HomeMy WebLinkAboutDSD-2024-026 - Public Art Policy Review and Revisions
Development Services Department www.kitchener.ca
REPORT TO: Planning and Strategic Initiatives Committee
DATE OF MEETING: February 26, 2024
SUBMITTED BY: Cory Bluhm, Executive Director, Economic Development, 519-741-
2200 ext. 7065
PREPARED BY: Eric Rumble, Arts & Creative Industries Coordinator, 519-741-2200
ext. 7424
WARD(S) INVOLVED: All ward(s)
DATE OF REPORT: January 25, 2024
REPORT NO.: DSD-2024-026
SUBJECT: Public art policy review and revisions
RECOMMENDATION:
That the proposed revisions to public art policy GOV-COR-816 be accepted; and
further,
That five artworks displayed at two City-run cultural facilities be incorporated into the
public art collection.
REPORT HIGHLIGHTS:
The purpose of this report is to artic
for public art policy, with the goal of improving its implementation in the future.
The key finding of this report is that the policy has been applied inconsistently and
adjustments can be made to modernize its content and recalibrate its effectiveness.
The financial implications are that allotments dictated by the policy will become
consistently integrated into applicable capital projects.
Community engagement included consultation with the Public Art Working Group.
This report supports the delivery of core services.
BACKGROUND:
For various reasons, internal awareness of in the
last decade. This has led to inconsistent application of the policy. Notable civic
reconstruction projects that have not resulted in a public art commission or acquisition
include recent City Hall exterior renovations, phase one of RBJ Schlegel Park, and
updates to green spaces and trail networks.
To recalibrate the policy and ensure better implementation going forward, Arts & Creative
Industries (A&CI) staff spent 2023 reviewing the existing policy document. This effort to
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revive and improve the policy involved discussing changes and updates to policy content
with relevant City divisions and developing process adjustments to support its efficient and
consistent application.
Additionally, A&CI staff consulted comparable citi
approaches to consider during future review cycles. Staff also observed that the budget
the 2000s are not aligned with 2020s art industry commissions and professional expenses.
public art collection are currently on display at cultural facilities in the A&CI portfolio. Two
artworks at 44 Gaukel Creative Workspace were developed during its pilot period. When the
Conrad Centre for the Performing Arts was donated to the City, three pre-existing artworks
REPORT:
With the goal of improving the understanding and application of the 1% for Public Art
policy across the corporation, A&CI staff undertook a policy and process review. As a
result, staff propose a series of document changes and updates to achieve:
more effective processes for forecasting and integrating public art allotments into
interdepartmental workflows;
more appropriate allotment thresholds (floor and ceiling) for producing projects for
inclusion in the public art collection; and,
more opportunities for citizen engagement and arts sector development.
Appended to this report is a version of the existing policy with tracked edits and additions.
Process Improvements
More effective process changes include an interdepartmental working group that will meet
annually (see section 4.7 of appended policy edit) to align future public art projects and
budget allotments with capital forecasts. Other adjustments aim to clarify details related to
allocation eligibility, project types and locations, general definitions and various City staff
accountabilities.
These inventory of
upcoming projects:
RBJ Schlegel Park development;
Mill-Courtland Community Centre expansion;
City Hall Customer Service Centre renovation;
Utilization of allotment from the Civic Centre parking garage development; and,
A second attempt to solicit an artwork for Doon Pioneer Park Community Centre.
The working group will also investigate future opportunities such as park improvements,
cycling trail redevelopments, upgrades to community centres and pools, as well as
School and the
Bramm Yards redevelopment.
Funding Allocations
More appropriate allotmentchanges include raising the minimum budget to produce a
public artwork for the collection from $10,000 to $30,000, raising the individual project
maximum to $500,000, and clarified consolidated account opportunities (section 4.4).
