece is a reminder to not fall into the false worlds or take in bad medicine.The final scene at the bottom is the Sisiutl, or double-headed sea serpent also known as Winalagalis. What I learn from this monster is the gift of choice and the need for Balance. The choice to build or destroy, and the choice to love or to hate. This serpent was still feared by many and consumed those who were weak in moral strength, but the greater message of the Sisiutl is that it is a choice to be weak or strong in spirit and mind.Although I have briefly described the scenes taking place, I also invite the viewer to construct their own narrative. When creating these designs I was conscious that children would be seeing them at bus stops. I wanted to create something that their imaginations could slip into. It is this ability to be free, to wonder, and to dream that was forcibly taken away by the Church and State-run Residential Schools, and it still a battle to hang on to our culture, languages and spiritual practice. I look to our stories for lessons on how to overcome the giants in our path.",Transit Shelter Ad Spaces,,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=573,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=573&ImageId=466,Amanda Strong,419,573 | |
| Vancouver,Ninth Column,2014,In place,Ninth Column comprises a 97-foot high structural steel column clad in custom cast panels which bear an exact replica of mature Douglas-fir bark. This column is of equal scale as the other eight structural concrete columns supporting the overhead building.,,CENTRAL,1618 Quebec Street,Mount Pleasant,49.271536,-123.101402,Between Quebec and Main Streets south of Central Street & north of Switchmen Street,Site Work,"Structural steel, polymerized gypsum (Matrix-G), concrete, stainless steel, aluminum",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=574,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=574&ImageId=1358,Maureen Smith,95,574 | |
| Vancouver,Offsite: For Everyone A Sunset,2014,Removed,"""For Everyone a Sunset"" is an outdoor light installation that transforms ordinary materials such as aluminum, glass and neon to create plays of light that activate the surrounding space. Each module creates compositions of coloured light that are further augmented by changes in natural light throughout the day.",,Shangri-la - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Site Work,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=575,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=575&ImageId=811,"Trevor Mills, Vancouver Art Gallery",422,575 | |
| Vancouver,"Offsite: Time to Let Go�,",2014,Removed,,,Shangri-la - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=576,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=576&ImageId=800,"Rachel Topham, Vancouver Art Gallery",530,576 | |
| Vancouver,It's Written on Your Face,2014,Removed,It's Written on Your Face is a series of 4 striking hand-drawn portraits with words of connection to healing racial biases written across the faces of each person.,,Transit Shelter Ad Spaces,,Downtown,,,,Other,Colour pencil artwork using digital technology with words printed on paper,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=577,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=577&ImageId=469,,423,577 | |
| Vancouver,168+,2014,Removed,"Dionne Paul�s bus shelter posters refer directly to 1828 � 1998, the years of the Canadian Residential School System. The posters show three girls and one little boy in school uniforms. The young girls are posed in the classic gestures of the fable �say no evil,� �hear no evil,� and �see no evil.� The boy gestures �shhh,� referencing the history of aboriginal people being silenced, kept from speaking.",,Transit Shelter Ad Spaces,,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=578,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=578&ImageId=470,,417,578 | |
| Vancouver,Reconciliation,2014,Removed,1 minute digital video,We see words slowly formed in ink at the end of an old fashioned pen. These words were used by the Canadian Government as an apology to the First Nations peoples for the Residential School programme. The ancient pen represents the historical injustices at the same time as turning the viewer into the writer by carefully observing each word being formed. The chosen phrase tries to quantify the enormity of the numbers of First Nations peoples affected. It is graphic at the same time as being utterly unquantifiable.,Robson/Granville Screens/CBC Plaza/VanCity Theatre,,Downtown,49.281374,-123.1197,"789 Granville, 700 Hamilton, 1181 Seymour",Other,Video on digital screen,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=579,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=579&ImageId=471,Gary Ouimet,467,579 | |
| Vancouver,Reconciliation,2014,Removed,Northwest Coast Form-line and design merged with the aesthetics of psychedelic posters art and propaganda/protest art.,"Sonny Assu has applied his modern and unique style of Northwest Coast art to the aesthetics of psych, protest and propaganda art in an effort to challenge the public's view on Indigenous Rights and Title in Canada. Through these public interventions, Assu asks the viewer to engage in the reconciliation process to preserve the past, present and future.",Transit Shelter Ad Spaces,,Downtown,,,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=580,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=580&ImageId=472,Lila Bujold,396,580 | |
| Vancouver,People of the Dawn,2009,In place,This mural is a series of 12 panels that celebrates the Mi'kmag culture from the East Coast of Canada that features symbols and images from petroglyphs.,"These paintings feature a cross-section of indigenous Mi'kmaq symbols - including baskets made from porcupine quills and images from petroglyphs, such as butterflies, moose and caribou. These twelve 4'x8' panels entitled ""People of the Dawn"" were shortlisted for the Lieutenant Governor's Masterworks Art Award.",Trout Lake Community Center,3360 Victoria Avenue,Grandview-Woodland,49.255509,-123.0653,Lobby,Mural,"Plywood, Amsterdam Acrylic Paints",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=581,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=581&ImageId=1010,Alan Syliboy,541,581 | |
| Vancouver,Rain Bench,2014,In place,"Rain Bench was created in partnership with Emily Carr University, The David Suzuki Foundation and the Vancouver Board of Parks and Recreation. Made of recycled components, the artwork includes pieces from BC Place�s former roof, and beetle kill wood from the region of Prince George.",,Trillium Park,Trillium Park,Strathcona,,,Trillium Park North,Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=583,,,531,583 | |
| Vancouver,RestART Mural,2011,In place,"The Grandview-Woodland Community Policing Centre worked with support of the Celebrate Vancouver 125 Mural Program to deliver a RestART mural at East 1st Avenue and Nanaimo Street with the goal of offering creative alternatives for youth formerly involved in the graffiti subculture, as well as for property owners plagued by graffiti. Working with the youth engaged in this project, the artist mentor created a design to incorporate symbols not only of personal significance in the lives of individual youth participants and their decision to leave behind a lifestyle of illegal graffiti, but to also offer a more wide-ranging meaning to the greater community. Imagery includes the crow, an upturned hand, and a lotus flower.",,East 1st Avenue and Nanaimo Street,1687 Nanaimo,Grandview-Woodland,49.269617,-123.057158,,Mural,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=586,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=586&ImageId=764,,546,586 | |
| Vancouver,Friuli Mosaic,1986,In place,This mosaic was originally installed in the East Wing Annex of Vancouver City Hall (4626 West 9th Avenue). It was relocated to the Italian Cultural Centre in 2015.,,Italian Cultural Centre,3075 Slocan St,Renfrew-Collingwood,,,,Mosaic,Marble - travertine small pieces on concrete backing,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=588,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=588&ImageId=475,"Andrew Norrie, City of Vancouver",471,588 | |
| Vancouver,Fusion,2014,In place,"This sculpture sits in the heart of Marpole, one of Vancouver�s oldest residential neighbourhoods; it also sits on traditional Musqueam territory. The Musqueam people have lived on their traditional territory � the land and waters now known as the lower mainland of BC encompassing the greater Vancouver region � for several thousands of years. One of Musqueam�s most sacred sites, the Great Fraser Midden, is located just south of this site.The sculpture was conceived by the artist to acknowledge this rich cultural history, the history of the Coast Salish people, and to (re)introduce the residents of this community to their neighbour ~ the Musqueam people.The 14� high water-jet cut aluminum sculpture, powder coated in copper and silver paint, is a contemporary Coast Salish design depicting salmon and river grass, which are representative of the Coast Salish people, and the Musqueam people in particular, and the salmon, once found in abundance in the nearby Fraser River.","�Fusion� is an artwork that marries mediums and cultures�as well as legends. It also, metaphorically, fuses natural imagery with modern methods.The sculpture is contemporary yet unmistakably Salish. As this development sits in traditional Musqueam territory and is close to the banks of the Fraser River, my conceptual art piece is based on the theme of �people of the Grass� as well as the �Salmon People� which is uniquely Musqueam. The human element within the salmon has universal appeal that symbolically relates to all peoples. The faces are revealed with traditional Salish elements. Overall, the forms represent a living thriving culture and our historical legacy; as well as this unique community today�giving a sense of place and a landmark that respects the past, present and future.",Granville at 70th,70th Avenue & Cornish Street,Marpole,49.208554,-123.1421,"This work stands at the traffic diverter at 70th Avenue & Cornish Street, on the south side",Sculpture,Aluminum,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=589,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=589&ImageId=476,Ed White,300,589 | |
| Vancouver,Substation Pavilion,2014,In place,Concrete Pavilion,"Substation Pavilion consists of a small structure constructed of board-formed Ductal concrete, steel and glass, with a door that hints at a possible entrance (although in this case it is merely adecoy). There are windows on two sides, adding to the illusion of some kind of use value implicit to its presence on the site. The windows are utilitarian, institutional, industrial, with frosted security glass containing wire that obscure a direct line of site into the structure. Within the pavilion is a single, dim light. The pavilion sits immediately to the east of the entrance to the Meccanica development on the corner of First Avenue and Quebec Street in Vancouver, BC. The design borrows from the artdeco influenced electrical substations that are interwoven in Vancouver�s urban fabric. The piece looks as if it has been a long-term tenant of the site, as if it belongs to the area and is a relic of an earlier age. The illusion of its permanence is ruptured by a number of elements that disturb a simple and seamless inclusion in the local vernacular. The pavilion�s design references utility and yet as a consequence of the breaking up of vertical relations within the piece it becomes obvioussomething else is going on. What possible use could be made of a structure that seems to have no level floor, let alone barely enough room to turn around in? Why would so much attention be paid to the design of such a small and inconsequential piece of infrastructure?Substation Pavilion�s design hints at the networks of subterranean connections with the rest of the city and with the past of the site itself. The entire area of False Creek consisted of a marshy wetland prior to its infill. This program of �reclaiming� the tidal areas of Vancouver allowed for the development of the rail yards and industrial infrastructure at the east end of False Creek. This established a horizontal approach to looking at and moving through the growing city, tied as it was to these rail lines. The vertical tendencies of this project aim to introduce the rupturing of the quotidian relationship with the horizontal that dominates movement through the city. The strata formed in the soil of the False Creek area carry the history of the settlement of the area. The networks of the rail yards spread the stories of the people passing through them,creating layers within the cultural memory of the city. Over the years this cultural detritus molds and rots just as the soil and the structures of the area do. Together they form a humus thatcontains the mold that supports life in the city, spreading underneath every structure we build and every story we tell. This is a fertile substrate, not one given to decay and destruction. It supports connections and unexpected developments, much as the rhizomorphic systems of a large fungus will remain hidden, spreading underground and only exhibiting its presence once ayear with its short-lived mushroom heads. It is a constantly shifting and ever-present narrative running just below the surface of the city.Cedric BomfordOctober, 2014",Meccanica,108 East 1st Avenue,Mount Pleasant,49.270023,-123.10182,South side of First Avenue,Sculpture,Ductal concrete,Cressey,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=591,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=591&ImageId=664,Michael Love,486,591 | |
| Vancouver,Elk for csnam,2015,Removed,"This work is to celebrate the history of the natural world and to remember that elk and other four leggings once lived on this exact site and that us the two legged�s should ponder our relations with the natural world. The work was commissioned by the City of Vancouver Public Art Program and produced for the Capture Photography Festival. Works for the Canada Line were in the context of the exhibition csnam: The City Before the City at the Museum of Vancouver, the Museum of Anthropology and the Musqueam Cultural Centre.","When asked to conceive an original work for this downtown site relating to the theme of csnam, the city before the city, Dana Claxton considered pre-colonial landscapes and animal nations such as elk, deer, bear, beaver, mink, raccoon, skunk and wolf populations that circulated through these lands by their own natural logic. In particular, elk forms a crucial aspect of First Nations subsistence and spiritual economies. In the artist�s Lakota Sioux community they hold power as a source of sacred mana integral to ceremonial life. Elk were plentiful in the lower mainland for thousands of years, yet have disappeared in less than two hundred. Today the local Musqueam people must trade up north and in the interior for elk, as their use remains intrinsic to the society and culture. The artist questions: �What does this mean for society today? How are we respecting the �four-leggeds� still among us? What is our relationship with them? Who is responsible for considering them and making sure they are safe? How do we live with them?� She asks us to ponder these questions as we look through the grey concrete forest to see the aestheticized elk, alive in a celebration of colour, where it once may have been standing.",Canada Line City Centre Station,West Georgia Street & Granville Street,Downtown,49.282594,-123.1181,,Other,Vinyl on glass,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=592,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=592&ImageId=478,Cam Andrews,415,592 | |
| Vancouver,Landscape: Possessing Numerous Peaks and Ripples ,2016,In place,"Huang Zhiyang�s artwork consists of twelve white marble sculptural forms fronting Georgia Street in downtown Vancouver. Eleven of these human scale 3-dimensional forms with textured undulating lines titled, Landscape: Possessing Numerous Peaks are scattered across the central plaza. A single 2- dimensional marble wall piece titled Ripple is situated on the East Plaza Wall in conversation with the ground-mounted works occupying the central plaza.","""Trump Public Plaza presents an ensemble of humanity, art and nature. The flow of space, parallel and undulating lines, white marble textures, range upon range of pinnacles which symbolizes all creatures amid heaven and earth. Natural order, ethics and humanity coexist in harmony. Calmness overflows corresponding with the serenity of the sky, the sea and the land, respectfully. Quiet and peaceful, the scene (artwork) offers a pleasant habitat to live, work, and walk around or even lie down for a rest.� � Huang Zhiyang",Trump International Hotel & Tower Vancouver,1161 West Georgia Street,Downtown,49.286844,-123.124153,Central Plaza,Sculpture,White marble,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=593,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=593&ImageId=1274,SITE Photography,424,593 | |
| Vancouver,"Semi-Public: Vancouver Especially (A Vancouver Special scaled to its property value in 1973, then�",2015,In place,"""Vancouver Especially is a 1:3 scale replica of a mass-produced, Vancouver architectural style of homes known as the ""Vancouver Special"", popularized from 1965 to 1985 with an estimated 10,000 homes built. The scale of the artwork is determined by the $45,000 production budget, comparable to the value of a Vancouver Special in the 1970's. If one were to buy a Vancouver Special with that budget today, it would be tiny (see the small relief in the platform for the actual scale); thus the artwork was multiplied eightfold. Despite it's diminutive presence, the artwork would be most appropriately considered an enlargement of accepted value."" - Courtesty 221A Artist-Run Centre Society, Vancouver",,Outdoor Site: 221 A Gallery - Union St. & Gore St.,271 Union Street,DowntownEastside,49.277893,-123.097363,On a small lot between two buildings at 271 Union Street.,Sculpture,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=594,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=594&ImageId=479,"Photo by Denis Ha. Courtesy 221A Artist-Run Centre Society, Vancouver",3,594 | |
