Public Art on Transit – A Conversation with Brad Golden
March 26, 2021 § Leave a comment
Interview by Rosemary Heather and Yan Wu

This series of interviews takes an in-depth look at public art on transit. Artists face a contradiction when making art for public transit. Works can reach a very broad audience, but the chance for engagement is fleeting. Creating a work is further complicated by the conditions of display and the number of stakeholders involved. Artworks need to be long-lasting and/or low maintenance, while safeguarding concerns about the human rights and health and safety of passengers. As such, art on transit is a heightened form of the challenge faced by any artist making public art. In these conversations, art writer Rosemary Heather, and Yan Wu, Public Art Curator for the City of Markham, talk with three public art professionals about the complex job of helping artists make art for public transit. Mariam Zulfiqar speaks about the curatorial role she held with the Art on the Underground in London, UK from 2010-2015; Brad Golden talks about the work he did to bring extraordinary public artworks to the new TYSSE – the Toronto-York Spadina Subway Extension; and Ben Mills provides insights into how he ushers dozens of projects to completion as co-lead of Public Art Management, the public art consulting firm founded by his mother, Karen Mills.
Brad Golden, Owner, Brad Golden + Co – Public Art Consulting. For over forty years, Brad Golden has directed and collaborated on award-winning projects that engage public spaces and landscapes. From large-scale collaborations with architects and engineers for public clients to consultation for public agencies and private development clients, Brad has become recognized for creating and coordinating both permanent and temporary artwork programmes involving the integration of art, architecture, landscape construction and urban design.
As a former public artist himself, Brad has garnered several prestigious awards for his work including a Governor General’s Award of Excellence, City of Toronto Urban Design Award of Excellence, City of Etobicoke Urban Design Award of Excellence, Ontario Association of Architects Allied Arts Award, Canadian Society of Landscape Architects Award of Excellence and a Financial Post Design Effectiveness Award.
Brad has been a guest critic and lecturer at the Schools of Architecture at the University of Toronto and University of Waterloo and guest critic at the Cranbrook Academy of Art and at Ryerson University.
Committed to communicating the value of art and design in the public realm, Brad participated as a member of the inaugural design review panels for the City of Vaughan and Regional Municipality of Wood Buffalo (Fort McMurray). He is founder, past host and producer of Designers Talk, a monthly radio programme which addressed a wide range of issues in design.
Rosemary Heather: What are the differences between commissioning public art on public transit and other types of public space—eg., condo developments and public plaza or park spaces. Can you walk us through some examples?
Brad Golden: I could talk about the TYSSE – the Toronto-York Spadina Subway Extension, which is six stations that extend north from what used to be Downsview Station into Vaughan Metropolitan Center. That was a very special project and was brought about in a world that is quite different than the world we live in now, on the project delivery side of things. The delivery method was called design-bid-build, which is when the client hires a design team—architects and landscape architects, engineers, etc.—allowing the client to have a very direct relationship with these design consultants. The consultants produce a series of documents and then those documents are put out to tender. The contractor that wins the bid builds the project while the consultants continue to be engaged in the delivery of the project, in service of the client. The project that I am currently working on, and have been for a while—first on the client side and now on the project delivery side—is through a PPP or Public-Private Partnership (also known as AFP-Alternative Finance Procurement.) The structure of AFP project delivery, and the way these projects are run, have a significant effect on what presence art can have within the project, what role the artist plays and how they operate within that context.
Public art in transit is typically a component of capital project programmes. There can also be temporary projects and those delivered through the advertising media providers, by way of the ongoing occupation of the screens in what is called Run-of-Schedule. We see this type of media based art all over the world. We see it in Times Square, we see it in different transit facilities globally, but that’s a different program than capital projects. What we’re talking about, in my world, is capital project delivery. That’s when there is an investment of dollars for new stations, or for new lines, through the policy of the Transit Agency, based on a specified percent of the construction cost of the project, typically one percent. The one percent will not typically include the construction cost of the tracks, switchgear, transformer stations, etc.—so let’s just call it one percent of the architecture or of the public facing components.
Public art in transit is interesting because it is art in a truly public space. When we talk about the other type of work that I do—working with developers, it’s quite different. In that case, there is a more personally-influenced delivery of art, where the vision of art is put in the hands of the private development sector. Whereas in public transit, it is very much a public process, and an expression of public will—even if expressed politically—that’s why I think public art in transit is so fascinating.