This means that a civic improvement project with site development, construction and
contingency costs of $3 million to $50 million would receive an allotment between $30,000
and $500,000 to produce an on-site public artwork. Allotments from projects with lower or
higher costs would factor into the consolidated public art account, to be used to create and
site projects in underserved areas, for special projects or related professional services.
Given the impacts of inflation and based on the costs to produce recent projects,
allotments of less than $30,000 are unlikely to result in the procurement of public art that is
both substantial in size and built to last. While murals are a feasible option below that
threshold, the intent of the 1% policy is to secure more permanent, enduring works of art.
It is also important to stress that a $500,000 project would be rare. This elevated upper
threshold aims to enable the City to commission and produce a significant statement
artwork in the context of a once-in-a-generation opportunity such as RBJ Schlegel Park.
Additional Opportunities
Staff anticipate more opportunities may result from an internal refresh of the policy after
the revised version is approved. Opportunities could include using smaller allotments to
develop semi-permanent projects such as a series of limited-scale design features
integrated into various green space improvements.
The A&CI team aspires to provide opportunities to animate the public realm that are
appropriate for emerging, mid-career and established artists. Pursuing a spectrum of
projects of varied scales, budgets and complexity will aid professional development of the
local visual arts sector and provide more ways for local artists to engage in public space.
Adding existing artworks to the City collection
To properly maintain and preserve a few artworks displayed at cultural facilities owned and
managed by the City, staff recommend adding the artworks to the public art collection.
Two of these artworks are installed inside Conrad Centre for the Performing Arts:
(2001) by Carol Bradley
Warnock MacMillan stones by Lois Scott, year unknown
Additionally, installed on the Conrad Centre exterior is Between the Acts (2002) by Jane
Buyers. Maintenance guides will need to be resourced for all three donated artworks.
Two artworks commissioned during the pilot period of the Creative Hub at 44 Gaukel were
developed in close collaboration with City staff, both of which are relatively simple to care
They include:
In the Keep of Change (2020) by My Pet Skeleton (aka Vincent Marcone) was
produced to visually symbolize the Creative Hub mandate and installed on the 44
Gaukel exterior using a unique fastening system developed by City print shop staff.
The collected contributions from The Beasting project, composed of black ink visual
artworks by nearly 80 artists from 2020-2023 (and with future contributions
anticipated), is a core attraction inside the facility.
Other artworks in the public realm that involve more complicated conditions, such as being
sited on private property, could be considered during the next policy review cycle or as
individual cases. Staff have identified these five artworks as priorities because they all lack
clear ownership while also being featured assets of active, City-led cultural facilities.
STRATEGIC PLAN ALIGNMENT:
This report supports the delivery of core services.
FINANCIAL IMPLICATIONS:
The recommendation has no impact on the Capital or Operating budgets. The 1% policy will
be more consistently applied to individual budgets on a project-by-project basis.
COMMUNITY ENGAGEMENT:
INFORM This report has been posted to the C
the council / committee meeting.
COLLABORATE The following internal colleagues were consulted by A&CI staff to
inform the revisions in the proposed policy edit:
Heather Liddycoat, former Design & Construction Project Manager
Ashley Visneski, Parks & Open Space Design & Development Manager
Mark Hildebrand, Neighbourhood Programs & Services Director
Steve Allen, Engineering Design & Approvals Manager
Becki Hamilton, Budget Analyst
Sandro Bassanese, Site Plan Supervisor
Natalie Goss, Policy & Research Manager
Darren Kropf, Active Transportation & Development Manager
Beatrice Powell, Facilities Asset & Energy Management Manager
a subcommittee of the Arts & Culture Advisory
Committee composed of arts professionals who advise staff on related processes and
projects, was supportive of the policy changes in discussions during summer 2023.
Selection criteria for public artwork juries in the policy edit was informed by reviewers hired
in 2022 to provide equity and inclusion perspectives on the call for proposals template.