| Vancouver,Land and Sea,2014,In place,"Contemporary Coast Salish designs come to life in two light boxes, over 4-storys each, installed on the copper facades facing inwards to the central plaza at 8555 Granville Street. Designed by brother and sister team, artists Thom and Kelly Cannell, the panels tell a contemporary tale about their homeland, and depict creatures of the Land (green) and the Sea (blue). Each light box is shaped as a fragment of a circle, the shape of a spindle whorl which was utilized when spinning the yarn used in Coast Salish weaving. (Examples of Musqueam weaving can be seen in the display case in front of the Safeway store along Granville street). Creations in weaving have been passed down for countless generations. The artists� grandmother, Edna Grant, was taught to weave by her mother, who was taught by her mother, and so on. Her designs could be recognized up and down the coast. Not unlike a crest, weaving designs symbolize lineage. This is true in carving, weaving, painting, and dancing. The artists are proud of this legacy and acknowledge it in this artwork.","""Land is usually depicted as steady and stable, Sea as unpredictable, and Sky as free spirited.""Our account of Land and Sea is a contemporary tale about our homeland. Legends have been thought about time immemorial and passed on from generation to generation. They are contemporary tales because the story is always changing. An Eagle�s spirit, or the spirit of a bear is not always the same thing. Different characteristics and different places mean different things. Kelly and I have created a contemporary design that demonstrates the way nature flows together. In some cases you will see water flowing down a stream, or the wind blowing through the trees, or the trees themselves and their underground roots.Land is: blades of grass, a deer is prancing through from the forest just for the fun of it. A beaver emerges through the reeds at shore, looking for another tree to chew down; he has found it, but is weary of predators all the time. This time, only small creatures of the forest are hidden.Sea is: the west coast dream. Killer whales are chasing salmon around the Salish Sea. Kelp is flowing in the currents, maybe it is herring spawning season. Flounders down below are oblivious to another world above the surface. Cod are hiding amongst the rocks waiting for an easy meal.Life is transient, hardly still, even though we don't see it, branches are deliberately growing, underwater habitats are being bathed with the tide and water vapors rise into the atmosphere to fall far away. Happenings are all around us, ready to be re-discovered again and again.The broken circle of each design element refers to fragmented spindle whorl artifacts and the separations we see between these elements. Only when we see the whole picture together will the circle be complete. Our home is to inspire people to look closer in order to understand the subtleties and multitude of factors involved in our world.",Granville at 70th,"8555 Granville Street, West Building (Land) Cornish Estates (Sea)",Marpole,49.209415,-123.141154,"The 4-story light boxes are located on the copper panels on the West Building and Cornish Estates Building, facing the central plaza.",Site Work,Glass,Westbank,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=595,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=595&ImageId=480,Ed White,324;425,595 | |
| Vancouver,Shore to Shore,2015,In place,"The artwork is a 14-foot bronze sculpture with life-sized representations of Portuguese Joe Silvey and his Coast Salish wives, Khaltinaht and Kwatleematt. The site of the sculpture is Brockton Point in Stanley Park, the historical location of a small community where Silvey and his first wife Khaltinaht resided.The work celebrates the ancestral connection of Coast Salish and Portuguese communities in Vancouver.",,Brockton Point,Stanley Park,Stanley Park,49.300834,-123.117473,,Sculpture,Bronze,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=596,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=596&ImageId=481,photographer unknown,426,596 | |
| Vancouver,Nail Farm,2014,In place,Nail Farm is a public art project that takes the form of a barn ruin on a residential building site. The sculpture serves as a structure to facilitate urban agriculture activity. The deconstructed barn provides all of the required infrastructure in an optimized setting to grow food and plants for the residents of the LIDO development.,"At once romantic and fantastic, Nail Farm seeks to reconcile the desire to satisfy city-self and country-self, the inherent drive in urban agriculture. The barn is based on a local gambrel roof barn. It is abstracted to the point where it can be seen more as a lattice system to use for the growth of plants. The implied animal stalls become the grow beds. The entire footprint of the project is covered in 2' deep growing medium and can therefore be used as a ground forgrowing anything. Even the paths can potentially be overgrown. It is the aim of the project to provide a unified, total ""planter"" as an interesting alternative to the more typical community garden topology of segregated 'grow boxes'.",LIDO,1650 Quebec / 110 Switchmen Street,Mount Pleasant,49.270879,-123.101653,The work is located between the south side of the condo building and the west side of the rental building of the development.,Site Work,Rough Sawn Douglas Fir timber,Bosa,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=597,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=597&ImageId=1354,Barbara Cole,329,597 | |
| Vancouver,Still Here,2016,In place,"3,3m long spawning salmon and a stream of tiny blue lights visible at night marking the lost stream beneath the plaza.","A stream once flowed here on its way to Renfrew Ravine. The City�s storm-drain still follows the path of the stream beneath us.It flows into Still Creek where, after many decades of absence, salmon spawn again. This is a place rich with story and memory.Text credits Skwxu7mesh Snichem (Skhomesh language): T'uy't'tanat (Cease Wyss); Poetry: J. D. Morden, Isaac Rosen-Purcell; Local Memories: Cathie Folkard, The Engelland family, Steve Webb, �East Enders Reunion� group.Special thanks to Ken Clark, Sarah Rankin, Alex Chisholm, January Wolodarsky, Sanderson Concrete � Jan Arntorp, Jamie Allen and team, BL Lighting, Durante-Kreuk, Henning Knoetzele, Still Moon Arts Society.",Skyway Plaza,2699 Kingsway,Renfrew-Collingwood,49.238699,-123.0499,"Across the street from Norquay Park, between Earles Road and Slocan Street",Sculpture,"Reinforced concrete, and LED solar beacons",Strata Corporation of 2699 Kingsway,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=599,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=599&ImageId=633,Henning Knoetzele,290,599 | |
| Vancouver,Offsite: Woven Chronicle,2015,Removed,,,Shangri-La - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Other,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=603,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=603&ImageId=815,"Rachel Topham, Vancouver Art Gallery, 2015",427,603 | |
| Vancouver,Welcome Figure,2006,In place,The standing Welcome Figure was erected by the Squamish Nation. The land was once the site of a traditional Squamish village called Sun'ahk.,,,,Kitsilano,49.274429,-123.13875,"Along False Creek seawall, South of the Burrard Bridge",Totem,,Squamish Nation,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=605,,,428,605 | |
| Vancouver,Three Carrara Marbles,2012,In place,,,VanDusen Botanical Gardens,5251 Oak Street,Shaughnessy,49.239068,-123.134604,Front west lawn by Truffles Caf�,Sculpture,Marble,VanDusen Botanical Garden Associaton (VBGA),https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=606,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=606&ImageId=714,Heide Dobler,99,606 | |
| Vancouver,Departure,2013,In place,Man and woman sitting on a bench.,,VanDusen Botanical Gardens,5251 Oak Street,Shaughnessy,49.239068,-123.134604,Cleghorn Family Landing,Sculpture,Bronze,VanDusen Botanical Garden Association (VBGA),https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=607,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=607&ImageId=690,Heide Dobler,523,607 | |
| Vancouver,Transformation Plant,2012,In place,"Fabricated in situ by New Zealand artist Chris Booth as part of Earth Art 2012, nactp �Transformation Plant� was created in consultation with elders and key members of the Musqueam Indian Band who also bestowed its name.nactp �Transformation Plant� is a collaboration with nature and community � living earth art. Musqueam elders advised that the small juvenile tree planted in the center should be the highly revered western red cedar. Over the years, as the fungi breaks down the stacked wood recycling it into humus, the red cedar will flourish into a beautiful tree while the stone slabs (�petals�) will slowly open up like a flower.","Like Booth�s other wood and stone works such as Tranekaer Vader, 1998 and Zunderschwamm, 1999 nactp �Transformation Plant� harnesses the great recycling ability of fungi to facilitate a very long term (30 +/- years) kinetic living earth art work.In doing these living works, it is one of the artist�s aims to highlight the wonders of fungi, the most extensive of all living organisms and one of our most ancient sources of food and medicine. This ancient and generally lesser known plant-like organism is vital to all life on earth, yet is threatened by human activities. The uncontrolled build-up of manmade greenhouse gas emissions is making our atmosphere inhospitable even toxic to life as we know it. The devastation caused by people is happening around us on an ever-increasing scale. Hopefully, these living earth art works will educate the visitor to be wiser � to become proactive in reversing this spiraling catastrophe.",VanDusen Botanical Gardens,5251 Oak Street,Shaughnessy,49.239068,-123.134604,East of Education Centre,Site Work,"Reclaimed granite, mixed wood",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=608,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=608&ImageId=715,Heide Dobler,429,608 | |
| Vancouver,Confidence,2012,In place,,,VanDusen Botanical Gardens,5251 Oak Street,Shaughnessy,49.239068,-123.134604,By the ginkgo trees,Sculpture,Red cedar,VanDusen Botanical Garden Association (VBGA),https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=609,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=609&ImageId=716,Heide Dobler,210,609 | |
| Vancouver,Zipper,2012,In place,,,VanDusen Botanical Gardens,5251 Oak Street,Shaughnessy,49.239068,-123.134604,Great Lawn,Site Work,Douglas fir,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=610,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=610&ImageId=717,Heide Dobler,510,610 | |
| Vancouver,Robson Park Community Mural,2015,In place,"Artist Lindsey Adams led the design and development of a community mural in order to revitalize and enhance public space. The mural captures ideas generated by local non-profit organizations, community members, and park users, leading to the development, design, and painting of this mural.","This was an opportunity to create local, meaningful, and immediate improvements with the neighbourhood.",Robson Park,Robson Park at St. George Street and 13th Avenue,Mount Pleasant,49.25851,-123.092673,"North side of the sport court at Robson Park, adjacent to 2910 St. George Street",Mural,Paint and Spray Paint,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=612,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=612&ImageId=489,Lindsey Kyoko Adams - 2015,430,612 | |
| Vancouver,The Wall at CBC: down. town.,2015,Removed,"down. town. is a large-scale composite photographic installation that looks at the history and rate of change of the built form that comprises Vancouver's downtown corridor (bounded by Main St., Burrard St., north of Georgia St., False Creek and the Burrard Inlet) between 1954 and 2015.","down. town. was created after intensive research into not only how many buildings have been demolished in downtown Vancouver since 1954, but also how much of this process was considered to be ""newsworthy"" as evidenced by the archival holding of our first television station, CBUT (CBC's precursor). The original idea was to present a true ratio of buildings lost to buildings recorded in the process of being lost, thus incorporating the notion of ""absence"" into the final piece. Absence of buildings, absence of records and more generally the idea of buildings missing from public memory is the foundation of the work.",CBC Vancouver Broadcast Centre Plaza,700 Hamilton Street,Downtown,49.279586,-123.1142,On the wall to the right of the main entrance of CBC Vancouver.,Mural,"Digital photography, vinyl",,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=613,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=613&ImageId=654,Faith Moosang,547,613 | |
| Vancouver,Watch Seller,2015,In place,,,Main Street-Science World Station,Main Street and Terminal Avenue ,Downtown,49.273296,-123.100627,East Platform Plaza,Sculpture,,Translink,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=614,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=614&ImageId=655,Barbara Cole,389;508,614 | |
| Vancouver,The Wall at CBC: FOUNTAIN: the source or origin of anything,2014,Removed,,,CBC Vancouver Broadcast Centre Plaza,700 Hamilton Street,Downtown,49.2796,-123.1141,,Other,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=615,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=615&ImageId=668,John Fukushima,431,615 | |
| Vancouver,Alien Terrarium,2016,Removed,"A photography based theatrical panorama of local non-native plant species such as Japanese Knotweed, English Ivy, Scotch Broom, English Holly, and Himalayan Blackberry are captured in a series of three staged environments and digitally reproduced onto translucent adhesive vinyl. The work is presented on three sides of a glass stairwell enclosure.","One of the effects of living in a coastal region is that many invasive plant species enter the ecology from other parts of the world. This artwork invites viewers to be immersed in an ""alien"" world and consider themes of migration and survival.",Queen Elizabeth Plaza,,Downtown,49.280003,-123.113716,At the parking exit structure on the corner of W Georgia and Hamilton,Mural,Digitally printed onto adhesive vinyl.,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=617,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=617&ImageId=494,"Elisa Yon, 2016",432;488,617 | |
| Vancouver,RGB,2018,In place,"Michael Lin uses the glass cladding of the church as a coloured canvas, aligning itself to the history of stained glass windows in places of worship. The artwork title �RGB� refers to the additive model of reproducing colours with light (red, green, and blue). The three colours can also be seen to symbolize the Trinity. A fritted glass pattern comprised of over 1,000 crosses on each large panel of glass are repeated across the windows of the church facility. Nine different intuitive arrangements of crosses, three arrangements for each of the three colours, create an overall, organic, swarming pattern. The architecture appears porous as light passes through the windows and the shadows of the crosses spill across the interior surfaces.","The simple unadorned cross was chosen to create a pattern in order to de-emphasize its form. With over one thousand crosses on each large panel of glass and approximately two hundred thousand crosses that cover the windows of the CPC, each individual cross becomes the building block or pixels that creates a larger whole. Along with the intuitive arrangements of the crosses, which create a contrast to the rigid grid of the building, these organic swarms of crosses seek to visually erode the architecture making it more porous, almost formless, allowing for a gentler interface with its surroundings.Similar to ambient music, with an emphasis on tone and atmosphere over structure and rhythm, �RGB� seeks to reflect the diversity and inclusiveness of the Central Presbyterian Church and the surrounding West End community.",Central Presbyterian Church,1108 Pendrell Street,West End,49.281347,-123.130676,The artwork consists of fritted glass that wraps around all four elevations of the building,Site Work,Glass,Central Presbyterian Church,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=618,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=618&ImageId=1292,ISHOT.ca - copyright 2018,532,618 | |
| Vancouver,The Eyes of the People,2009,In place,"This stained glass work is inspired by traditional Coast Salish woven cedar bard, and depicts a traditional eye motif. Here the eye represents the eyes of the people, past, present, and future. It was created and inspired by the Vancouver 2010 Olympic and Paralympic Winter Games. This work incorporates blue glass that was recycled from the site's previous ice rin.",,Killarney Community Centre,6260 Killarney Street,Killarney,49.227641,-123.0443,Stained glass artwork in the window above the front door,Site Work,Contemporary and vintage/recycled stained glass in wooden frame,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=619,,,417,619 | |