It starts with the artist procurement stage in public transit projects. The call for artists is as broad and public as possible, typically through open calls. Transit agencies may limit the geography of how broad that call will be, for example, it may be within a metropolitan, provincial or national jurisdiction. Sometimes the call will be international, as it was with TYSSE, but the appetite for international calls has been reduced. Partly because of budgets and also partly because of current politics.
As I mentioned, artist procurement of a public project is often through an open call, so it’s as broad and open as it can be. Subsequently, there is a short-listing process that will often look at artists’ past work and credentials. In the private sector, by comparison, public open calls are possible but they’re very rare. Why are they rare? Because there’s risk. If you run a public call, based on artistic excellence and not on experience, you run the risk of selecting someone who may not be that experienced. And for developers, there is permitting criteria attached to the delivery of the public art. Receiving a building permit and occupancy of a building can be tied to the completion of a public art project, each of which has significant dollars attached to them, if they are delayed.
With integrated public art projects, where the artist delivers their work as a component of the building process, there is an additional degree of complexity imposed on the building process. Where money is potentially lost for every day there is a delay, that’s risk and risk has cost. That’s one of the main reasons you don’t see a lot of open calls in the private sector. It’s also due to a perceived lack of control on the overall process, and developers are typically risk-averse. Developers are primarily delivering a product to the marketplace and that product is their building and public art is part of the total package of that building. So, there’s a disincentive for developers to deliver what could be seen as a controversial public artwork because that also imposes project risk. If the developer perceives that public art could be a disincentive to potential purchasers, that’s a problem.
With TYSSE, the TTC (Toronto Transit Commission) was very brave in that they commissioned six international artists to deliver artwork, very early on in the process. The artists became members of the design team, without presenting specific proposals. The artists were involved in the development of their artwork, at the same time the stations were being designed. Getting the artists involved as early as possible is usually considered ideal but not all artists are interested in, or capable of working at, that preliminary level. Some would rather be given an opportunity that is more specifically defined, that they can respond to and push back against. Many artists see their role as quite distinct from that of an architect. In other words, I’m an artist, don’t ask me to design a building and some critics would say, you shouldn’t be asking artists to design buildings, they’re supposed to be delivering art. And, if art is to have critical content—well that’s a whole other discussion. It’s a very rich topic.
Selecting an artist to be a member of a design team inherently creates a bias because, if you’re procuring artists who have previously worked with architects, or have the ability to work in that context, you have, defacto set up a limit as to which artists are qualified or best qualified, according to certain criteria, to work in that context. And, that may not always be the best artists, depending on how you define best.
When you deliver art as architecture and architecture as art, it’s a specific expression and should be understood as such. It may not always be apparent where the “art” is, which can be problematic. Art can get relegated to the role of enhancing architecture, in some cases enhancing impoverished architecture as clients or commissioning agencies cut design budgets—leading to the redirection of public art budgets to service architectural budgets, in the aegis of integrated art.
I believe that a well-delivered decorative arts program in architecture can be wonderful—look at the buildings we love and celebrate. One of my local favourites is the Canada Post Office, now incorporated into Scotiabank Arena, formerly the Air Canada Centre. The Louis Temporale friezes on that building are an exquisite essay on the transportation of goods and communication.
There really is a pendulum of public art expression, over time. Modernism tended to be less interested in integrating decorative arts, so the practice of public art became more sculptural in form, and became autonomous from the building. Kind of like the frieze fell from the building into the plaza. There are incredible examples of art in public space; Chicago is an incredible city for this. There’s a fantastic Picasso, Calder, Dubuffet and more. All have become icons of their time. Locally, we have Henry Moore’s The Archer at Toronto City Hall. Less accomplished examples of these monumental sculptures became ubiquitous and came to be known as “turds in the plaza” or “plop art” because they were seen as indifferent to their context, physically and socially. So, public art shifted back to an integrated expression.
TYSSE is a really interesting study because we have a spectrum of artwork integration. In some stations you can’t tell where the boundary is between the art and architecture, and in others you very clearly can. None of the TYSSE artworks are free standing sculptural forms as the TTCs public art policy is geared toward integrated art.
RH: How much does the consultant act like a curator for these projects, typically?
BG: We’ve been talking about artist procurement and how the process varies from public to private sectors. In the private sector, the consultant usually performs a little bit of a curatorial role in that they put together a long list of artists for the client to consider. The prospective artists are typically those who have some experience in the field and those whose work is relevant to the particular project that has been defined; whether it’s a freestanding opportunity, an integrated landscape opportunity or an architecturally-related opportunity. You try to match the artist with the project, based on their capabilities and on their past work and also on the client’s aspirations for the artwork programme, including their risk tolerance, or stated in a more positive way, on their interest in public art patronage.