PREVIOUS REPORTS/AUTHORITIES:
DSD-21-173 Addition of deaccession process to GOV-COR-816
June 2016 Policy I-816 template reformatted to new numbering system
November 2011 & August 2010 Policy amendments as per Council directives
APPROVED BY: Justin Readman, General Manager Development Services
ATTACHMENTS:
Attachment A edited version of the GOV-COR-816 policy with adjustments tracked.
Attachment B details about the cost to produce various projects in the City public art
collection for comparative reference, as well as examples of public artworks with $500,000
project budgets from other municipalities.
Attachment C images of artworks to be incorporated into the public art collection.
APPENDIX A
POLICY Policy No: GOV-COR-816
Approval Date: December 8, 2008
Policy Title: PUBLIC ART POLICY
Policy Type: COUNCIL Reviewed Date: July 2016
Next Review Date: July 2021
Category: Governance
Reviewed Date: July-October 2023
Sub-Category: Corporate
Last Amended: October 2021
Author: Author Unknown
Replaces: I-816 Public Art
Dept/Div: DSD/Economic Development,
Arts & Creative Industries
Repealed:
Replaced by:
Related Policies, Procedures and/or Guidelines:
To be included at next review.
1. POLICY PURPOSE:
Kitchener is a vibrant community where the best forms of public art explore our
diversity, tell our stories, and empower artists to use creativity and imagination to
make intriguing landmarks and interesting gathering places.
strategic priorities. Intended benefits of the policy and its implementation include a
better quality of life and increased social cohesion for residents, local artists and
visitors, good urban design, broad community involvement and connection, increased
potential for economic development and public access to the arts.
In practice, the policy is designed to offer fair opportunities for both mid-level artists
in the region and substantial commissions to attract well-established professionals.
2. DEFINITIONS:
Public Art: original artworks, permanent or semi-permanent, in any medium or
discipline, placed, installed, incorporated or performed in publicly accessible indoor
or outdoor locations in response to the site and for the benefit of the public.
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For the purposes of this policy, Public Art does not include plaques, archival
collections or heritage assets already supported by other budgets, committees and
policies, or temporary artworks with a production budget of less than $10,000, such
as painted murals or digital images applied to surfaces on vinyl.
Permanent: refers to public art that is intended to be displayed for a decade or more,
supported by a Public Art Policy allotment of $30,000 or more, which is added to the
by a report recommendation to Council.
Semi-permanent: refers to public art that is intended to be displayed for variable
periods of time, supported by a policy allotment of between $10,000 and $30,000.
Temporary: refers to public art that is intended to last two years or less, supported
by a policy allotment or separate budget of less than $10,000.
Deaccessioning: refers to the formal and permanent removal of an item from the
collection originally acquired on a permanent or semi-permanent basis.
3. SCOPE:
POLICY APPLIES TO THE FOLLOWING:
All Employees
All Full-Time Employees All Union
Management C.U.P.E. 68 Civic
Non Union C.U.P.E. 68 Mechanics
Temporary C.U.P.E. 791
Student I.B.E.W. 636
Part-Time Employees K.P.F.F.A.
Specified Positions only:! Other:!
Council Local Boards & Advisory Committees
3.1
the development of partnerships with the public, the arts community and arts
service organizations, and with institutional and private sector partners.
3.2 The policy supports:
(a) Involvement of community members, including young people, in public art
projects whenever possible;
(b) Opportunities for the involvement of educational institutions whenever
possible; and,
(c) The continuation of current youth programming.
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3.3 Two citizen advisory committees are directly involved in the public art program:
the Arts and Culture Advisory Committee and the Public Art Working Group.
3.4 The policy affects all City departments, in particular these divisions or teams:
Economic Development, Financial Operations, Legal Services, Facilities
Management, Risk Management, Corporate Communications and Marketing,
Planning, Engineering, Parks and Cemeteries, and the Community Services
Department. The Arts and Creative Industries team within the Economic
Development division, Development Services Department, is primarily
responsible for policy implementation.