| Vancouver,Offsite: The Experience,2015,Removed,"Elizabeth Zvonar conjures romantic sentiment and melancholic undertones in ""The Experience"", a bleached-out collage boldly positioned in downtown Vancouver during the dreary months of winter. Combining materials and strategies used in advertising, the site-specific public artwork draws tangential connections between thoughtful inquiry and advertorial amusement. A pair of sunglasses from a 1970s fashion magazine is placed in the foreground of a celestial landscape from Mars, creating a scene that reads like a postcard from the future. In ""The Experience"", Zvonar continues her practice of appropriating imagery from various sources including advertising, contemporary fashion photography and counterculture media. She amplifies the digital design of her hand-cut collage by dramatically increasing its scale and incorporating lighting effects to produce an environment that shifts from a space of entertainment to one of examination.",,Shangri-La - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of the Shangri-La Hotel,Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=620,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=620&ImageId=805,"Rachel Topham, Vancouver Art Gallery, 2015",433,620 | |
| Vancouver,Dichroic Vancouver,2015,In place,"Four thin bands of dichroic glass are embedded into the southeast and southwest facades of the tower. The glass changes colour depending on where one stands, in combination with the atmospheric and climatic conditions of the moment. During the weekdays, the lights are a soft shimmering pattern of green. On Fridays, Saturdays, and Sundays, the lights change to a very broad sequence of 23 different light shows.","This art project challenges the existing chromatics of downtown Vancouver. In a city known for architecture of greys, muted greens and blues, the resulting mass of construction can appear monolithic and somber at times, with only the occasional splash of colour. When these colours do occur, they seem almost jarring - too powerful and unresponsive to changes in light and weather. ""Dichroic Vancouver"" introduces a set of colour-changing bands of glass to the new Manulife Financial office building. Four delicate lines of dichroic glass are integrated into the southeast and southwest facades to bring nuances of shifting colour to viewers. The hues are affected by climatic and light modulations in the sky. Like weather and emotion, all is in a constant state of change. Viewers witness surprising and changing conditions of light and colour; a welcome addition to a sometimes monochromatic city. ""Colour is a power which directly influences the soul."" - Wassily Kandisky, Concerning the Spiritual in Art",Manulife Tower,980 Howe Street,Downtown,49.280167,-123.1233,,Site Work,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=621,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=621&ImageId=496,photo courtesy of the artist,114,621 | |
| Vancouver,Refined,2016,In place,"Southeast False Creek, the site of this work, was once ahub of industry and processing, but has rapidly beenconverted from a quasi-abandoned and contaminatedbrownfield into a highly-designed, dense residentialneighbourhood. The word refined refers to both theprocess of removing unwanted elements to create anincreasingly homogeneous and pure substance and also tothe perception of characteristics such as elegance,sophistication, and urbanity. The artwork, Refined, drawsspecifically on the forms and processes of salt purificationwhich used to take place in the building immediatelyproximal to the site while exploring the overalltransformation of the neighbourhood itself.The artwork is composed of five pure-white, conicalsculptures of varying heights that sit within a recessed poolof recycled glass. During the day, the pure geometric formsand angular shapes of the surrounding glass elementscatch and play with natural sunlight. At night, warm huedlights, evocative of the colour of salt in its raw unrefinedstate, cast a glow onto the artwork surfaces.",,Manitoba Plaza,1 - 88 West 1st Avenue,Fairview,,,,Sculpture,"Shotcrete, tumbled glass, Lighting",Pinnacle International (West First) Plaza Inc.,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=622,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=622&ImageId=658,Michael Elkan Photography,83,622 | |
| Vancouver,Offsite: Your Kingdom to Command,2016,Removed,"Marina Roy uses both natural and processed materials to create a 25 meter mural and tree fountain that stands out in contrast to the glass and concrete office towers in downtown Vancouver. Using a tree salvaged after the 2015 windstorm to build a fountain, and background plywood mural painted with bitumen, made from tar and shellac, cultivated by the female lac bug, Roy�s installation ""Your Kingdom to Command"" speaks to transformation in nature, largely due to human industry.",,Shangri-La - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=623,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=623&ImageId=823,"Trevor Mills, Vancouver Art Gallery",533,623 | |
| Vancouver,Simon Fraser,2015,In place,"Modeled in the pose of Auguste Rodin's The Thinker (1887-1889), ""Simon Fraser"" is a bronze sculpture created to celebrate and honour the explorer Simon Fraser. Simon Fraser's successful exploration of the mighty Fraser River in 1808 was an important journey of discovery, as well as pivotal for the Fraser River's role as a commercial transportation hub for British Columbia.","""I wanted a work of art that asks the viewer to reflect on the changes that have taken place in the Vancouver area since the days of Simon Fraser. Viewers are asked to subject themselves into the position of Simon Fraser by thinking what he may be thinking about, by pondering the question of what he would think of the present that has been constructed. There are no answers as the aim is to think and reflect on the identity of the Vancouver region."" - Ken Lum",Marine Gateway,450 SW Marine Drive,Marpole,49.210258,-123.1157,Marine Drive Station on the Canada Line,Sculpture,Bronze,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=624,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=624&ImageId=1032,,3,624 | |
| Vancouver,Tools of the Fraser River,2015,In place,"""Tools of the Fraser River"" is an encyclopedic depiction of the tools associated with the Fraser River throughout history. ""Tools of the Fraser River"" and ""Fraser River Stories"" are complementary pieces by Geoffrey Farmer's Every Letter of the Alphabet Printing Ltd.",,Marine Gateway,450 SW Marine Drive,Marpole,49.210272,-123.1157,Marine Drive Station on the Canada Line,Site Work,Second surface print on glass,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=625,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=625&ImageId=1031,,335;542,625 | |
| Vancouver,Salish Gifts,2015,In place,"""Salish Gifts"" is a series of four sculptural seating vessels created by Musqueam artist Susan Point using traditional symbols to celebrate her people's culture and the importance of the Fraser River to the Musqueam. Original Coast Salish designs are cast into concrete baskets and bronze spindle whorl lids, which then rest on traditional reed mats represented by colourful stone tile. Original old growth cedar spindle whorl carvings, used to create the cast bronze lids for ""Salish Gifts"" are also on display at the office lobby at 450 SW Marine Drive.",,Marine Gateway,450 SW Marine Drive,Marpole,49.210272,-123.1158,Marine Drive Station on The Canada Line,Sculpture,"Concrete, bronze and stone",,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=626,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=626&ImageId=1033,,300,626 | |
| Vancouver,Kapok Flower Sculpture,2015,In place,"The Kapok flower is the official city flower of Guangzhou, China. The City of Vancouver was presented with a sculpture of this blooming flower in commemoration of the 30th anniversary as being a sister city with Guangzhou. It also symbolizes the strong friendship between the two sister cities. Kapok is a kind of tropical tree found across Guangzhou and known to Chinese people as �Cotton Tree� (Mumian). People in Guangzhou have long grown Kapok trees, using its cotton to make clothes and its flowers as medicine. Cantonese people consider the Kapok tree to have a strong spirit which pushes it to grow high into the sunlight.",,Vancouver City Hall,453 West 12th Avenue,Mount Pleasant,,,West of the south entrance of Vancouver City Hall,Sculpture,Stainless Steel,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=627,,,434,627 | |
| Vancouver,Grand Entry,2009,In place,The artists worked individually and collectively on their concept for a series of nine (9) raven sculptures portraying a collective cultural history and perspective. Each of the nine figures represents their respective artist�s expression of the raven�s spirit.,,Hillcrest Centre,4575 Clancy Loranger Way,Mount Pleasant,,,West parkade entry,Sculpture,Foam and epoxy resin,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=628,,,436,628 | |
| Vancouver,Home,2009,In place,"Aaron Nelson-Moody led this youth mentorship program to create a housepost. The artist likens the process of revealing the spirit of the post through carving, to the removal of personal barriers and discovering our own spirits. The post depicts an eagle, salmon, and canoe. It was created as part of the 2010 Olympic and Paralympic Winter Games Venues� Aboriginal Art Program.",,Britannia Community Services Centre,1661 Napier Street,Grandview-Woodland,,,,Site Work,Red cedar,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=629,,,336,629 | |
| Vancouver,Journey & Protector,2009,In place,"Two (2) paintings depict a birchbark canoe traveling from the East (home of the artist) to the West (site of the 2010 Olympic and Paralympic Winter Games). The chief within the boat carries his gifts and culture to the West, and he emanates mercy. These paintings are an expression of modern and traditional communication.",,Killarney Community Centre,6260 Killarney Street,Killarney,49.227634,-123.0444,,Painting,Acrylic on canvas,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=630,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=630&ImageId=498,Stephanie Chartrand,490,630 | |
| Vancouver,"Ngashi Niiji Bineshiinh: Mother, Friend, Small Bird",2009,In place,"Created for the 2010 Olympic and Paralympic Winter Gamres, these clear cast vinyl panels reflect the relationship between the physical and spiritual worlds. Above the depiction of Turtle Island is the Thunderbird, reminding people to give thanks for all the things we take and use, and to replenish and respect our resources. The many animals depicted indicate harmony among creatures, and their innards are exposed, showing their strength.",,Pacific Colliseum,2901 E Hastings Street,Hastings-Sunrise,49.280674,-123.03489,Interior,Site Work,Clear cast vinyl,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=631,,,435,631 | |
| Vancouver,Leaf Vane,2014,In place,,"""As metaphor for our environment, I chose to represent the vascular anatomy of the leaf for its potency as a renewable energy system of incredible efficiency. Clearly the ability to photsynthesize water, sunlight and CO2 into stored carbon energy while expiring oxygen to balance the biosphere is a process that enables our survival. The leaf is a biological converter of incredible capacity."" - Doug Taylor",PAL Vancouver Theatre Garden Terrace,300-581 Cardero Street,Downtown,,,Theatre Rooftop Garden / Floor 5,Sculpture,Stainless steel,PAL Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=633,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=633&ImageId=669,Peter Wall,236,633 | |
| Vancouver,Skies Painted with Unnumbered Sparks,2014,Removed,"Janet Echelman created an ariel sculpture to celebrate the 30th anniversary of the TED Conferences taking place in Vancouver in 2014. The art installation was on display from March 17, 2014 through to May 14, 2014. Spanning over 700 feet, the sculpture will traverse over street, pedestrian plaza, and water from the roof of the Fairmont Waterfront to the roof of the Vancouver Convention Centre.",,,,Downtown,,,Outside of the Vancouver Convention Centre and the Fairmont Waterfront Hotel,Other,"Twisted nylon, braided polyester, Honeywell Spectra fiber, and interactive, colored lighting",Janet Echelman,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=634,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=634&ImageId=500,photo credit Ema Peter,472,634 | |
| Vancouver,The Place Between Us,2016,Removed,"The Place Between Us is a series of slow motion video compositions that meditate on Vancouver's unusually high levels of social isolation. Presented on multiple large scale LED video billboards throughout downtown Vancouver, complete with scrolling tickertape, the dreamlike mirror images play in sharp contrast to the bustling streets below.","According to surveys, Vancouverites are the least connected Canadian city dwellers and they endure unusually high levels of social isolation. I wanted to explore this fact through slow motion video, and to also include the connections that are possible in our community. My hope is that this meditative piece, contrasted with the busy streets below, will create a pause within the viewer that allows for reflection in the midst of a stressful environment, a wedge space that has the possibility to open deeper connections between us all.",Various Downtown screens,,Downtown,49.28137,-123.1197,Robson & Granville Screen / CBC Plaza / VanCity Theatre / Telus Gardens Screen / Terry Fox Plaza Screen,Other,Digital video file,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=640,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=640&ImageId=501,,534,640 | |
| Vancouver,Pier D,2016,Removed,"On the afternoon of July 27, 1938, a four alarm fire broke out on CPR Pier D. This artwork is a visual contemplation of that historic moment in the context of the port as a vital feature of the city and central to the downtown commercial hub.The mural is defined by three ""portholes"" that present two altered archival images focusing on the fire plus a central contemporary image shot by the artist looking at where the pier used to be.A QR code and website are also part of the imagery. Scan the code on the artwork or visit pierd.ca External website to view dynamic content that changes daily and functions like a serialized diary of the era, with brief personal accounts and images from archival and fictional sources.",,Canada Line - Vancouver City Centre Station,Georgia & Granville Street,Downtown,49.281865,-123.119083,East wall of transit entrance,Mural,Vinyl,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=641,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=641&ImageId=837,Rachel Topham,476,641 | |
| Vancouver,RIPPLES,2016,Removed,"Nicolas Sassoon has created three digital abstractions using high contrast black and white animation. At first glance, these may seem like static on old tv sets. The artist plays with this association with the wave-like electrical interference of the past and explores the line between digital and organic patterns. These allover screen patterns are meant to be immersive encounters with the digital realm while evoking the play of light and dark on the water and the hypnotic visual effect of rain and waves along the coast.","RIPPLES is a series of three screen-based animations created using a digital moir� technique. This animation technique is central to my practice; it consists in the overlapping of two images generating the illusion of a third image. Each work is produced using this method; two grids of pixels are overlapped and set in motion to generate a digital animated moir�.Alongside the use of digital moir�, the animations from RIPPLES display a common visual treatment: Streaks of hard-edged pixels combined to a minimal color palette. This visual treatment gives each animation unique graphical and kinetic qualities, reminiscent of early computer graphics and endemic to screens and matrix display technologies.The RIPPLES animations are initially shown on computer screens. They are published online as animated GIFs displayed full screen on HTML pages. The animations operate as seamless loops with no beginning or end; their duration online is determined by the viewer�s experience. Meanwhile, each animation encourages a contemplative gaze by combining textural and pixelated elements to a mesmerizing and infinite motion.Specifically, the animations from RIPPLES are informed by memories of rainstorm textures, sand patterns and ocean waves. Each animation attempts to emulate visual and behavioural qualities from these atmospheric elements into digital forms. This process happens slowly through a series of visual experimentations; when a visual experiment feels familiar with the natural references, it is developed to enhance and isolate these specific traits.The resulting works appear like distant recollections of the natural, fluctuating between organic form and digital abstraction. The space of the screen oscillates between depth and flatness, natural and synthetic, merging all into a hybrid form. The flat pixelated graphics flood the monitor, the endless motion does not give rest to the eye. The display becomes a reflecting pool; a space of contemplation on the presence and nature of screen technology.",Various Downtown Screens,,Downtown,49.281374,-123.1197,Robson & Granville Screen / CBC Plaza / VanCity Theatre / Telus Gardens Screen / Terry Fox Plaza Screen,Other,Digital video file,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=642,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=642&ImageId=503,Photo courtesy of the artist.,524,642 | |
| Vancouver,Barnacle City,2016,Removed,"Commissioned by�the City of Vancouver�s 2016-17�Public Art Program on the theme Coastal City,�""Barnacle City""�is a video work, a mock sci-fi �tiny action� movie, featuring barnacles and Vancouver�s glass towers.�It lauched on June 13 and ran until July 10, 2016, and screened among regular advertising on two large LED screens at Vancouver�s downtown corner of Robson and Granville, the heart of what was once Cinema Row and at additional venues in Vancouver. Additional venues include: the CBC Plaza on Hamilton St.; Telus Gardens on Georgia St.; the Terry Fox Plaza; the Vancity Theatre before each film screening and the Pacific Cinematheque, also before each film screening. An image from Laiwan�s film ""Barnacle City"" will show at the Canada Line City Centre Station from October, 2016 to March 2017.","Barnacle City by Laiwan projects imaginative possibilities of a future city, or perhaps a city that once was, in which natural accretions are anchored among man-made structures. Where is this science-fiction inspired city? You will recognize Vancouver�s cityscape dramatically altered by this utopian (or dystopian?) vision, alive with ocean forms.",Canada Line - Vancouver City Centre Station,Georgia & Granville Street,Downtown,49.282524,-123.1186,East wall of transit entrance,Other,Vinyl,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=643,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=643&ImageId=640,,431,643 | |