In the public transit context, the consultant facilitates the artist procurement process in accordance with best practice. A professional jury selects a shortlist, in response to the terms of a public call for artists and the consultant performs no curatorial role. If you’re an artist, with little experience building public artworks, transit projects can provide a great opportunity, because they engage an objective, public procurement process. There’s no curation from an individual.
Yan Wu: You mentioned TYSSE and the artists who were selected very early on in the process, and then were involved in the designing of the station—you can tell by how the elements are integrated into it. What’s your role in that process, from selecting the artists to conceiving the works for the sites?
BG: I’ll tell you a little bit about my role in how these artists were selected. It has to do with championing a fair and equitable procurement methodology and that’s really important. On TYSSE, there was an international call for the architects, based on the aspirations for the architecture on that project which were both significant and optimistic. It was great because the mandate was that the TTC would deliver international quality public spaces that would really respect the transit rider. They wanted to deliver very rich experiences and recognize the importance of public space.
YW: It is exceptional in the city. I give you credit for it.
BG: Not me, but the vision of the client at that time. The TTC aspired to excellence and to respecting public space to the extent that the resulting public spaces are almost ecclesiastic or cathedral-like. So, that speaks to values and that speaks to political will, which can also lead to push back, depending on the values of the time.
As the TTC’s public art consultant for that project, I worked with a wonderful colleague named David Lawson, who was in charge of the overall architectural vision of the stations, including the integration of art. I said to David: If the aspirations for the architecture are international, we should equally set the bar for the artists and conduct an international call. He wholeheartedly agreed. David was an amazing mentor who, unfortunately, passed away way too early. He never got to see the finished stations and artworks.
So, we put out an international call, through all available channels, soliciting artists for this project. We had responses from artists around the world. We then distributed the artists’ submissions to the design teams and asked the teams to create a ranked short list of artists they were inspired to work with. We then conducted a week-long series of face to face interviews, in a matchmaking process since we weren’t selecting proposals at that stage—we were selecting artists on the basis of their past work and their interest in the project.
For the interviews—the architects interviewed the artists, and the artists interviewed the architects, and they ranked each other. At the end of the process, we looked for the highest correlation between the two rankings. It was a bit like speed dating. The procurement of the artists was at a very early stage in the design process. Call it schematic design or conceptual design; the actual form of the building was suggested but not resolved. The artists became members of the design teams, working with the architects at that point.
At the point where we made the pairings, the artist and architect became a singular design team. Another important point—it’s subtle but it’s really important—the artist was not hired by the architect but by the TTC. Before I got to TTC, the artist was typically hired as a sub-consultant to either the project designer or to the builder. I said “No, that’s not cool” because that’s putting the artist under the thumb of somebody who has a different agenda, not necessarily counter to the interest of the artist, but their interests are different. Delivering artwork is not necessarily what they’re pursuing as a building contractor. So, I recommended that the TTC should hire the artist directly. The artist needs to have equal say at the table with the other consultants. To their credit—and again, they’re a confident client who listens to their consultants—they agreed. From there on in, the artist was an equal at the table.
Because we procured the artists, prior to development of concepts, we set up a stakeholder review panel. At different stages of artwork development—at the conceptual stage, at the design development stage, and then at the stage of integrating the artworks—the architect and artist together would present their work to the review panel. The artist and architect, as a collaborative team, would present their ideas about how the art and architecture would work.
That is how we championed an art programme where there was no artwork proposal at the artist procurement stage. Artists are often hired on the basis of proposals. You have a jury that is reviewing different proposals. We didn’t do that. So, there’s a lot of risk involved there as you’re hiring an artist without knowing what will be designed, whether it will be achievable for the budget, what the maintenance requirements will be, etc. We set up a working group / steering committee. We had the artist and architect present to the steering committee. Separate steering committees were set up for groups of stations. Included on the steering committee was one of the jurors from the initial artist procurement stage. Through their continuous involvement, throughout the entire process, the steering committee, in particular the person who was on the jury and interview team, became champions of the art programme. To a greater or lesser extent, the participants who had a continuous role in the artwork development process also helped shape the art, through discourse with the artists and designers. An important role of the community representative was to make sure that the artists weren’t making any missteps, since they aren’t always totally familiar with the subtleties of the specific context of each station, particularly with international artists.
YW: And this transit line produces a continuous experience. It’s amazing.