3.5 The policy governs programming which results in the permanent acquisition
and/or semi-permanent display of public art. Program funding derives from a
one percent allocation applied to civic projects with construction budgets
greater than $100,000, including public facilities, parks and trails, and other
public gathering spaces. The municipal public art collection develops through
this program.
3.6 Eligible projects include new construction or construction that achieves major
changes in the scope of a civic facility or public space, such as new programs,
services, features or functions. This does not include projects where only
routine maintenance is being carried out or building systems are upgraded.
3.7 The policy does not govern programming under the Industrial Artifacts Project
title, nor the Artist-in-Residence program.
3.8 City staff implementing the policy must comply with federal, provincial and
municipal laws, and international conventions and treaties signed by Canada,
including but not limited to:
The Municipal Act
The Ontario Planning Act
The Ontario Heritage Act
The Copyright Act
The Municipal Freedom of Information and Protection of Privacy Act
The Occupational Health and Safety Act
The Wild Animal and Plant Protection and Regulation of International and
Interprovincial Trade Act
The Cultural Property Export and Import Act
The UNESCO
Illicit Import
Any subsequent revisions or replacements of these Acts or Conventions
4. POLICY CONTENT:
4.1 Through the public art program, the City acquires public art of excellent quality
for the purpose of permanent or semi-permanent displays in public places
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such as civic buildings and plazas, streetscapes and open spaces (parks,
trails).
4.2 Strategies and planning for the best use of funding and preferred sites based
on specific criteria will be coordinated by the Arts and Creative Industries
(A&CI) team in collaboration with Public Art Working Group (PAWG) members
. Criteria for
preferred public art sites and public art include high visibility locations and
appropriate scale, ease of public access, relevance to the community, ease of
Neighbourhood Design Guidelines, quality of the artwork, budget
considerations and equitable distribution of sites and opportunities throughout
the city.
4.3 One percent of the costs of civic projects with construction budgets greater
than $100,000 are allocated to a consolidated public art capital account. The
maximum allocation at the one percent contribution is $500,000.
Costs included in allotment calculation are the site development, construction
materials and labour, and related contingencies. Other design or professional
fees, project management, interior amenities or services, furnishings and
equipment or technology should not be included in the allotment calculation.
4.4 Civic construction projects contributing to the consolidated capital account are
eligible for a public art project as follows:
(a) Projects that generate less than $30,000 (for example, one percent of a
capital budget less than $3 million) may be considered to receive a
supplemented budget from the consolidated account. The minimum
allocation required to develop any permanent public art project for the
is $30,000.
(b) Construction projects that generate more than $100,000 (for example, one
percent of a capital budget greater than $10 million) will consume 60 to 75
percent of the one percent allocation for a public art project, up to
$500,000. The remaining 25 percent or more of the allocation is contributed
to the consolidated fund for use in other semi-permanent or permanent
projects and to serve the priorities of the community by creating a well-
distributed and culturally representative network of public artworks.
(c) Construction projects that generate an amount between $30,000 and
$100,000 will consume the exact amount of the percent allocation for a
public art project.
(d) Multiple allotments to the consolidated account that are generated by
multiple projects in an area of the City can be combined to inform site
selection for a new public artwork created with consolidated funds. For
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example, small park upgrade allotments could be combined to create a
substantial artwork feature in a single location.
4.5 The program offers a choice of options for municipal public art projects:
(a) Public art projects at civic sites; public art projects at priority sites:
All potential sites are assessed with the following criteria:
Ownership: The site should be owned by the City or there should be
assurance that an agreement for its use is attainable.
Public Exposure: If outdoors, the site should have complete public
visibility and unrestricted access and offer easy surveillance to minimize
opportunities for vandalism and easy access for maintenance. If indoors,
the site can be used and/or enjoyed by the public at least five business
days per week a year, less statutory holidays (252 days).