| Vancouver,"Beyond the Sea, Against the Sun",2016,In place,"""Beyond the Sea, Against the Sun"" consists of three continuous chains of hanging lanterns that converge at the point where the Richards Street lane meets the alleyway running from Robson Street to Georgia Street. Though their form is sculptural, the lanterns' state of partial collapse evokes an air of incompleteness in deep contrast to their urban environment. They are not resolved in the way architecture requires, but instead hover with a sense of openness. Scaled up and clustered in colourful constellations, their pressence will heighten the dramatic possibilities of the site while making and activating the space below them. The lanterns follow a geometric design with their component shape being found as the ""leaf"" in the 1925 abstract trees of French sculptors Jan and Joel Martel.",,Telus Gardens,,Downtown,,,Where the Richards St. lane meets the alleyway running from Robson St through to Georgia St.,Site Work,Perforated stainless steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=644,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=644&ImageId=1187,Ed White,581,644 | |
| Vancouver,Harbeck Homage,2016,Removed,A three minute Super 8 film that follows the bike route from Crab Park (on the Downtown Eastside) to Kitsilano Beach Park (West side).,"Lisa g Nielsen was inspired by William Harbeck's 1907 film that records the streetcar view in downtown Vancouver. Like Harbeck, she is interested in documenting an unremarkable activity that represents the city at this time. Her film combines two of the things that define Vancouver, the seawall and the focus on cycling. The time-lapse super 8 film documents the urban coastline from Crab Park on the city's Downtown Eastside to Kits Beach. Using a bicycle specially adapted to hold a vintage super 8 camera, she makes her way along the seawall and then edits the film segments into a high speed tour of the perimeter of the city.",Various Downtown Screens,,Downtown,49.279357,-123.1151,Robson & Granville Screen / CBC Plaza / VanCity Theatre / Telus Gardens Screen / Terry Fox Plaza Screen,Other,Super 8 / video,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=645,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=645&ImageId=504,Lisa g. Nielsen,489,645 | |
| Vancouver,Vancouver Coastal: a nomad�s guide to the floating world,2016,Removed,"Vancouver Coastal pretends to be a travel guide book cover and a work of speculative storytelling. The image of jetsam washed up on the shore, supplemented by a visual quotation from a classical Japanese print, references contemporary nomadic life and the historic romanticism associated with it.Recent global events involving industrial and natural disasters, upheaval and migration, extreme weather patterns elsewhere and on our own West Coast shores leave an archaeological array of accidental artefacts washing up on shorelines along the Pacific.The shoreline is the point of transmission of cultures and objects and stories. Regardless of whether these stories are truth, fiction or somewhere in between, they nonetheless allow us to share our experiences.","�Vancouver Coastal: a nomad�s guide to the floating world� is the title of a text-and-image based work meant for installation at transit shelters. There is a certain fictional quality to the term �coastal city�, metaphorically on the verge of the imaginary, the otherworldly, the historic and the futuristic. �From a distance, the work mines the history of travel books from the early 19th century Baedekers to more recent and popular guides such as Lonely Planet and Frommers. While these guidebooks are meant as references for the worldly globetrotter, they nonetheless fulfill the desires of armchair vacationers and urban travellers alike. Upon closer inspection, one notes that the poster is a composite of two images. The smaller of the two images is an excerpt from a larger print, an ocean wave pattern from a woodblock print by Japanese ukiyo-e master Toyohara Kunichika (1835-1900) from a series of prints depicting shipwrecks. �Ukiyo� is a Japanese term meaning �the floating world�, a reference to the pleasure-seeking urban lifestyles of Edo-period Japan (1600-1867). The larger image is a photograph of Vancouver�s False Creek shoreline with objects introduced into the image. One might ask: what is an ikat fabric, a piece of imari-inspired china and a silvered cruciform-topped cruet stopper doing on the shoreline? And what could it all mean?Vancouver Coastal: a nomad�s guide to the floating world� is a work that references contemporary and historic nomadic life. Recent events involving travel, global weather patterns and natural occurrences in the Far East and our own West Coast shores have shown evidence of unexpected material and climactic exchange resulting in an archaeological array of accidental artefacts washing up on all shorelines along the Pacific. After all, cultural exchange is not limited to capitalistic trade. These artefacts are accidental travellers, nomadic ephemera that unwittingly influence our cultural landscape and a testimony to the independent life of objects. As the primordial ocean is the birthplace of life, the coastline is the threshold of humanity, our culture and our civilization. As the knowledge of our culture expands through the exchange of ideas, the history of trade can partly be told through the history of our coastline. From anecdotes predating the Galleon Trade1 to our present-day container cargo ships, our waterways and oceans tell the story of cultural exchange, some through trade while others through natural happenstance. �Vancouver Coastal: a nomad�s guide to the floating world� is both laden with truth and a work of fiction made possible through subjective and speculative storytelling. It epitomises how our coastline embodies our cultural makeup and experiences, and is a catalyst in triggering memories and starting conversations. Regardless of whether these stories are truth, fiction or somewhere in between, they nonetheless allow us to share our experiences without judgement.",Transit shelters around the city,,Downtown,,,20 Transit Shelter advertisement locations,Other,Ink on paper,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=646,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=646&ImageId=831,Photo courtesy of the artist,487,646 | |
| Vancouver,"Untitled, 2016",2016,Removed,"Ryan Peter�s images are created through a contact photo-printing process in which he uses acrylic paints, household chemicals, and industrial materials that would be considered waste, registering the traces on translucent plastic film. The resulting images have curious biomorphic associations, cryptically alluding to a distant past or dystopic future of life forms.Working with traditional silver gelatin printing, the artist explores shifting relationships between physical and digital processes and evokes the tension between the natural world and human-centered activities in the urban environment.For his Coastal City project, the images are toned in black, white and grey to create different �moods� related to life on the coast.","My project for Platforms 2015-17: Coastal City further develops two of my areas of interest: the shifting relationship between the digital and the physical, and the material, political, and ecological tension between the natural world and human-centered activities. Situated in a sensitive geographic location, Vancouver maintains environmental responsibilities that have both local and widespread implications. The material traces of these consequences�from remnants of foliage and forests to dried streams of water�are evoked in the work, through both production methods to the imagery and aesthetic. The project is an extension of my recent series of unique gelatin silver prints, titled Autograms. The work consists of reproductions of three Autograms resulting in three distinct posters. The project includes images varying in dominant tone (for instance, one that is largely white, one grey, and one black). Creating an overall mood for each poster, this dominant tone can be seen to represent time of day, weather condition, or season. These references to time and the natural world are echoed in both the material processes and compositions of the works. The biomorphic abstractions and �textures� are generated by contact printing acrylic paint on translucent plastic film, or utilizing materials that would typically be considered waste (polypropylene drop sheets, shipping packaging, etc.). This uneasy union between synthetic materials produces curiously natural results�the fractal forms are reminiscent of everything from rock formations to cedar bark. In this way, I see the works as a form of temporal excavation, resuscitating the organic ancestries of these petroleum products, even alluding to the networks of transportation and commerce required to procure the materials. These allusions to the distant past, and the pre-historic life forms that died to fuel the future, are complicated by references to more recent imaging technology, such as Photoshopped drop-shadows. As these works are made using a contact printing process, the prints are highly detailed and especially compatible with digital enlargement�their magnification revealing fractal forms not visible to the naked eye. Expanded to the size of transit shelter posters, the biomorphic �figures� that populate my works approach human-scale, creating a unique form of engagement and experience. Particularly well suited to viewers in transit, the high contrast figure-ground compositions function as both graphically prominent from a distance, and visually complex on close viewing. This high fidelity fractal detail suggests the imagery of coastal scenery, while the �figures�, oscillating between plant-like and humanoid, point to the changing landscape as a consequence of human-centered activities. In this way, the works speak to Vancouver as both a coastal city and an important ecosystem, and allude to our responsibilities as we move within it.",Transit shelters around the city,,Downtown,,,20 Transit Shelter advertisement locations,Other,Inkjet printed backlit film,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=647,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=647&ImageId=1002,Ryan Peter,437,647 | |
| Vancouver,locations/dis-locations,2016,Removed,"Jayce Salloum�s transit shelter posters focus on multiple images that are part of an ongoing project called locations/dis-locations.These photographs of quotidian spaces consider Vancouver as a coastal city in relationship to other coastal cities and Vancouver�s specific history in relation to a regional, national, and global context.The images reflect on location, the image in relation to the site of placement. Through this contrast, they provoke, engage and express this time and place.","The images play off of and provoke, engage and express the position that we find ourselves in, at this time and place. Some of the themes/considerations of the specific images in numbered order corresponding to the images are:Sightlines/site-lines, from where do we perceive the city of Vancouver, what vantage/dis-advantage point(s). What layers are we missing directly in front of us. / And after this, what piles of things, our appliances for living, what is needed then discarded into the dump, our archive of things. / What residue remains, detritus/artifacts/culture, what have we covered up, destroyed, demolished or buried. /We make piles of our past and then cart them away, out of sight. / The pastoral is present, somewhere in our minds eye, bracketed by the realities of our moment, the circumstances of our place. / Celestial views etched into a red car hood seen at night. In the suburban/urban setting, in a neighbourhood of homes on top of Coast Salish (Musqueam/ Squamish/Tsleil-Waututh) land at or near sn�a?qw/Sen��kw (Kitsalano reduced from August Jack Xats'alanexw/Khahtsahlano). The ability of the abstract to bring one further into the scene, the setting, the night sky. / Canada�s institutional cultural genocide, the repression, the oppression of the physical space on indigenous children and indigenous life, the residential school buildings� constructed architecture of trauma. / Survivors� forms, the art that carries, CW�s carving area, creations out of the substance of life. / Nature�s forms, the beaver�s work/mark, the inspiration, the analogy used, crossing histories. / The inversely sanctified aquarium tank, attempting to preserve and replicate the �natural� setting in a fluorescent lit steel box. Nature does persist, we are part of it, strangely. / The humans� markings, what tools we need, remnants/reminiscent of our settler history. / A found pile of dead Yellow Jacket wasps tenacious, their �industrialness� rivals the bees� and is even more viscous in its defence, the nearness of life and death, the corpse in our presence and attraction/fear of the dangers of what may be found. / We come from water, from once was us and them as one there, now etched into rocks where water once was. / Artifice representing other pasts, the internment of others, the waste, the defilement, the failure of �knowledge�. / How do we position ourselves in relation to the natural, what is our place.. The dolphins swim by, in a pod, weaving as one, the young human hand reaches out, trying to grasp what she is missing or to bond and show affection for something that is so close to us at times and at other times so distant. / Coastal nature�s beauty and wonder. As if we could ever imitate these colours and forms. Real life playing out, evolution on display. / Our de-evolution, global consumerism, consuming the world, all enveloped in its path, here and elsewheres. Coastal cities linked by commerce, succumbing to history. / And the gaze, wonderment, looking, into and beyond where we are in present histories, connecting us. / The construction of the coastal city, metaphorically and literally, the building over of histories and the continuation of colonial/historical trajectories. The imposition of technology/machinery over the �natural�/nature and the juxapositions that illustrate this. The water connecting us all.My intent with this work is to present images that are incidentally seen or viewed in purpose, passed by and through on a daily basis, drawing-in, and tracing relationships, enabling viewers to engage in reflection and consideration of the layers of the present and of histories that we are emersed in, swimming in, in this place called home. A history of the present.",Transit shelters around the city,,Downtown,,,Twenty transit shelter advertisement locations,Other,Ink on paper,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=648,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=648&ImageId=978,Jayce Salloum,548,648 | |
| Vancouver,Sound Waves,2016,Removed,"Seattle-based artists Krista Schoening and Coley Mixan collaborated to create transit shelter posters that are based on hand-drawn wave patterns, transformed digitally.The wave patterns reference the sea and the dynamism of the port city as a cosmopolitan destination for people and ideas.In addition to salt water waves lapping their shores, port cities are often the first places to receive waves of immigrants, new thoughts, and new technologies.","Port cities are liminal spaces, where land meets water, ideas mingle, and travelers pause. This space is both literally and figuratively fluid, and it is from this source that our project draws inspiration. This series of posters takes water as its subject matter. These posters are a collaboration between Seattle-based artists Coley Mixan and Krista Schoening, with Schoening�s careful, meditative drawings as a foundation, and Mixan�s expansive digital re-working of those grey-scale drawings into vibrant color as a final step. The result is a composition of wave patterns, hand-drawn, then scanned, digitally collaged, and transformed. Our hope is that the result is peaceful � an ideal state of mind to cultivate at a bus stop � yet dynamic.The energy of the color and the wave pattern is a visual reference to the spirit of the port city, as a cosmopolitan destination for people and ideas. In addition to salt water waves lapping their shores, port cities are often the first places to receive waves of immigrants, new thoughts, and new technologies. The bright, rainbow-inspired palette of our proposed posters, references the welcoming and tolerant spirit of the people of Vancouver. We hope that, like a Zen garden, the calming effect of wave patterns will benefit commuters waiting for a bus, inviting them to enjoy a quiet moment of contemplation.",Transit shelters around the city,,Downtown,,,Twenty transit shelter advertisement locations,Other,"Digital image, based on graphite drawings",City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=649,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=649&ImageId=1023,Kathleen Millar,555;556,649 | |