BG: It’s not the easiest to deliver succinct messages about the complex topic of public art, the relationship of procurement to production and the process by which large, complex infrastructure projects are delivered. But that’s what’s interesting about this whole discussion. It’s about public art capturing the much larger currents of culture and society. The TYSSE public art programme is a great example. It’s one that I’m incredibly proud of and one that may not happen again, partly because of the alternative procurement methods that we talked about earlier.
From an art expression context, there was no overriding mandate or thematic request for the artists on TYSSE. I’m very much against predetermining content. Without being overly dramatic, I think that can be dangerous. There was consideration of relevance to an audience in a public transit environment that the artists had to be aware of, but the TTC didn’t say, “Make it red and make it about transit.” Artists were given the opportunity to determine their content and to develop their respective ideas. I very much want to protect, as much as possible, what artists want to say, understanding of course, the public context they’re communicating within.
YW: Some stations have a chapel or church-like feeling in a certain way. It’s as if through the work and the space you achieve an experience of transcendence.
BG: David Pearl’s artwork at Highway 407 station is one of the artworks that can deliver that transcendent experience. You rise on the elevator, from the platform up into the concourse and then to street level. You ascend into this dramatic, shifting, colourful space, I mean it’s pretty special. It’s transcendent, it’s almost ecclesiastical. Depending on the time of day and the time of year, that space will be a different colour. I’ll tell you something else that’s wonderful about that particular project. David is an artist whose medium is glass. So, the art isn’t an image imposed upon glass as an interlayer. It’s made by an artist who understands what glass is as an artistic medium and understands its transmutable aspect, the capturing, the diffusion and diffraction of light.
YW: Can you talk about the controversial art project [1] by realities-united, at Pioneer Village Station? They are nice objects in themselves, but not activated. Why can’t this button just be pushed on?realities-united, Lightspell, Pioneer Village TTC Station, Toronto, Canada. Photo: Toronto Star.
BG: The challenge with the Pioneer Village station artwork, called Lightspell, is a really interesting one, because it involves artistic expression, public voice, public space and service delivery. The TTC has a mandate to ensure that their passengers experience a safe and comfortable environment. They also have to uphold Canadian law—including those relating to human rights and hate speech. So, there is a real question how to support the intent of the artwork while adhering to these laws and respecting the TTC’s service mandate if, for example, somebody were to input on the artwork display: “kill blank”, whether “blank” be a person or a racial or marginalized group. The artwork presents a publicly addressable, eight character capable display that does not have a censorship code written into its programming. The artwork presents a crucible of social discourse in that it asks the questions of how do we communicate in public space and do we need controls to limit that discourse? The artists recognized that the artwork presents its own control such that, if somebody does not like what somebody else has said, then all they have to do is to say something else. In terms of the artwork mechanism, if somebody did type “kill blank”, somebody else would simply have to type “love blank”, for example. You just have to say something else; change the conversation. But we live in a world where the ephemeral is easily made permanent, through phones and social media. It’s not like these forms of media didn’t exist when the artwork was conceived but the length of time it takes to deliver an artwork project, in a transit environment, is so long, that the implications of the control of and access to social media has evolved considerably and is still very much, as we know, a current discussion. That’s why the commissioning of Lightspell isn’t that easy to complete and why, I believe that, despite its difficult birth—perhaps because of it—this artwork succeeds. It’s an important artwork that raises questions about public space and societal propriety within it.
[1] LightSpell, an artwork at the TTC’s Pioneer Village station, has to date never been turned on. Created by Tim Edler and Jan Edler of Berlin-based realities-united the interactive piece was conceived to allow transit riders to input simple text messages, using keypads on the station platform, to appear in lights in an overhead installation. Hate speech and human rights legislation have prevented the work from being activated.
Interviews conducted by Yan Wu and Rosemary Heather on November 11, 2020 as part of Markham Public Arts Becoming Public Art: Working Models and Case Studies for Art in Public, a nine-week virtual summit presented by the City of Markham in partnership with ART+PUBLIC UnLtd. Framed by current discussions happening at the intersection of contemporary art, public realm issues and urbanism, the summit features working models and case studies that address the challenges and opportunities faced by those working in this constantly evolving field.
Public Art on Transit – A Conversation with Mariam Zulfiqar
March 24, 2021 § Leave a comment
Interview by Rosemary Heather and Yan Wu
Live performance at Stratford station with East London Brass and Upbeat Choir
Image by Benedict Johnson.