Significance: Locations of historical significance or that function as
gateways into districts, neighbourhoods or shared public spaces provide
special opportunities for public art.
Safety and Preservation of Artwork: Sites where high levels of chemical
use for snow removal, or where maneuverability of snow clearing
machinery is required may present problems for some public art
installations. Medians in roadways may not be suitable sites due to the
level of risk caused by vehicle collisions.
(b) Semi-permanent installation projects requiring a production budget greater
than $10,000 but less than $30,000.
(c) Promotion of the collection and public education.
4.6 Civic construction projects are reviewed annually to identify those eligible for
one percent assessments and allotments. Eligible projects include: community
facilities such as but not limited to community centres, fire stations, arenas,
swimming pools, libraries, City Hall and other public-access or staffed
facilities, major buildings such as Kitchener Memorial Auditorium, sports fields,
parks with active recreational facilities, trails or other green spaces if deemed
appropriate, urban or pedestrianized spaces, and streetscape improvements
with elements of feature landscape designs. These projects will be reviewed
using the same criteria described in Section 4.5.
Roadways, sewers or underground infrastructure projects are not eligible.
4.7 Eligible construction projects and allotments to the consolidated account are
determined by an interdepartmental working group that meets annually to
consider the current 10-year capital forecast. Working group members include
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the Facilities Management project delivery manager, Facilities asset & energy
management manager,Parks & Open Space design & development
manager, A&CI coordinator and Finance budget analyst that supports
Economic Development. The A&CI coordinator will maintain a forecasted
allotments list and lead artwork development activities.
4.8 The program continues to support public art objectives as described in the
Official Plan (see sections 10, 11, 13, 15 and 17 in the 2014 document,
, and other approved planning documents.
4.9 The City engages in public art partnerships with the private sector, the
institutional sector, arts organizations, and other governments.
4.10 The City encourages the private development sector to participate voluntarily
in the percent for art program.
4.11 In construction projects for which the City has provided grants or loans to an
outside agency, the terms of the loan or grant agreement may include a
requirement for permanent, semi-permanent or temporary public art to be
included in that project. The grant or loan must be greater than $500,000. The
one percent allocation will not exceed $500,000. A&CI staff
but artworks produced by outside agencies are not included in the collection
and ongoing maintenance is the responsibility of the outside agency that
commissioned the piece.
4.12 The public art collection is documented and maintained to the highest
standards.
4.13 Public art maintenance and repair work is exempt from the Purchasing policy
requirements when necessary to enable artists and material or form experts
to perform specialized work related to maintaining or repairing the collection.
Funds in the consolidated account may be used for necessary maintenance
of artworks in the collection at the discretion of the A&CI manager.
4.14 Up to 15 percent of any public artwork allotment may be used to contract hire
professional services to support a selection process, such as jurors, curators
or public art consultants. Additional funds from the consolidated public art
account for professional services may be determined by the A&CI manager.
5. IMPLEMENTATION:
5.1 Roles and Responsibilities
5.1.1 The A&CI team manages the public art program and is responsible
for project development and monitoring, competition processes,
collection management, internal and external communications and
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depends on participation from many departments in varying
degrees. These roles range from clarifying allotment amounts to
contract preparation to artwork evaluation and maintenance.
5.1.2 The Ar-
committee PAWG provides specialized advice on policy, program
and projects, and champions the program in the community. All
acquisitions, whether by competitive or invitational commission,
direct purchase, or donation, are reviewed by PAWG and then by
the Arts and Culture Advisory Committee. This advisory committee
support is communicated to Council when recommendations are
made. PAWG members routinely serve on competition juries.
5.1.3 Project delivery staff in Facilities Management will confirm allotment
amounts during the schematic design phase of a civic construction
project. If possible, the A&CI coordinator and/or representative of
PAWG should be involved in the conceptual phase of a project to
effectively plan and integrate any new artwork. The assigned FM
project manager will help to evaluate and give input on technical
details of proposed artworks during the selection process, such as
integrating structural support measures or safety requirements.