| Vancouver,Tidal Pool,2016,Removed,"The film Tidal Pool by Curtis Grahauer represents New Brighton Park in Vancouver as a point of articulation between global industry and natural adaptation. The former salt marsh next to the Ironworker�s Memorial Bridge early on had a swimming pool that was filled by the tide.When the waters became polluted by industry, a new pool was built. Waterfowl adapted and settled in the pool through the winter months. Now there is an initiative to turn the edge back into a salt marsh.The film contemplates the site as a pivotal place of contestation between the natural and industrial forces of the coastal city.","In 1971, a health inspector deemed the water in the tidalpool located at New Brighton Park to be unsafe, due toindustrial pollution in the Burrard Inlet. A new pool was builtthe following year and continues to be open to the publicfrom May to September. For the rest of the year, the poolremains filled and waterfowl are allowed to use it, fencedoff and protected from human disturbance.As natural processes adapt around sites of conservation aswell as industrial sites, each one becomes naturalized initself, blurring the area between the natural and theartificial. The turning point of anthropogenic influence canbe seen as the moment at which an external dependencyoccurs, and environmental stewardship and conservationefforts to counteract the effects of industry are a primeexample of this. New Brighton Park has been an institutionof northeast Vancouver for over a century, but the parkitself is in a state of change. There has been a recentproposal to reclaim the shore and field next to and includingthe tennis courts, to transform this area back into a saltmarsh.The park�s location creates an ideal vantage point to framethe emblematic and historic aspects of Vancouver in thecontemporary moment. Tidal Pool documents New BrightonPark in its contemporary state, as a point of articulationbetween natural adaptation and global industry.",Various Downtown Screens,,Downtown,49.281374,-123.1197,Robson & Granville Screen / CBC Plaza / VanCity Theatre / Telus Gardens Screen / Terry Fox Plaza Screen,Other,16mm film transferred to HD video,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=650,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=650&ImageId=507,Curtis Grahauer,475,650 | |
| Vancouver,The Journey,2016,Removed,"Kyla Mallett�s transit shelter posters for the Coastal City project take the form of quasi-inspirational posters created from altered new-age book covers referring to a certain ""West Coast New-Age"" culture.","The Journey is a public art series created for installation in Vancouver�s transit ad spaces for Platforms 2015-17: Coastal City. The five works in this series take the form of quasi-inspirational posters created from altered self-help and new-age book covers. Both the myth and experience of Vancouver as a �Coastal City� connect with overarching ideas in Mallett�s practice; this new series of images is akin to her ongoing series Personhood, which pulls its imagery from covers of self-improvement texts popular in the �70s and �80s exploring the terrain of quasi-mysticism, personal empowerment, and commodity culture. Taking a form reminiscent of outdated posters, these works isolate elliptical statements on self-improvement and the nature of being in self-referential and critical ways. The Journey references what the artist describes as a �West Coast New-Age� culture, with a specific focus on ideas of travel, movement, and transition. These works play with themes of �transit� and the �Coastal City� in direct response to the situation of the work in the transit shelter ad spaces around Vancouver, through alluding to this regionally specific �new-age� sensibility as well as the commonly used metaphor of �the journey� in self-help literature.The artist would like to thank Nigel Lew and Emiliano Sepulveda for their assistance in making this work.",Transit shelters around the city,,Downtown,,,Twenty transit shelter advertisement locations,Other,Ink on paper,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=651,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=651&ImageId=1001,Karen Henry,306,651 | |
| Vancouver,(A Sense of Place),2016,Removed,"Emilie Crewe�s video seeks to characterize the �personality� of Vancouver by bringing to light the contrasting natural and manmade elements of our city.In response to use of the city as a stand in for other cities in films and to Gertrude Stein�s idea that �There is no there there,� Crewe�s video attempts to locate Vancouver in the ebb and flow of micro and macro images of this place.",,Various Downtown Screens,,Downtown,49.281374,-123.1197,Robson & Granville Screen / CBC Plaza / VanCity Theatre / Telus Gardens Screen / Terry Fox Plaza Screen,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=653,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=653&ImageId=789,Emilie Crewe,414,653 | |
| Vancouver,Golden Tree,2016,In place,,"""I remember growing up and seeing photos of redwood stumps in northern California, photos in which, �Wow! You can drive a car right through it!� I remember always thinking of what an affront to nature it was to use a car as a standard of bigness, but that was the early twentieth century. Later in the century, in 1995, I was in Ireland and phoning home for voicemail messages and had one from my mother that said, �Hi Dear, Constable So-and-so from the Vancouver Police phoned to ask if you�d deliberately left your VW parked inside the Hollow Tree in Stanley Park before you left and, to be honest, with you we never know, so could you give him a ring?� My car had been stolen from an underground parkade and abandoned in the tree by joyriders. In 2006 Stanley Park�s Hollow Tree, an 800-year-old Western red cedar stump, was damaged in a particularly bad storm, and the City of Vancouver made a stab at removing it. I don�t know what they were thinking. Everyone in the city went crazy. The Hollow Tree is where people had their grad photos taken. It�s where they had their first kiss; it�s where everybody takes their relatives from overseas. In 2009 the Hollow Tree Conservation Society, funded entirely by private donations, stabilized the tree, and in October 2011 it was restored as well as possible, and made open to the public. I was pretty supportive of this project but years later I�m looking at the tree and I can see its days are numbered. It�s a piece of dead wood hundreds of years old. It�s rotting. It�s nature. So I wondered, �Why not transform the tree? Why not put it through a mirror and have it come out the other side as a mythical entity?� This is what I did with the Golden Tree at the corner of SW Marine Drive and Cambie Street. It�s a mirror of something that once was � and will still be for a little while � and it establishes the existence of an evolving city that has an evolving sense of nature and ecosystems. It�s also located at the Canada Line Station, and I realize for many people coming to Vancouver, they�ll see the Golden Tree before they see the Hollow Tree, as if reading the chapters in a book in the wrong order, and isn�t that life?""",,8018 - 8198 Cambie,South Cambie,,,Corner of SW Marine Drive and Cambie Street,Sculpture,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=655,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=655&ImageId=1141,photo credit not available,391,655 | |
| Vancouver,The Unseen,2016,In place,"""The Unseen"" is a backlit channel-letter sign affixed to the north fa�ade of the building. ""The Unseen"" is over fifty-five feet and four inches high and composed of mirror-finished stainless steel letters adhered to the top seven floors of the building in a vertical form reading top to bottom.","Vancouver based artist Ron Terada often produces works that make use of language, or take text as their primary subject matter. His artistic practice is influenced and shaped by a history of conceptual art as it relates to the processes and strategies of mass media. Terada's interest in modes of advertising and public communication is present in his commissioned work for 601-627 Main Street. ""The Unseen"" is a small monument to the perserverance of historical memory, and perhaps, to the many unseen labours that contributed to the making of today's Chinatown. ""The Unseen"" will facilitate excitement, curiosity, contemplation and dialogue, for both visitors and the community, for years to come.",,601-627 Main Street,DowntownEastside,49.279635,-123.0997,Artwork is affixed to the north fa�ade of the building,Site Work,Mirror-finished stainless steel,Westbank Corp (601 Main Partnership),https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=656,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=656&ImageId=653,,331,656 | |
| Vancouver,United,2016,In place,Sandblasted glass design of cedar rope and wolf represents the Tsleil-Waututh people and the relationships/partnerships with the City of Vancouver. Maple leafs falling alongside remind us to take care of Mother Nature. The North Shore Mountains with eagle inside portrays our ancestor�s vision of sustainability of our traditional territory.,,Vancouver City Hall,453 West 12th Avenue,Mount Pleasant,,,Council Chambers,Relief,Tempered sandblasted glass,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=657,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=657&ImageId=834,Cara McKenna,410,657 | |
| Vancouver,Fraser River Stories,2015,In place,"""Fraser River Stories"" is a written timeline of the Fraser River structured poetically and organized by the river's geography. ""Tools of the Fraser River"" and ""Fraser River Stories"" are complementary pieces by Geoffrey Farmer's Every Letter of the Alphabet Printing Ltd.",,Marine Gateway,450 SW Marine Drive,Marpole,49.210293,-123.1157,Marine Drive Station on The Canada Line,Site Work,Unfinished steel,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=658,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=658&ImageId=1030,,335;542,658 | |
| Vancouver,Ebb and Flow,2015,In place,"""Ebb and Flow"" is a 55-meter animated light installation on Marine Gateway's 29th storey south tower fa�ade. It connects us to Vancouver's maritime environment by visualizing the twice-daily rise and fall of the local tide. A glowing white light glides up and down the ""scale"" of the tower, backed in green light as the tide goes out (ebb), then changing to blue as it comes in (flow). As the tide shifts, the faint trail of white light tells you if it is rising or falling. Each two floors of the building represent roughly one foot of tide height.",,Marine Gateway,450 SW Marine Drive,Marpole,49.210483,-123.1158,Installed on south tower fa�ade,Site Work,"LED fixtures, custom control software",,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=659,,,477,659 | |
| Vancouver,SWELL,2015,In place,"""SWELL"" illuminates the transit wall of the Marine Drive Station of the Canada Line with dramatic waves of light, created based on real ocean waves. ""SWELL"" is a dynamic distillation of ""Ebb and Flow's"" larger-scale tidal movement.",,Marine Gateway,450 SW Marine Drive,Marpole,49.210244,-123.1158,Located on the transit wall of the Marine Drive Station on The Canada Line,Site Work,"LED fixtures, custom control software",,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=660,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=660&ImageId=1027,,477,660 | |
| Vancouver,North Lobby,2015,In place,"""North Lobby"" is a large-scale high realism painting based on an original architectural photograph by Marine Gateway's architect Perkins + Will. The placement of the painting at the lobby entry prompts visitors and users to connect their interior environment to the larger exterior built form of the building they are standing in.",,Marine Gateway,488 SW Marine Drive,Marpole,49.210534,-123.117,North lobby entry at 488 SW Marine Drive,Painting,Oil on canvas,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=661,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=661&ImageId=1029,,478,661 | |
| Vancouver,South Lobby,2015,In place,"""South Lobby"" is a large-scale high realism painting based on an original architectural photograph by Marine Gateway's architect Perkins + Will. The placement of the painting at the lobby entry prompts visitors and users to connect their interior environment to the larger exterior built form of the building they are standing in.",,Marine Gateway,489 Interurban Way,Marpole,49.209633,-123.1166,South lobby entry at 489 Interurban Way (bus loop level),Painting,Oil on canvas,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=662,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=662&ImageId=1028,,478,662 | |
| Vancouver,Salish Sea Waters,2016,In place,,,Vancouver City Hall,453 West 12th Avenue,Mount Pleasant,49.260791,-123.1139,,Relief,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=665,,,491,665 | |
| Vancouver,Beatty Street Mural,2010,Removed,"This mural, created by Vince Dumoulin and other local artists, depicts notable people and landmarks in the City.",,600 block of Beatty Street,,Downtown,49.28006,-123.1105,"600 block of Beatty Street, west side, from Dunsmuir Street to Georgia Street",Mural,Paint,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=666,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=666&ImageId=848,,546,666 | |
| Vancouver,WHERENESS,2016,In place,"WHERENESS is composed of six aluminum cast boulders with one original �glacial erratic� granite boulder at the base, sourced from the Cambria site, fixed in a tower shape around a steel axis. The work is 20� high and 4� in diameter. The aluminum boulders have a natural aluminum colour and protective finish. A concrete slope and foundation topped with loose-fill river rock is at the base of the stone tower.","WHERENESS pays reverence to the eternal land by connecting the past to a present which is continually unfolding. A glacial boulder was selected from the earth at the project site, and six replica �boulders� were cast from aluminum. WHERENESS provides a tactile link and landmark between the area�s geological past and its current situation. It is a visual puzzle to be examined and contemplated �in the round.� WHERENESS acknowledges an ancient human practice of piling rocks at certain points along pathways to guide travelers. This 20� tall column of boulders creates a new �point along the way� for an emerging neighbourhood on the Cambie corridor in Vancouver.",Cambria Park,516 West 50th Avenue,Oakridge,49.224892,-123.117143,Between the two residential buildings fronting Cambie Street and in front of the private residential green space between the two buildings. Adjacent to the Cambie Street pedestrian path.,Sculpture,Cast aluminum boulder replicas with protective paint coating,Mosaic Homes,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=667,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=667&ImageId=511,,492,667 | |
| Vancouver,Handhug,2016,In place,,,J.J. Bean,3010 Main Street,Mount Pleasant,49.258439,-123.1007,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=668,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=668&ImageId=592,City of Vancouver,558,668 | |
| Vancouver,Dire Wolves,2016,In place,,,49th Parallel,2902 Main Street,Mount Pleasant,49.259128,-123.100775,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=669,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=669&ImageId=593,City of Vancouver,479,669 | |
| Vancouver,Sutton Boys,2016,In place,,,Thyme to Indulge,2858 Main Street,Mount Pleasant,49.259491,-123.100724,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=670,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=670&ImageId=589,City of Vancouver,549;550,670 | |
| Vancouver,Lover,2016,In place,,,Dulux,2630 Main Street,Mount Pleasant,49.261477,-123.100626,Northern Side,Mural,Paint and aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=671,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=671&ImageId=925,City of Vancouver,347,671 | |
| Vancouver,Bure,2016,In place,,,Dulux,2630 Main Street,Mount Pleasant,,,Southern Side,Mural,Paint and Aerosol,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=672,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=672&ImageId=924,City of Vancouver,347,672 | |
| Vancouver,System,2016,In place,,,BAF,108 East Broadway,Mount Pleasant,49.262667,-123.102565,Western Wall,Mural,Paint and aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=673,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=673&ImageId=595,City of Vancouver,376,673 | |
| Vancouver,Serve/Protect,2016,In place,,,BAF,108 East Broadway,Mount Pleasant,49.262667,-123.102565,Upper South Western Wall,Mural,Paint and aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=674,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=674&ImageId=597,City of Vancouver,522,674 | |
| Vancouver,Solar Vacation,2016,In place,,,VGH,120 East Broadway,Mount Pleasant,49.262663,-123.102385,Eastern Wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=675,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=675&ImageId=624,City of Vancouver,480,675 | |
| Vancouver,The Present is a Gift,2016,In place,,,Belvedere Court,2539/2549 Main Street,Mount Pleasant,49.262289,-123.101425,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=676,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=676&ImageId=598,City of Vancouver,525;526,676 | |
| Vancouver,The Harpy and the Medusa,2016,In place,,,333 East Broadway,333 East Broadway,Mount Pleasant,49.263048,-123.098153,North-eastern side in alley,Mural,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=677,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=677&ImageId=928,Create Vancouver Society,543,677 | |
| Vancouver,Horns,2016,In place,,,Guys and Dolls,2434 Main Street,Mount Pleasant,49.263363,-123.100597,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=678,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=678&ImageId=599,City of Vancouver,380,678 | |
| Vancouver,Box of Crayons,2016,In place,,,Hootsuite,5 East 8th Ave,Mount Pleasant,49.264005,-123.104217,,Mural,Paint and Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=679,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=679&ImageId=602,City of Vancouver,348,679 | |