This series of interviews takes an in-depth look at public art on transit. Artists face a contradiction when making art for public transit. Works can reach a very broad audience, but the chance for engagement is fleeting. Creating a work is further complicated by the conditions of display and the number of stakeholders involved. Artworks need to be long-lasting and/or low maintenance, while safeguarding concerns about the human rights and health and safety of passengers. As such, art on transit is a heightened form of the challenge faced by any artist making public art. In these conversations, art writer Rosemary Heather, and Yan Wu, Public Art Curator for the City of Markham, talk with three public art professionals about the complex job of helping artists make art for public transit. Mariam Zulfiqar speaks about the curatorial role she held with the Art on the Underground in London, UK from 2010-2015; Brad Golden talks about the work he did to bring extraordinary public artworks to the new TYSSE – the Toronto-York Spadina Subway Extension; and Ben Mills provides insights into how he ushers dozens of projects to completion as co-lead of Public Art Management, the public art consulting firm founded by his mother, Karen Mills.
Mariam Zulfiqar is an independent curator and commissioner. Mariam’s curatorial and research interests are diverse and include cultural policy, interdisciplinary collaboration, moving image, art in the public domain, discourses around public spaces and the history of ideas. As an independent curator Mariam worked with various arts and cultural organisations and commissioning bodies including Film and Video Umbrella, 1418 Now and Art on the Underground. She was previously Deputy Director and Chief Curator at UP Projects. Mariam has guest lectured at international and UK based educational institutions including Goldsmiths, the Royal College of Art, McGill University, Canada and National College of Art, Pakistan. Before returning to undertake her Masters, Mariam collaborated with the diplomatic sector on a variety of cultural exhibitions and events across the UK. In 2013 Mariam was the recipient of the Queen Elizabeth Diamond Jubilee Scholarship fund and invited to Barbados to undertake a two-month curatorial research placement. Mariam received a BA in Public Art & Design from Chelsea College of Art and Design and MA in Curating Contemporary Art from the Royal College of Art.
Rosemary Heather: To start, could you talk a bit about the work that you have done with public art on transit?
Mariam Zulfiqar: I was at Art on the Underground, the official public art program for the London Underground, from 2010-2015. Our team was small and while permanent commissions were happening around me, I was working primarily on temporary commissions. To give an example of the kinds of commissions I was doing, one of the small but monumental commissions is the Tube map cover. You can pick up a Tube map in any station, it is a small, leaflet sized piece of print and the cover presents a commissioned artwork every six months. I had an amazing time working with a number of different artists, Imran Qureshi, Daniel Buren, Tracey Emin and Mona Hatoum; they (and many others) produced a cover while I managed that project over the five years.Tube map covers presented at Piccadilly station. Image by Daisy Hutchison.
Tube map cover by Daniel Buren, 2014.
What I always found really interesting about that project, was it’s a tiny small thing that you can pick up in the station and take with you, but it puts art into the hands of literally millions of people every year. It creates an experience where art isn’t this rarefied thing that you do when you go to the museum or the gallery. It’s something you pick up and encounter and it goes into your pocket, and you might scrunch it up and throw it away at the end, but you have this moment with it.
At the other end of the scale is a project I did in 2014/2015 with Mel Brimfield and Gwyneth Herbert. That project was marking what would have been the 100th birthday of pioneering Theatre Director Joan Littlewood. There was an initiative all around the country to mark this 100th birthday with Fun Palaces, which was an idea she had with architect Cedric Price, but they had never been able to realize that project. To mark what would have been her 100th birthday, theatres all over the country were coming together to essentially reinterpret what a Fun Palace could be now. We commissioned Mel and Gwyn as they had been developing an idea around Littlewood for a while and invited them to realise the work at Stratford station, which is one of the flagship stations where Art in the Underground presents commissions. It is located a ten minute walk from Theatre Royal Stratford East, which was the theatre where Joan Littlewood was based. It ended up being a huge project that manifested as a film, drawings, posters, photography and a three hour live performance at Stratford station. Gwyneth Herbert composed eight new songs that were performed with her band, East London Brass and Upbeat Choir. Six months later we had a screening of the film at PictureHouse cinema, which was five minutes down the road from the station, and then also a cabaret in Theatre Royal Stratford East. It was a way of presenting the project within the station, but also anchoring it back into the surrounding community. We worked with about 200 participants in total on that project. There was a very extensive period of research that the artists had done, and because it was a live performance there were a lot of rehearsals. In comparison to the tube map, you’ve got a completely different type of project happening. With the map, they print 14 million copies every six months, so it’s the biggest print run that an artist might get, unless they are doing stamps or money but then on the other end of the scale you have this enormous live performance that happened in the main thoroughfare where the Jubilee line comes in. The station staff told us that 58,000 people would have seen or heard that performance in that three hours. So, two examples of very different projects, reaching massive audiences but being delivered via very different mediums.