5.1.4 Financial Operations staff transfer eligible construction allotments to
the consolidated account and help to forecast artwork projects.
5.1.5 Community members and workers from the regional arts sector
participate in competition juries to provide balance and stakeholder
involvement. Ward councillors are invited to participate on public art
juries for projects in their wards. Typical jury compositions include a
representative from PAWG, additional visual arts professionals, a
representative of the project partner(s) and the project architect.
One or more citizen-at-large jurors is an option. Focus groups or
community feedback opportunities for residents can also provide a
combination of professionalized deliberation and citizen input.
5.1.6 Public art celebrations are designed to be public events.
5.2 Project Planning
Public art information is included in RFP documents for eligible construction
projects. With this approach, public art is integrated earlier into the capital
project for both efficiency and optimum results.
5.3 Acquisition Methods
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A variety of acquisition methods are used to better serve the needs of unique
projects and situations and the overall mandate of the collection. Open
competition-generated commissions, invitational competition-generated
commissions, direct purchases and donations are used.
5.4 Jury Procedures
Competition juries ensure a fair public process through balanced participation
by community representatives, other project stakeholders and professional
arts community representatives. Competition juries function in accordance
with established procedures.
Typical evaluation criteria may include:
Artist or team qualifications and ability to produce high-quality artworks;
Artist or team capacity to successfully complete and install their proposal;
Artistic merit of a proposed concept to enhance or activate public space;
Relevance or responsiveness of artwork to site and/or community goals;
Artist or team capacity to collaborate with building design professionals;
Appropriateness of the scale, visibility and/or presence of the artwork;
Appropriateness of proposal to the budget, scope and timelines available;
Suitability and sustainability of material and maintenance requirements;
General technical feasibility (durability, assembly, safety, accessibility);
5.5 Technical Review of Proposals
All commission proposals derived from competitions, and proposals for direct
purchases, are reviewed by an interdepartmental staff team and, as needs
warrant, by outside experts, to assess compliance with mechanical, structural,
health and safety, and maintenance requirements.
Typically, the interdepartmental team would include the appropriate Facilities
Management project manager and a representative of the Engineering and/or
Building division, and potentially Parks, Planning or Risk Management staff.
5.6 Education
Public education strategies include, but are not limited to, participation on
juries, communication tools such as signage, artist talks, brochures, website
information, and public art symposia.
5.7 Deaccession
The City of Kitchener reserves the right to remove objects from its public art
collection under the following conditions:
a) The item has been lost, stolen, or damaged beyond repair.
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b) The item has deteriorated to a non-restorable condition where the costs
of conservation outweigh the value to the collection.
c) Duplication: The object is a duplicate of another one in the collection.
d) T-conformity to the collection mandate or problematic
changed cultural significance.
e) Endangerment of public safety.
f) Legal compliance (proof of ownership; maintenance of the integrity of the
public trust).
g) Site redevelopment.
5.8 Process of Deaccession
a) Deaccessioning will be by means of gift, exchange, sale or intentional
discard (destruction of an object that has lost its integrity or cannot be
gifted or sold). The method of disposition will be in accordance with the
City of Kitchener purchasing by-laws in consultation with Procurement.
b) A decision to deaccession must be based on the recommendation of City
staff with consultation received from PAWG and ACAC. The consent to
deaccession shall be recorded in writing and remain as an integral part of
art collection history.
c) The recommendation must be approved by Council.
d) First consideration is given to a not-for-profit institution that can provide a
high level of care for the object and can continue to keep the object
accessible to the public. Second consideration is given to the disposal of
objects through public sale, and third disposal.
e) All proceeds from sale or auction of works shall be credited to the Public
Art consolidated account.
f) In the event that artwork accepted by the City is to be deaccessioned or
moved, and it relates to or otherw
Administration and Local Government (i.e. Portrait of Mayor, City Hall or
and be managed through the Corporate Records Management and
Archive Services Department in compliance with the Corporate Records
Management Policy.
g) The object will not be transferred for ownership to any employee of the
City, or any person associated with the program.