| Vancouver,Exhausting Machine,2016,In place,,,Arts Factory,281 Industrial Avenue,Strathcona,49.27062,-123.099713,West Side,Mural,Paint and aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=680,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=680&ImageId=603,City of Vancouver,535;536,680 | |
| Vancouver,Yama and Mara,2016,In place,,,Arts Factory,281 Industrial Avenue,Strathcona,49.27062,-123.099713,South-East,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=681,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=681&ImageId=604,City of Vancouver,552,681 | |
| Vancouver,Trypophobia,2016,In place,,,Arts Factory,281 Industrial Avenue,Strathcona,49.27062,-123.099713,"South, Center",Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=682,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=682&ImageId=605,City of Vancouver,327,682 | |
| Vancouver,Van City Scape,2016,In place,,,Arts Factory,281 Industrial Avenue,Strathcona,49.27062,-123.099713,South - Eastern,Mural,Paint and aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=683,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=683&ImageId=607,City of Vancouver,493,683 | |
| Vancouver,Kids,2016,In place,,,Arts Factory Annex,246 Southern Street,Strathcona,49.270695,-123.098,South - Western,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=684,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=684&ImageId=608,City of Vancouver,494,684 | |
| Vancouver,We�re looking for People Who Like to Look for People,2016,In place,,,Arts Factory Annex,246 Southern Street,Strathcona,49.270889,-123.0987,"South, center",Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=685,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=685&ImageId=611,,495,685 | |
| Vancouver,Early Birds,2016,In place,,,Arts Factory Annex,246 Southern Street,Strathcona,49.270875,-123.0987,South East,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=686,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=686&ImageId=612,City of Vancouver,496,686 | |
| Vancouver,Smart Phone Slavery,2016,In place,,,,221 East 10th Avenue,Strathcona,49.262352,-123.1,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=687,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=687&ImageId=926,City of Vancouver,512,687 | |
| Vancouver,Untitled,2016,In place,,,"Rize, Lower Hoarding",283 East 10th Avenue,Strathcona,49.262196,-123.0987,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=688,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=688&ImageId=631,City of Vancouver,497,688 | |
| Vancouver,The Mad Symphony,2016,In place,,,Fontile (A),237 Southern Street,Strathcona,49.270913,-123.098821,South West,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=689,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=689&ImageId=613,City of Vancouver,527,689 | |
| Vancouver,Floating (Eye)Land,2016,In place,,,Fontile (B),237 Southern Street,Strathcona,49.270913,-123.098821,"South, center",Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=690,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=690&ImageId=614,City of Vancouver,498,690 | |
| Vancouver,"Everything Matters, Nothing�s Important",2016,In place,,,Fontile (D),237 SOUTHERN STREET,Strathcona,49.270913,-123.098821,"SOUTH, FAR EAST",Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=692,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=692&ImageId=627,City of Vancouver,559,692 | |
| Vancouver,Knot Yourself,2016,In place,,,Fontile (E),237 SOUTHERN STREET,Strathcona,49.270913,-123.098821,East,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=693,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=693&ImageId=629,City of Vancouver,513;514,693 | |
| Vancouver,Elle Matador,2016,In place,,,Bodega,1014 Main Street,Strathcona,49.275459,-123.099522,,Mural,Paint and Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=694,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=694&ImageId=930,Create Vancouver Society,343,694 | |
| Vancouver,Coffee Rosetta,2016,In place,,,Kafka's Caf�,2525 MAIN STREET,Strathcona,49.262428,-123.101419,,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=696,,,499;500,696 | |
| Vancouver,Factory Interior,2016,In place,,,Makerlabs,780 East Cordova,DowntownEastside,49.281801,-123.087695,South East Wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=697,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=697&ImageId=618,City of Vancouver,501,697 | |
| Vancouver,I Ate a Whole Raccoon,2016,In place,,,Makerlabs (B),780 East Cordova,DowntownEastside,49.281801,-123.087695,South Wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=698,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=698&ImageId=619,City of Vancouver,553;554,698 | |
| Vancouver,Armourer,2016,In place,,,Makerlabs (C),780 East Cordova,DowntownEastside,49.281801,-123.087695,South - West Wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=699,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=699&ImageId=620,City of Vancouver,502;503,699 | |
| Vancouver,Wavy Wetcoast,2016,In place,,,Makerlabs (D),780 East Cordova,DowntownEastside,49.281801,-123.087695,West and North - Western Wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=700,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=700&ImageId=630,City of Vancouver,504;505,700 | |
| Vancouver,Untitled,2016,In place,,,Makerlabs (E),780 East Cordova,DowntownEastside,49.281801,-123.087695,North-East Wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=701,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=701&ImageId=632,City of Vancouver,351;352;353,701 | |
| Vancouver,Tidal Recall,2016,In place,,,Makerlabs (F),780 East Cordova,DowntownEastside,49.281801,-123.087695,East Wall,Mural,Paint and aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=702,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=702&ImageId=621,City of Vancouver,544,702 | |
| Vancouver,You Made It,2016,In place,,,Makerlabs,780 East Cordova,DowntownEastside,49.281801,-123.087695,Upper west wall,Mural,Paint,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=703,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=703&ImageId=932,Create Vancouver Society,354,703 | |
| Vancouver,Saying Goodbye,2016,In place,,,Caf� Barney,2526 Main Street,Strathcona,49.26251,-123.100581,,Mural,Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=704,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=704&ImageId=588,City of Vancouver,515,704 | |
| Vancouver,Follow 4 Follow?,2016,In place,,,,2603 Main Street,Strathcona,49.261857,-123.10143,Corner Store by Complex,Mural,Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=705,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=705&ImageId=615,City of Vancouver,515,705 | |
| Vancouver,The Missing Piece,2016,In place,,,Hootsuite,5 East 8th Avenue,Mount Pleasant,49.264005,-123.104217,,Mural,Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=706,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=706&ImageId=929,Create Vancouver Society,515,706 | |
| Vancouver,Stillness,2016,In place,,,Eight 1/2 Restaurant,153 East 8th Avenue,Mount Pleasant,49.263875,-123.101615,,Mural,Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=707,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=707&ImageId=1006,,515,707 | |
| Vancouver,Failure To Communicate,2016,In place,,,The Rag Machine,2425 Main Street,Mount Pleasant,49.263244,-123.101441,,Mural,Aerosol,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=708,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=708&ImageId=927,Create Vancouver Society,515,708 | |
| Vancouver,Tag People,2016,In place,,,Low Tide Properties,333 East Broadway,Mount Pleasant,49.263048,-123.098153,,Mural,Aerosol,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=709,,,515,709 | |
| Vancouver,Catch of the Day,2016,In place,,,Burrard Arts Foundation,108 E Broadway,Mount Pleasant,,,,Mural,Aerosol,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=710,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=710&ImageId=931,Create Vancouver Society,515,710 | |
| Vancouver,Snapshots of History,2010,In place,Snapshots of History is a visual time machine. One panel depicts the Goon family. The other two panels of the mural feature a reproduction of a 1905 photo of a silk merchant in Chinatown and a rendering of a 1936 photo of men sitting outside a barber shop at Carrall and Pender. ,,,490 Columbia Street,DowntownEastside,49.280674,-123.101902,Northwest corner of Pender & Columbia,Mural,Paint,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=712,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=712&ImageId=923,,284,712 | |
| Vancouver,Untitled,2016,In place,,,Vancouver City Hall,453 W 12th Avenue,Mount Pleasant,49.261316,-123.113936,City Council Chambers ,Painting,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=713,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=713&ImageId=1004,,318,713 | |
| Vancouver,Playtime,2016,In place,"Playtime is a family of sculptural forms that are located in the Family Commons along Heather Street and 30th Avenue, creating an inviting public space along the Wellness Walkway at the BC Children's Hospital and BC Women's Hospital and Health Centre. As 'play-sculptures' that combine modernist sculpture, mid-century playground designs, and monochrome patterns, these sensuous organic forms will invite a more physical engagement than is normally allowed with public art, providing occasions for children, families, and staff to play. The vision of the artists is to engage audiences of all ages and abilities with the sculptures' tactile qualities and lift their spirits with their humour and playfulness, creating a transition zone between the everyday and the extraordinary.Playtime is originally inspired by the 'play-sculptures' of English sculptor John Bridgeman (1916-2004) and Danish architect and sculptor Egon Moller-Nielsen (1915-1959), the work of Henry Moore, and two female artists, Barbara Hepworth (1903-1975) and Bridget Riley (1931-present), all of whom were producing works around the same time.","Our vision for this public art project focused on the idea that 'playtime"" is itself a transition zone between the everyday and the extraordinary. Our goal was to develop a collection of works that the children, families, staff and general public could play with as part of the Wellness Walkway. Playtime encourages a more physical engagement with the work than is normally allowed with public art and was the core concept in the development of these works. Our hope is that what we have proposed will engage everybody through their tactile qualities and lift the spirits with their humour and playfulness.",BC Children's Hospital and BC Women's Hospital and Health Centre,4480 Oak Street,Shaughnessy,49.244555,-123.1209,Work is located on the east side of the campus on Heather Street between 28th and 30th Avenues.,Sculpture,Concrete,Children's & Women's Health Centre of BC,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=715,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=715&ImageId=1169,Scott Livingstone ,374;561,715 | |
| Vancouver,A Modest Veil,2010,Removed,"Well-known for his tranformative site-specific installations, Taipei-based artist Michael Lin was commissioned to create a massive mural for the Vancouver Art Gallery Street facade. The mural, which was hand-painted by local artists, featured patterns and exuberant colours adapted from traditional Taiwanese designs.The placement of Lin's work on the Gallery's exterior - the first presentation of his work in Canada - invited visitors to reconsider the building's history and neo-classical architecture in a new light, while acknowledging the city's diverse cultural traditions.Michael Lin: A Modest Veil was organized by the Vancouver Art Gallery and presented with Vancouver 2010 Cultural Olympiad and the City of Vancouver Public Art Program. The exhibition was sponsored by Omega and supported by the Council for Cultural Affairs (Chinese Taipei) in collaboration with the Taipei Cultural Center of TECO in New York.",,Vancouver Art Gallery - Georgia Street facade,750 Hornby Street,Downtown,49.282879,-123.120461,Georgia Street fa�ade,Site Work,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=716,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=716&ImageId=1022,,532,716 | |
| Vancouver,The Beginnings,2016,In place,"This artwork consists of eight � fifty foot tall steel fabricated trees planted amongst the current woodland. The surface of the tree is comprised entirely of triangular plates, and the tree branches are illuminated with LED lighting.",,Shannon Wall Centre Kerrisdale,7101 Granville Street,Kerrisdale,,,on the eastern side of the site (along Granville Street) between the buildings and the perimeter wall.,Sculpture,Carbon steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=718,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=718&ImageId=1143,Mark Kusnir,562,718 | |
| Vancouver,Listening. On. Waking Terrain.,2017,In place,,"Underneath Main and Terminal and extending back towards present-day Clark Drive existed a biologically rich lagoon and marsh area that was used by the Tsleil-Waututh, Skwxw�7mesh (Squamish) and xmkym (Musqueam) Nations since time immemorial. The area was covered over to make room for Industry and the CPR railway. The attempted erasure of the space by the colonial forces of the time was thorough and it continues to be built upon today. When looking at some of the public art in Vancouver and other cities we often see a romantic depiction of industrial beginnings and labour. What existed before is often covered and ignored. Knowing that my work will live in this space temporarily I feel it is important to acknowledge its history as well as its present-day. Vancouver is built upon unceded land, sacred sites, complex river and stream systems, hunting and cultivated gathering grounds. It is easy to get lost in the feeling of permanence that urban structures hold. The areas we walk, drive and live upon have place-names and a history of lived experiences.I have lived in Vancouver on and off for around 17 years. Since moving here I have been trying to understand my relationship with this place. I am of mixed Coast Salish ancestry (Klahoose and Sliammon) from my grandmother Agnes Pielle, as well as Wuikinuxv and Kwakwaka'wakw from my grandfather Johnny Hanuse. As a youth I learned that my Grandmother's Nations were historically unified with the Nations here and visually our iconography shares links. The relationship between Nations experienced rupture as a result of colonization. Visually it is important for me to work in continuum with my ancestors. It is also important for me to note that these images do not represent the space they will temporarily live upon, but reflect a relationship and respect for the land and water that my ancestors carried. I strive to continue in this mode of reverence for the spaces we come from and live upon. I also want to recognize my place as an uninvited guest in this space and continue to gain further understanding of it in my time here.An important part of the process in making these pieces has been listening. I have been in conversation with Skwxw�u7mesh artist/knowledge keepers T'uy'tanat (Cease Wyss) and her partner Xuuyaa, as well as other respected community members in the lead up to installing these pieces. I am grateful for their generosity of time and guidance. ",,220 Terminal Avenue,Downtown,49.272845,-123.09964,Main and Terminal,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=727,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=727&ImageId=1237,Rachel Topham,419,727 | |
| Vancouver,Offsite: EITHER / OR,2017,Removed,"Hong Kong artist Tsang Kin-Wah critically addresses some of the complexitiessurrounding migration, cultural identity and racism in these site-specific works. AtVancouver Art Gallery�s public art space, Offsite Tsang presents a large-scalecomposition using English texts to form floral and animal patterns.Deceitfully decorative, the content draws from discriminatory language that appearedin newspapers and political campaigns in Vancouver during the 1887 anti -Chineseriots, the mid-1980s immigration from Hong Kong and most recently, the heatedexchanges around the foreign buyers and the local housing market.Tsang�s work combines foul language with beautiful patterns to confront the reality ofignorance that often exists within cities that boast of their multiculturalism and diversity. Tsang covers the walls of Offsite with text composed of adverse rhetoric ofVancouver newspaper editorial columns from the 1980s but also contrasts it withvoices of inclusion to compose floral patterns that unravel to form the body of adragon.",,Shangri-La - Offsite,1128 West Georgia Street,Downtown,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=728,,,564,728 | |
| Vancouver,"Colour Seekers, The Colour Collector's Way",2018,In place,,"Groening�s quirky still lifes often include unlikely but not impossible juxtapositions. With colour, comfort, and curiousity leading, objects were chosen for their familiarityor for their particular presence. Each of the thirty-five, 5 x 8- foot glass panels is a composition created in colour stages. The inside viewer (hospital community or patients and staff?) is/are able to examine objects in detail over a 35 foot, colour-changing walkway mural, while the public art viewer sees an expanded version as colour spectrums spanning up five floors.Culled from her collection of jewel-toned glass objects and augmented by flea market finds and borrowed treasures, this giant-sized still life creates a spectrum of colour that is projected into the building in the afternoon and glows at night in a building-sized lightbox. Like large photographic slides, the transparent panels are mounted to a series of glass walkways that make up one wall of the internal atrium. The murals transform the hallways with the changing light, allowing inside viewers to experience a �colour walk� as the sun projects the art into the building and onto the light colored floor.",Joseph & Rosalie Segal Family Health Centre,803 West 12th Avenue,Fairview,49.261523,-123.123566,The installation is located on the window walkway on the west side of the building,Mural,3M IJ8150 laminated to Clearview,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=733,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=733&ImageId=1360,"Photo Mike Winteringham, Metropolitan Fine Printers",603,733 | |