RH: That’s fascinating. You mentioned the audience numbers, and it’s quite a unique opportunity. Of course we know there are all types of art projects that could be considered public art—from monuments (historical and contemporary) on to more experiential or social-based works, but rarely does an artist have an opportunity to have an audience that’s that big—and kind of a captive audience. Did you have a way of measuring that, that could determine future projects?
MZ: In the time that I was working with London Underground, they had 3.4 million journeys per day, and we knew that there are certain stations, the gateways to London and intersecting stations are incredibly busy. We also knew that some of the outer stations are not so busy, but we never excluded the quieter stations. We always tried to have an expansive presence across the network because people are choreographing themselves in very different ways. Understanding the way in which the commuter uses each station was important, along with working with station staff to understand impact.
The audience for the work is made up of commuters, residents and tourists—who, for example, may not necessarily be in such a rush to get from A to B. Then you have families, and people with disability access to consider too. In terms of the audience experience, there was no one way of thinking about it. For measuring figures we could track how many people were coming through the station via gate line figures, but all those people don’t necessarily see the work.
On the Gloucester Road platform, for example, which is an empty, disused platform, we know people are going to see the artwork while they are standing around waiting for their train. You can’t escape the artwork that’s there, and some ambitious projects have been on that platform; a recent one was by an artist called Heather Phillipson.
Whereas Mark Wallinger’s Labyrinth is across the entire network, with one in every station and you come across the work in unexpected spaces in each station. New projects were not driven by audience figures, rather by site, context and audience experience.
RH: As the curator, you had the experience of past projects, and that must have been very important for your role in terms of being able to judge if the project was appropriate for this context. Could you talk a little about that?
MZ: Each station is unique and this provides different challenges and potentials. Thinking about the context, audience encounters and engagement are an essential part of my job as a curator but they’re also something the artists are also thinking about. Many aspects feed into what makes a project appropriate. How the work is created and why, and where it will be sited are all important.
Mark Wallinger, Labyrinth, 2013. A multi-part work installed in all of the London Underground’s 270 stations (as seen at, top to bottom, King’s Cross, Baker Street, Embankment, and Green Park stations). Commissioned by Art on the Underground. Photos: Art on the Underground.
Mark Wallinger’s Labyrinth, a permanent commission marking the 150th anniversary of the Tube, is designed for people to go up to the work, run their finger along it, whereas a project like Transporter by Harold Offeh, was created in collaboration with young people from West London. Both are presented in very different parts of the stations.
Again going back to the Mel Brimfield and Gwyneth Herbert’s The Palace That Joan Built, that project engaged academics that had been studying the legacy of Joan Littlewood, as much as it engaged people that remembered working with her, or young people who had never heard of her; in the end, 200 people fed into the project and it mirrored Littlewood’s own ideas on inclusivity. Parts of the project were presented in the station but also back into community venues which also mirrored Littlewood’s approach of taking theatre to the people.
I led on the staff engagement for the 150th anniversary of the Tube because the staff are a major part of how a transport network operates, but they are also another audience for the work we were commissioning. In this context, appropriateness is also about ensuring that the station staff are empowered to talk about the work and have ownership. I took almost a year to complete it all—270 stations on the network needed a visit.
Yan Wu: What fascinates me is how Art on the Underground considers transit as a space, a space to host and disseminate. You mentioned that commissions happen in two streams, temporary ones and permanent ones. The purpose of this interview series in part is to collect working models and ideas that maybe one day can be borrowed and reproduced here. In Canada, besides media screens and advertising spaces, the dominant model of commissioning art in transit is still to do with permanent works, very much like architectural elements. I wonder what kind of infrastructure a program like what you just described requires, in an administrative sense, and on the awareness level? A program that can live with the stations and the entire transit system.
MZ: Art on the Underground benefited from the legacy of Frank Pick, who was Chief Executive of London Underground. Frank Pick wanted people to have a very clear London Underground experience. He commissioned the Edward Johnston font, the Harry Beck Tube map, the iconic London Underground logo and commissioned Charles Holden to make those beautiful art deco stations on the north end of the Piccadilly line. Art on the Underground was really operating under an enormous art and design legacy that the London Underground has in its foundation. There are Man Ray posters from the 1950s for the London Underground, they were even commissioning textile artists to do the seat fabrics. He was very mindful about branding and Art on the Underground continues that legacy of working with artists and designers.
