|
In Montreal, as in many cities around the world, works of art have often been placed in “public” urban spaces. In some cases, the placement of works is accomplished through channels of bureaucratic control or corporate interest, By Jacques Doyon This issue offers some preliminary observations on the presence of art photography in urban public art. When we think of “public art,” the governmental public art programs in effect in Quebec and Montreal for several decades immediately spring to mind. Last autumn, Peter Gnass produced an intervention in the form of a temporary posting on the façades of a dozen Montreal cultural sites (galleries, museums, studios, art schools). The poster featured a long band of close-up pictures of ten statues, seen from the back, on which was superimposed a series of letters that spelled out the artist’s name.
Also see the artist's portfolio
Last autumn, copies of a poster featuring photographs of monuments in downtown Montreal appeared without warning on the façades of a dozen cultural sites in the city. The world identifies with the quintessence of photographs. This identification does not occur for no reason. For the world itself is composed of a photographic face. . . . the world has become the photographic present, and the photographic present is fully perpetuated. — Siegfried Kracauer, 19271 Relevance is a word that permeates discussions about the role of museums within the social fabric of community. As repositories, museums have a primary function of cultivation not only of objects Of all the creative support programs, Quebec’s policy for the integration of the arts with architecture and the environment (commonly known as the 1 percent program) offers some of the best visibility, as well as terrific financial support, to artists. |