| Vancouver,All My Favourite People Are Animals,2017,In place,All my favorite people are Animals is a sliding door panel made of cast bronze that sits in front of a oneway mirror. The small area between the mirror and the door is lit during library opening hours.,"The artwork responds to the architectural and cultural context of the VPLs new nca mat ct Strathcona Branch Library. It aims to highlight a sense of community despite visible economic and cultural diversity of the neighbourhood. The form is inspired by animals from the Strathcona neighbourhood, the historical precedent of narrative bronze doors in relief, and the phenomenon of �Head in the Hole� photo boards. Conceptually, it responds to the colour and texture in the community (particularly the murals), and the desire to identify oneself as part of a community. Bronze doors are heavy and have a ceremonial quality. Often covered in narrative reliefs, they are an early form of storytelling. What is the narrative here at the Library? The name, nca mat ct, loosely translates as �we are one� in the Musqueam language, and the artwork responds to this sentiment. Introducing animals into the artwork is a way to identify all the library patrons as �one� across a loose geographic area without picking out and representing cultural differences which, while is important to celebrate diversity, becomes tricky when it becomes a symbol of ownership and belonging. We all have an innate desire see ourselves in the world around us and understand that we belong somewhere. Through identifying with a character, a cultural symbol or in the capturing of a moment that contains us (the selfie), we place ourselves within acertain context. The artwork takes the form of Head in hole photo board to create a situation in which people of all ages can simultaneously identify with a character/animal, and see themselves within it. It is a sculptural activation of the imaginative process involved in reading. The holes provide the opportunity to see yourself in the mirror as the animal from a distance, or they invite you to peer inside.",VPL ncamat ct Strathcona Branch Library,730 East Hastings Street,Strathcona,49.281065,-123.088927,Artwork is located in the front lobby on both sides of the wall area to the left of the front doors.,Site Work,Bronze and 1 way mirror,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=736,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=736&ImageId=1144,Blaine Campbell,411,736 | |
| Vancouver,Pattern Reflection,2017,In place,Two black granite columns with a modernist carved pattern and a modernist inspired black granite sculpture.,The patterns were partly referencing paintings by the artist BC Binning and architectural patterning from the Coast Modern era.,,"2806 Cambie Street,",Fairview,49.260162,-123.114618,Courtyard at building entrance,Site Work,Absolute Black Granite,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=737,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=737&ImageId=1156,Cameron Kerr,382,737 | |
| Vancouver,Time Immemorial,2017,In place,"The City of Vancouver, as part of its Canada 150+ program, commissioned a series of six paint and print murals created by Indigenous artists and artist teams. The public art is part of the City�s ongoing commitment to reconciliation and strengthening of relations between Indigenous communities and Vancouverites.The murals, banners and transparencies were commissioned as part of the City of Vancouver's commemoration of the sesquicentennial of Canada's confederation. Vancouver refocused the national celebration on its indigenous peoples and First Nations, who long precede confederation, and whose resurgence will continue long past the anniversary--hence ""150+"".The public art program issued a call for murals in January 2017. The six successful applicant teams were reviewed and chosen by a selection panel of Indigenous artists and art professionals.The projects were realized throughout the city centre, including projects at the central library, Queen Elizabeth Theatre and its plaza, the headhouse of a Canada Line station, a laneway on the Downtown Eastside, and the lot where the Kanata Fest and the Drum Is Calling Festival were held.Works variously drew from Coast Salish, formline, and Woodland School forms, presented portraits mixing contemporary and traditional clothing and regalia, and collaged photographic images into abstracted compositions.Commissioned in the spirit of Reconcilation, the project served to increase Indigenous visibility on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations now known as Vancouver.","The banners focus on the multi-faceted identity of Vancouver's First Nations by displaying the people through images that characterize aboriginal values, such as knowledge, tradition and family. It also serves as social commentary for the present position of Indigenous people living in an urban landscape. All of the models for these drawings live in the city of Vancouver and represent people form nations within and around Vancouver such as those from the Bella Coola, Musqueam, Haida, Squamish and Lilooet nations.",Vancouver Public Library (Central Branch),350 West Georgia Street,Downtown,49.27978,-123.114694,In the atrium,Banners,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=740,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=740&ImageId=1163,Rachel Topham,566,740 | |
| Vancouver,Spirits of the Realms,2017,In place,"The City of Vancouver, as part of its Canada 150+ program, commissioned a series of six paint and print murals created by Indigenous artists and artist teams. The public art is part of the City�s ongoing commitment to reconciliation and strengthening of relations between Indigenous communities and Vancouverites.The murals, banners and transparencies were commissioned as part of the City of Vancouver's commemoration of the sesquicentennial of Canada's confederation. Vancouver refocused the national celebration on its indigenous peoples and First Nations, who long precede confederation, and whose resurgence will continue long past the anniversary--hence ""150+"".The public art program issued a call for murals in January 2017. The six successful applicant teams were reviewed and chosen by a selection panel of Indigenous artists and art professionals.The projects were realized throughout the city centre, including projects at the central library, Queen Elizabeth Theatre and its plaza, the headhouse of a Canada Line station, a laneway on the Downtown Eastside, and the lot where the Kanata Fest and the Drum Is Calling Festival were held.Works variously drew from Coast Salish, formline, and Woodland School forms, presented portraits mixing contemporary and traditional clothing and regalia, and collaged photographic images into abstracted compositions.Commissioned in the spirit of Reconcilation, the project served to increase Indigenous visibility on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations now known as Vancouver.","This mural is about Indigenous cultures and stories of First Peoples across Canada. The background colours of black, white, yellow and red represent the four directions of the medicine wheel and the three realms (earth, sky and sea) of the peoples who live along the Northwest Coast. The mural is meant to honour all the First Peoples of Canada, their cultures, stories, and understandings.",600 block of Beatty Street,,Downtown,49.279724,-123.110671,"600 block of Beatty Street, west side, from Dunsmuir Street to Georgia Street",Mural,Paint,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=741,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=741&ImageId=1196,Rachel Topham,294;567;568;569;570;571,741 | |
| Vancouver,Bringing Light to Darkness,2017,In place,"The City of Vancouver, as part of its Canada 150+ program, commissioned a series of six paint and print murals created by Indigenous artists and artist teams. The public art is part of the City�s ongoing commitment to reconciliation and strengthening of relations between Indigenous communities and Vancouverites.The murals, banners and transparencies were commissioned as part of the City of Vancouver's commemoration of the sesquicentennial of Canada's confederation. Vancouver refocused the national celebration on its indigenous peoples and First Nations, who long precede confederation, and whose resurgence will continue long past the anniversary--hence ""150+"".The public art program issued a call for murals in January 2017. The six successful applicant teams were reviewed and chosen by a selection panel of Indigenous artists and art professionals.The projects were realized throughout the city centre, including projects at the central library, Queen Elizabeth Theatre and its plaza, the headhouse of a Canada Line station, a laneway on the Downtown Eastside, and the lot where the Kanata Fest and the Drum Is Calling Festival were held.Works variously drew from Coast Salish, formline, and Woodland School forms, presented portraits mixing contemporary and traditional clothing and regalia, and collaged photographic images into abstracted compositions.Commissioned in the spirit of Reconcilation, the project served to increase Indigenous visibility on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations now known as Vancouver.","The artist team painted their stories of what it means to be people of the unceded Coast Salish lands while sharing the land with immigrants who have made this their home.The downtown eastside (DTES) of Vancouver is a place that over the last year the community has seen over 700 deaths from overdose and most are related to the fentanyl crisis. The DTES of Vancouver is in a crisis and we wanted to use our artist expressions in this mural to bring awareness of this. We�re showcasing that culture saves lives. In our mural, we honor indigenous people from coast to coast. ",,36 W Cordova Street,DowntownEastside,49.282184,-123.105339,In the alley between the two Army and Navy buildings,Mural,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=742,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=742&ImageId=1184,Rachel Topham,572;573,742 | |
| Vancouver,Pick-up Sticks,2017,In place,Pick-up Sticks is a whimsical and playful series of approximately 59 fused glass art panels that read as a whole and plays with the imagination. This work is an interactive experience that grounds the building to human scale.,"The inspiration for this glass painting is color in motion, music, rhythm, chaos and order, elements that interact to create a child like play, like pick up sticks, which is highly involved in the element of chance. Although you are compelled by the beauty of the spontaneous position of the sticks in relationship to each other your mind dissolves and recreates patterns again and again.The intention is to create a playful and whimsical interactive experience, reflective of the vibrancy of imagination. The artwork is always changing depending on your relationship to the fence.",Maple and West 10th,,Kitsilano,49.262801,-123.150744,runs from the townhouses on 10th avenue wrapping around the corner of Maple Street to the east entrance of the residential building,Site Work,Aluminum Frames,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=745,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=745&ImageId=1202,Peter Kreuk,585,745 | |
| Vancouver,Slow,2017,In place,,"The artwork is inspired from the saying that soft fire makes sweet melt. High quality artworks come from slow but meticulous creations, that is the essence of the sculpture.The mother panda and the baby panda stroll idly, expressing deep love and intimacy through their charmingly naive figures. It is the artist's wish that people can slow down their paces and balance their life, cherich precious emotions and appreciate confidence and hope.",PARQ Resort & Casino,39 Smithe Street,Downtown,49.275598,-123.112901,Roundabout at main entrance area,Sculpture,Stainless steel,New Edgewater Development ULC,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=746,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=746&ImageId=1224,W. Ballard,583,746 | |
| Vancouver,Rain,2018,In place,"Rain is an 70� wide, 46� deep and approximately 61� tall translucent sculpture suspended above the main entrance way of The Duke, on 11th avenue. Made from 143 layers of �� thick translucent acrylic sheet, this sculpture stretches from approximately level 11 to level 8.","A few seconds of movements is stretched into two hundred images, which will then be stacked to represent a sense of this duration in 3 dimensional form. With this abstraction of time, Rain offers viewers a new perspective to engage with the experience of the everyday. Time is suspended within a series of static moments to symbolize the invisible force of the real that persists beneath our conscious awareness. Rain not only formalizes a sense of duration, but also signifies the invisible efforts that each of us contributes to our current urban landscape.",The Duke,333 East 11 Avenue,Mount Pleasant,49.261665,-123.097571,Suspended above the main entrance way to The Duke on 11th avenue.,Site Work,Pink translucent acrylic sheet,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=747,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=747&ImageId=1246,Ballard Fine Arts,560,747 | |
| Vancouver,Finger Paint,2018,In place,"Finger Paint is a 30 ft. wide by 416 ft. high visual expression in the form of a bold, colourful mural that explores representation through digital and analog techniques.","This artwork is a visual expression in the form of a bold, colourful mural that explores representation through digital and analog techniques. Finger Paint brings together many constrasts, particularly one of scale: human to monumental, organic to grid, bright colour to that of grey and glass, and the contrast of solid to transparent surfaces.",Charleson,1398 Richards Street,Downtown,49.274122,-123.12682,On the south wall facade of the building,Site Work,Alucobond - Aluminium Siding,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=749,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=749&ImageId=1254,Mariana Rivera,588,749 | |
| Vancouver,The Wall at CBC: Excavations,2017,In place,"THE WALL is a Vancouver Heritage Foundation public art initiative. It is made possible by a partnership between Vancouver Heritage Foundation and CBC Radio-Canada, and is produced in partnership with the City of Vancouver Public Art Program. THE WALL features a new artist every year.","Excavations is a composite image made from numerous archival photographs of Vancouver, with the earliest images dating back to the 1880s. Elements from selected photographs were reconfigured to build an impossible architectural structure growing out of a landscape destroyed by logging. Excavations expresses the challenge of piecing together a complete history through the archive and its inherent biases, while also retaining the complexity of Vancouver�s history and ever-changing built environment.After reviewing a large selection of the city�s archival photographs, certain narratives around settlement and industry persisted in the historical documentation. Given Vancouver�s extensive pre-colonial, Indigenous history, questions regarding the under-represented communities and narratives in the archive informed the artist�s approach to producing the image. What history can be understood and given form when the archival material reflects a certain vantage point?Looking at the historical photographs, it is difficult to situate their locations within the city due to the dramatic changes that have occurred in Vancouver�s evolution from a frontier town to a major international hub. With the urban renewal programs of the 1960s, the development of the waterfront for Expo 86, the current housing bubble, amongst many other changes, the city of Vancouver is in constant flux. The majority, if not all, of the buildings used to create this image no longer exist, pointing to the disappearance of countless older properties, creating an historical amnesia. This explicit sense of disorientation and dislocation is represented in the destabilized structure of Excavations.",CBC Vancouver Broadcast Centre Plaza,700 Hamilton Street,Downtown,49.279663,-123.114234,On the wall to the right of the main entrance of CBC Vancouver.,Mural,,Vancouver Heritage Foundation,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=750,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=750&ImageId=1204,Michael Love,586,750 | |
| Vancouver,A Long Conversation (for Oona),2017,In place,"Peter Gazendam�s A Long Conversation (For Oona) (2017) is a series of 40 bronze sculptures of the species ariolimax columbianus, commonly called banana slugs, installed in and around Columbia College�s Terminal Avenue campus.",,Columbia College,438 Terminal,Strathcona,49.271726,-123.095135,438/468 Terminal Avenue (between Thornton and Scotia Streets),Sculpture,Bronze,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=751,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=751&ImageId=1213,Blaine Campbell,580,751 | |
| Vancouver,Should I Be Worried?,2017,In place,"This public artwork was produced by local artist Justin Langlois as part of the City�s first Artist-in-Residence program. Since mid-2016, Justin has been working with the Sustainability Group, learning about the various initiatives and themes that shape the Greenest City Action Plan and contributing to ideas and opportunities for greater engagement. The work produced aims to open up an ongoing dialogue about social, economic, and environmental sustainability.This project is supported by the City of Vancouver through the Public Art Program and the Sustainability Group with assistance from Engineering Services, Utilities, Streets and Electrical Design and Operations. ",,Southeast False Creek seawall,,Mount Pleasant,49.271123,-123.113823,"Southeast False Creek seawall, east of the Cambie Bridge",Site Work,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=759,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=759&ImageId=1223,Justin Langlois,587,759 | |