In that sense what you are talking about Yan, is how to start a program from scratch? I would say, it’s not necessarily about borrowing a model that already exists, but it’s about looking at the situation that you are in, and the context you are in, and identifying what that context calls for and needs, and then building from there up, rather than importing a model coming in, because that model may not work. But if you go from the ground up and do a thorough analysis of the situation, and the context, and the site, and what it is that you are trying to achieve, you may end up building something that is entirely unique and fitting to your network.
YW: Right, very interesting how your program’s origins actually tied into the aesthetic movement at the time, which really was the driving force to make it happen.
MZ: Yes, and also I think every place has its own unique situational politics that’s playing out. Canada has its own politics in terms of the way in which it navigates politically with its own First Nations, and the way in which land is, compared to the UK, much more disputed. The dynamics of a post-settler nation need to be considered. I noticed this also in Australia as well. My sister lived in Australia for many years and I would visit there, and the conversations in those places are charged with a different kind of politics, and those politics need to be considered and inform any model you are creating. In that respect, what you will produce is a balance between the production of art and the production of something else completely. What kind of future are you trying to bring about? And how is what you are designing now working to bring about that future? In that context, the ingredients that you are working with are very different compared to what I was working with on the London Underground. And that’s how you will come up with something that is site specific and situationally specific, it will be unique.
RH: Yeah, I think the concept of ownership, because it’s public space, because it’s public transit, that’s a good premise to start from for a public art program in Canada. In the UK, contemporary art is very much a part of the popular conversation in a way it isn’t here. So we need to focus more on the task of developing the audience. And that’s why the infrastructure pieces here take the more familiar form of this idea of “art in public” rather than an ephemeral or temporary project.
MZ: I see what you mean about ephemeral projects, but I think people are open and receptive to good ideas, whether they are temporary or permanent. Both have their value, it’s a question of figuring out why one would have more value than the other in a given context.
I studied public art for my BA, and the history of how art ended up in the public domain, coming out of institutional critique, and the fact that artists wanted to be beyond the gallery’s limitations or the institutions limitations and were coming out into public space in order to make and present their work, which is a very interesting history applicable to certain geographical and political and historic contexts.
In that respect, I think the Tube sort of becomes this really interesting space, coming back to this idea of “public”. Because the London Underground, yes, it is accessible to the public, but the stations are closed after certain times. Public does not mean it’s just there and accessible all the time. It’s also not free to use. There are all these things that sort of make it sit somewhere between public and private. It’s publicly accessible but it’s privately managed and run. There are all these complex layers in how one gets their head around what “public” really means.Wrapper by Jacqueline Poncelet. Edgware Road station. Image by Tierry Bal.
And I think this idea of contemporary art having a developed audience… in my experience I found people were incredibly receptive to very challenging ideas. I was always really mindful of the fact that I’m highjacking someone’s view. I’m intervening in someone’s eye line, and I have to be really thoughtful about how that intervention happens, both for the audience, but also for the artist. Somebody could be having a terrible day, somebody could be having a great day, you just never know—with 3.4 million people, that’s 3.4 million moods you’re navigating. And then there is the one artist who I am working with. So, there was a lot of balancing that needed to be done around this notion of “public”, and this idea of public space and who gets to have a voice and be present.
YW: I just think about the transitory nature, and think about how durational work can happen in a place, because you cannot control the attention span, you know maybe they give you one second a day…
MZ: Even that, I’d be happy with! [Laughter]
YW: So, thinking about durational, time-based work, and how it unfolds in this kind of environment.
MZ: Two good examples of that are The Palace That Joan Built—the film was an hour long and we had a structure on the mezzanine floor at Stratford station, and the film was just playing for six months on repeat every day. But then within that duration, I’ve got to think about the station staff member who is there for eight hours and has to listen to the same thing again and again. The customer might whizz past it and see a second of it, but the station staff members might call me up and say “I think I’m going to lose my mind!” I always used to imagine that people coming off the train walking past the moving image, let’s say they were a minute different every day, they’d see 60 minutes of a film over 60 days but in completely the wrong order [laughter]. I liked to reflect on how people reconstitute the work given their own engagement with it…
I worked on a project called the Canary Wharf Screen that was a really large screen that we had at the far end of the Canary Wharf Station, which is an incredibly busy station in the middle of the financial district of London. The thing with the Canary Wharf Screen that was lovely was that as you got to the escalators to go down to the Jubilee Line, it was right there in front of you—you couldn’t miss it. I saw people going down and occasionally come back up and walk around and go and sit in front of the screen and watch a film for a couple of minutes.