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h)When there is any doubt aboutthe legality of the disposition, consult
independent legal counsel.
i) The disposition must be documented: updated condition at time of
disposition including photographs, all agreements, correspondence,
record of the decision of the method of disposition and any subsequent
use of any funds from the sale of deaccessioned artworks.
j) Ensure complete transparency and communicate the disposition to the
public.
6. HISTORY OF POLICY CHANGES
Administrative Updates
2016-06 - Policy I-816 template re-formatted to new numbering system and
given number GOV-COR-816.
2021-12 - Addition of deaccession process as per DSD-2021-173.
Formal Amendments
2010-08-20 - As per Council directive
2011-11-14 - As per Council directive
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DSD-2024-025 ATTACHEMENT B | Public artwork cost references
Summary costs of complex and/or larger artworks
Kitchener Fire Department invested about 90% of the $300K budget to produce
Protecting the Memory (the fin 2005
Approximately $168K including commission, installation costs & project
administration costs were used to create Flux at KPL Central Branch in 2014
At least $100K went into commissioning, installing and administering Pedestrian at the
Charles-Benton garage in 2011
Approximately $66K was provided for artist and administrative costs to develop The
Luggage Project for Victoria Park in 2006 (not including costs for site development)
A budget of $85K was spent on to site the Sweet Pea fountain at
Kitchener Market in 2004 (not including related facility integration & plumbing costs)
An artist contract for $47K exists for the commissioning of Horsepower at City Hall in
the 1993 (not including additional site development and installation costs)
Examples of public art projects with $500K price tags, recently produced or in development:
M City Park public artwork commission currently in development in Mississauga:
yoursay.mississauga.ca/mcity-park
Gradient Space sture Station:
interstyleglass.com/case-study-tunneys-pasture-station
Coordinated Movement
jillanholt.ca/Coordinated-Movement
Essential Tree by realities:united at Rogers Place in Edmonton:
rogersplace.com/three-public-art-concepts-for-rogers-place-unveiled/
Travelling Light by inges idee beside 96 Ave. NE near the Calgary international airport:
calgary.ca/arts-culture/public-art/96-avenue-ne.html
Sail by Eduardo Tresoldi at the Halifax harbour:
instagram.com/p/CjD-NFip1Mz (& further details via Develop Nova Scotia)
Intriguing multidisciplinary call in Toronto: akimbo.ca/listings/call-for-expressions-
of-interest-george-street-public-art-program-city-of-toronto (progress TBD)
Public art projects to emulate & inspire the opportunity presented by RBJ Schlegel Park:
momentfactory.com/work/all/all/onhwa-
lumina Likely a far larger price tag given the augmented reality production costs, but a
highly compelling example of multisensory, mixed material/media public art that
aligns with land acknowledgement, authentic reconciliation and skills development
The Alderville First Nation medicine garden project in collaboration with the City of
public art program
TMU Land Acknowledgement sculptural installation
DSD-2024-025 ATTACHEMENT C | Artworks at CCPA & 44G
Artworks inside Conrad Centre for the Performing Arts
(2001) by Carol Bradley
Warnock MacMillan stones by Lois Scott, year unknown
Exterior artwork at Conrad Centre for the Performing Arts
Between the Acts (2002) by Jane Buyers
Exterior artwork at 44 Gaukel Creative Workspace
In the Keep of Change (2020) by My Pet Skeleton (aka Vincent Marcone)
Artworks inside 44 Gaukel Creative Workspace
Collected contributions from The Beasting project, currently comprised of 80 black ink
artworks by 79 artists created from 2020-2023 (a portion of that collection is captured above
on the left wall, column-shaped display & the four-artwork composition on the bulkhead)