| Vancouver,Offsite: Asim Waqif ,2017,Removed,,"According to the City of Vancouver�s Zero Waste 2040 statistics, residents, businesses and institutions threw away approximately 351,000 tonnes of garbage in 2015. Most of this �waste� is considered valuable resource material that could have been conserved, reused, recycled or composted instead of sent to the landfill or incinerator.New Delhi-based artist Asim Waqif�s site-specific installation at Offsite combines architecture with a strong contextual reference to contemporary urban design and the politics of urban waste management. Concerns of the environment and social responsibility weave through his work, and for this project Waqif has created an immersive architectural experience built out of materials collected from repurpose stores, the transfer station and landfill in the metro Vancouver area. The structure is assembled using timber, roofing, doors, window frames and sections of walls salvaged from recent demolitions and discarded from local residential and office building.Many of Waqif�s projects respond to an absence of a tactile, experiential aspect in contemporary art by establishing an element of interactivity inside a living, evolving, organic environment. At Offsite he installs mechanical and electronic panels into his maze-like structures to cultivate a multi-sensory experience with sound, light and movement. Visitors are encouraged to move through the installation, allowing them to activate the architecture. This is the artist�s first exhibition in Canada. - Courtesy of the Vancouver Art Gallery",Shangri-la - Offsite,1128 West Georgia Street,West End,49.285762,-123.123947,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Sculpture,,,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=760,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=760&ImageId=1283,"Rachel Topham, Vancouver Art Gallery",579,760 | |
| Vancouver,Offsite: Shigeru Ban,2018,Removed,Shigeru Ban is the 17th installation in the Offsite series. Offsite is organized by the Vancouver Art Gallery and funded by the City of Vancouver through the Public Art Program.,"In 1995 a 6.9 magnitude earthquake struck the coast of Japan with its epicentre at the major port city of Kobe. More than 6,000 people were killed and 200,000 made homeless. A young Tokyo-based architect�Shigeru Ban�known for his innovative work utilizing paper and cardboard tubing as a building material, was invited to respond to the urgent need for temporary relief shelter. His interest in paper, with its low cost, easy accessibility and simple application, provided him with readymade materials to design and build a sturdy, economical and ecologically sustainable home for thousands who were displaced in the disaster. This simple building has become the prototype for similar disaster relief structures built around the world for the past twenty years. - Courtesy of the Vancouver Art Gallery",Shangri-la - Offsite,1128 West Georgia Street,West End,49.285591,-123.123827,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Sculpture,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=764,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=764&ImageId=1286,"Trevor Mills, Vancouver Art Gallery",589,764 | |
| Vancouver,Offsite: Polit-Sheer-Form Office,2018,In place,Polit-Sheer-Form Office is the 18th installation in the Offsite series. Offsite is organized by the Vancouver Art Gallery and funded by the City of Vancouver through the Public Art Program.,"Artist collective Polit-Sheer-Form Office (PSFO) explores the possibilities of shared experience through group activities such travelling, eating, reading and physical exercise. At Offsite, they present Fitness For All, a fivepiece set of exercise equipment evoking campaigns throughout the Peoples Republic of China aimed atmotivating society to pay more attention to health. In the early 2000s the government began to install exercise equipment in public parks throughout the country, and since then the machines have worked their way into the daily regimen of millions of people.While outdoor public exercise equipment is common in China, relocated to Vancouver�s urban core, the work has adopts a new social and cultural context. One that allows the artists to examine whether collectivism is really a social need or just a management tool. In Canada, individualism is a fundamental value yet a newunderstanding of the need for the collective has emerged. Conversely, in China, where collectivism has been a core value throughout most of history, the last decade has indicated an increase in individual pursuits. Through their interactive public performances and happenings, PSFO tests where the desire of collective organizationarises naturally from human nature or is an expression of ideology.Fitness For All encourages audience participation. The work is both purely visual (as contemporary sculpture) as well as purpose built and customized to provide a public service. For PSFO, the fitness equipment is secondary to providing space and opportunity for collective gathering with friends, visitors and passersby, thereby advocating for a model of social organization that benefits the community as a whole.",Shangri-la - Offsite,,West End,,,West of Shangri-la Hotel (on W. Georgia between Thurlow and Bute),Site Work,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=767,,,594,767 | |
| Vancouver,Life Transformations,2018,In place,Acknowledgement: Commissioned by the City of Vancouver for the Indigenous Murals series. Thanks to InTransit BC.,"""Interconnected life. Intuitive decisions and the routes we choose directly connect with the path of others. Love and pain, one can not exist without the other and the two are beautifully communicating. The acts of the past effect today, the decisions of the present effect the future. The future is a reflection of collective decisions made by all. This piece is a narrative of life's ups and downs, light and darkness, life and death."" - John Velten",Canada Line - Vancouver City Centre Station,Georgia & Granville Street,Downtown,49.281865,-123.119083,,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=768,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=768&ImageId=1368,Rachel Topham,596,768 | |
| Vancouver,Waft,2017,In place,"This public artwork includes the marble-tiled lobby floor of The Exchange building at the Pender Street entrance and the marble-tiled lobby floor of the Old Stock Exchange building at the Howe Street entrance. In the Pender Street lobby, the undulating design follows from the tradition of Portuguese pavements. The pattern, executed in three contrasting colours of stone, extends beyond the lobby entrance and across the adjacent sidewalk to the curb.In the Old Stock Exchange building, the elaborate ceiling of the original elevator lobby features imagery based on the provincial coats of arms. In keeping with this heraldic theme, the design for the refurbished lobby floor illustrates the waves and rising sun that are emblems of British Columbia's flag.","Waft's wave-form patterns can be seen to celebrate Vancouver's identity as a coastal city. At the same time, I am interested in how the undulating forms will engage the viewer's senses. Perhaps they may serve to impart a measure of rhythm to the ambient space and, in doing so, act as counterpoint to the straight lines and right angles that predominate in the built environment.",The Exchange Building,475 Howe,Downtown,49.285797,-123.115822,Main Lobby of The Exchange building and in the lobby of the Old Stock Exchange,Site Work,"Marble, Limestone, Basalt, Granite, Travertine",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=769,,,597,769 | |
| Vancouver,The Chiefs and Nobles,2018,In place,,,Vancouver Public Library (Central Branch),350 West Georgia,Downtown,49.27978,-123.114694,In the atrium,Banners,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=774,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=774&ImageId=1327,,598,774 | |
| Vancouver,Welcome to Kitsilano,1998,In place,"The landmark at the corner of Cornwall and Burrard is comprised of a 16-foor long horizontal cedar log, a 7-foot high carved cedar log sculpture depicting scenes of the community past and present, and 16 granite and sandstone boulders, weighing up to 7 tons. The initial concept for the sign came from viewing large driftwood logs tossed up on rocks along the beach near the Vancouver Maritime Museum. The large horizontal cedar log was cut from a tree blown down by strong winds in Stanley Park, salvaged and donated by the City of Vancouver. The log has been set onto boulders excavated from the old Carling O'Keefe Brewery site at 12th Avenue and Arbutus, and donated by Intergulf Development Group.The vertical log sculpture is composed of 3 layers of upright logs stepping up and back from the viewer. The first carving on the front set of logs portrays a Coast Salish village with cedar plank houses and beached canoes, a scene which may have been typical around this area prior to European settlement.The carving on the second layer of logs portrays past and present roots of Kitsilano, including a traditional corner store, craftsman-style houses, adn Engine 374, which pulled the first transcontinental train into Vancouver in 1887, was retired to Kitsilano Park for many years, and is now on display in the Roundhouse Community Centre. Also portrayed on this layer is the Vancouver Museum and Pacific Space Centre.The third layer of carved logs portrays a view north across English Bay to Stanley Park, Vancouver's West End, and the North Shore mountains - a scene which is typical from almost any viewpoint in the Kitsilano area.The sign was designed by Kitsilano resident Jim Kostyniuk and carved by BC artist Pete Ryan. The sign is an initiative of the Kitsilano Chamber of Commerce. (Kitsilano Chamber of Commerce, Dedication of the Welcome to Kitsilano Sign and Sculpture, June 20, 1998)",,Cornwall and Burrard,,Kitsilano,49.272609,-123.14558,North East corner on Burrard and Cornwall,Artefact,Local cedar tree,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=776,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=776&ImageId=1336,Bill Stott,599,776 | |
| Vancouver,Nautika,2018,In place,"This piece is a contemporary abstract interpretation of a front of a boat. In this piece Khouri chose to use all the materials that the boat industry has used throughout the ages. (Wood, Stainless Steel, Carbon Fibre). ",,Embassy Development,,Mount Pleasant,49.269553,-123.107758,Located within the pedestrian mews at 100 block west 2nd between Manitoba and Columbia,Sculpture,"Stainless steel, wood and carbon fiber",Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=778,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=778&ImageId=1378,Iman Khalili,601,778 | |
| Vancouver,Eyes on the Street,2018,In place,Two sculptures made of mirrored stainless steel. The largest component of the sculpture is 18 feet high and the smaller one is 12 feet high.,"The sculptures are positioned close to each other, informing each other, influencing each other and mirroring each other. Each have a voiding the shape and the context of an eye. The artists were influenced by Jane Jacob (renown City Planner) who said, speaking of cities, that ""there must be eyes upon the street, eyes belonging to those who might call the natural proprietors of the street"". Jacob refers to the eyes of the many residents in areas of high density. They are always there providing a recording of the life on teh street and in the environment.",Voda at the Creek,1661 Quebec Street,Mount Pleasant,49.270886,-123.103057,,Sculpture,Stainless steel,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=779,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=779&ImageId=1353,Courtesy of the artist,601;602,779 | |
| Vancouver,The Wall at CBC: Building A - Livestock Building,2018,In place,"THE WALL is a Vancouver Heritage Foundation public art initiative. It is made possible by a partnership between Vancouver Heritage Foundation and CBC Radio-Canada, and is produced in partnership with the City of Vancouver Public Art Program. THE WALL features a new artist every year.","Building A - Livestock Building is an infrared photograph of the 1929 Livestock Building located on the Pacific National Exhibition (PNE) fairgrounds. The image has been captured by a thermal imaging camera, normally used by the construction industry, which has been designed to display differences in temperature by detecting light rays that are invisible to the human eye.Most PNE fairgoers are familiar with the Livestock Building, entering through one of its many barn doors along its south side to cheer on the baby pig races, pet the chickens, llamas and rabbits, and ogle animals large and small. What is not so evident when wandering through this expansive space was its change of use in 1942 when the grounds, then known as Hastings Park, were expropriated by the Department of National Defense.With the declaration of war against Japan, the Government of Canada evoked the War Measures Act and authorized removal of �all persons of Japanese racial origins,� from the west coast �protected area� of British Columbia, even though the majority were Canadian born and Naturalized Canadians. Some 22,000 Japanese Canadians, then labeled �enemy aliens,� were uprooted from their homes and sent to various sites, including internment camps, road construction camps and sugar beet farms in the BC interior, Alberta, Manitoba and Ontario. All personal properties, such as fishing boats, farms, businesses and homes, were confiscated and sold without owners� consent to cover the costs of their internment.Beginning in March 16, 1942, some 8,000 persons, removed from fishing, lumber and mining villages along the north coast and Vancouver Island, were held at Hastings Park while campsites to which they were eventually transferred were being developed. The stables and cattle stalls of the Livestock Building were converted into a makeshift women and children�s dormitory. Other structures were used as boys and men�s dorms, mess halls, kitchen, hospital and isolation ward. Young men were separated from their families, and sent to work at road camp sites. By September, 1942, there were 3,866 women, men and children living in various buildings on thissite.The archival photograph is from a series that local photographer LeonardFrank was contracted to document for the BC Security Commission, which was created in 1942 to oversee the internment process. This image portrays the interior of the Livestock Building, with bedsheets dividing the living quarters. The thermal photograph suggests a way of seeing what is no longer obvious or visible to us today.",CBC Vancouver Broadcast Centre Plaza,700 Hamilton Street,Downtown,49.279663,-123.114234,On the wall to the right of the main entrance of CBC Vancouver.,Mural,,Vancouver Heritage Foundation,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=780,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=780&ImageId=1381,Courtesy of the artist,149,780 | |
| Vancouver,Vancity Skyline,2018,In place,,,�xexn Xwtl�a7shn,,Downtown,49.279993,-123.113948,At the parking exit structure on the corner of W Georgia and Hamilton,Mural,Digitally printed onto adhesive vinyl.,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=781,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=781&ImageId=1365,Rachel Topham,485,781 | |
| Vancouver,Sinulhka: Story of the Double Headed Serpent,2018,In place,,,,2097 West Broadway,Kitsilano,49.26412,-123.152699,,Mural,,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=782,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=782&ImageId=1366,Rachel Topham,604;605,782 | |
| Vancouver,The Future has Arrived AATL'AAN K'ATGWAA TLUU. K_AATLAAGANG,2018,In place,,,Hastings Community Centre & Fitness Centre,3096 East Hastings Street,Hastings-Sunrise,49.280674,-123.03489,,Mural,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=783,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=783&ImageId=1371,Rachel Topham,441;544,783 | |
| Vancouver,Occupying Chinatown,2018,In place,Occupying Chinatown is a public art project commissioned by the City of Vancouver Public Art Program in partnership with the Dr. Sun Yat-Sen Chinese Garden.,,Dr. Sun Yat-sen Classical Chinese Garden,578 Carrall Street,DowntownEastside,49.279756,-123.103282,,Other,,City of Vancouver,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=786,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=786&ImageId=1382,,344,786 | |
| Vancouver,108 STEPS,2018,In place,"108 STEPS is a 120-foot free-standing steel sculpture of a ladder rising out of the median in the middle of Kingsway. The ladder gradually tapers in, narrowing on both its front and side views as it rises in height.","108 STEPS is a steel sculpture of a free-standing ladder with 108 rungs. The ladder is one of the oldest and simplest tools. The number 108 has significance for a variety of cultures, and is considered sacred within many Dharmic faiths. There are approximately 108 blocks on Kingsway.",Kensingston Gardens - Kingsway Street median,2220 Kingsway,Kensington-Cedar Cottage,49.243316,-123.061259,The artwork emerges from the median in the middle of Kingsway in front of the Kensington Gardens development.,Sculpture,Painted steel. With laminated tempered safety glass flush to rungs on bottom 16 feet of ladder.,Privately Owned,https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=787,https://covapp.vancouver.ca/PublicArtRegistry/ImageDisplay.aspx?AreaId=787&ImageId=1392,Khan Lee,560,787 |
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