We invited several different partners to come and program; Film and Video Umbrella were one, the BFI (the British Film Institute) were another, I think Animate, and they all had three-month slots to program what they wanted to program. That’s a really good example of a fleeting experience—you are on the move and the work is on the move too.
Then you’ve got other examples. I did a load of platform-based presentations. I worked with a school in North Harrow…the London Underground had commissioned 100 artists to mark the 100th anniversary of the London Underground symbol, called the Roundel. They had 100 works of contemporary art and we were putting those works in various different frames that they have all over the Tube network. There was a school close to one of the stations in North Harrow and we approached them and asked if their students wanted to be in a group show. We had the students work and the artists work all printed in the same kind of format where you couldn’t tell the difference between the professional artist’s work and the student work, and that was presented on the Metropolitan line. There you have again a situation where you are travelling through several different stations and seeing these frames on the platforms as the doors open and close in front of you. And you’re on the move and the work isn’t. And you could pass that same artwork every day again and again for a year. So that idea of moving—you’ve got a moving train, a moving passenger, and a potentially moving artwork, as well; or, you’ve got a moving train, a moving passenger, and static artwork. I think they all produce different outcomes and different experiences, and different encounters, as a result.
Interviews conducted by Yan Wu and Rosemary Heather on November 11, 2020 as part of Markham Public Art’s Becoming Public Art: Working Models and Case Studies for Art in Public, a nine-week virtual summit presented by the City of Markham in partnership with ART+PUBLIC UnLtd. Framed by current discussions happening at the intersection of contemporary art, public realm issues and urbanism, the summit features working models and case studies that address the challenges and opportunities faced by those working in this constantly evolving field.
Public Art and City Planning – A Conversation with Jane Perdue
March 11, 2021 § Leave a comment
Interview by Rosemary Heather and Yan Wu.

In the second interview in the series, Public Art and City Planning – A Conversation with Jane Perdue, Yan Wu, Public Art curator for the City of Markham, and art writer Rosemary Heather, talk with Perdue about her career, the changes she has seen over the years, what tools planners have for the provision of public art, what it’s like to work with private developers, and whether she has a favourite amongst the hundreds of Toronto’s public artworks.
Jane Perdue has worked as the City of Toronto’s Public Art Coordinator for the City Planning Division for almost three decades. As an independent consultant, Perdue developed a Public Art Policy Framework for the City of Markham (then Town of Markham) in 2003, predating the public art program that was formalized in 2013. Perdue has also worked with other municipalities in Ontario and Canada on developing public art policies and public art master plans.
RH: How long have you been in the field of public art and what are the major shifts you have seen over the years?
I was hired by the City of Toronto in 1991, so I’ve been with the City for almost 30 years full-time as City Planning’s Public Art Coordinator. I studied film history and art studies and after I graduated from York University my background in public art really started when I was hired at A Space, the artist run centre. I was hired by AA Bronson of General Idea at A Space. I had some idea about General Idea, but I did not realize that I had such a wonderful opportunity. I worked with them for four years. We did a number of satellite projects. Some of them were on the TTC. Ben Mark Holzberg created a project called Rolling Landscape, using Cibachrome in the ad space inside subway cars and also installations in the bus shelters. So that was really innovative, it was around 1980-81. A Space also sponsored a performance at Nathan Phillips Square, with Marina and Ulay, and that was a fabulous opportunity for me to help with that. It was a 24-hour performance of Marina Abramovic and Ulay staring at each other. Then I was appointed to the Public Art Commission in 1985 and was on the Commission for four years as a volunteer to help advise the City. I came to the City with a visual art and film background but I became an accredited planner about 12-13 years ago, because I realized how interesting planning was and I wanted to understand better how planning worked. For my first assignment, it was urgent, I had to help write a report for something that didn’t happen for another 25 years and I had trouble for a while understanding that but that was also a lesson realized: you plan for an idea and it may take a decade or two to actually be fulfilled. As far as changes, at the beginning we would be speaking with the architect with the developers and urban designers and so on and it was a very conservative approach and it was usually sometimes they are already had an artwork in mind that they thought would just be perfect for the site and they wanted to know where they could site the plinth. So it was really about an independent sculpture—and there is nothing wrong with that—but the change has been over the years is about looking at the various opportunities for how public art may play a role in defining a character or identity or terminus, or locating people to an area as a draw. The public art might be part of the community planning guidelines and the urban design guidelines objectives, so the understanding has expanded in that way.
RH: A lot of public art today is associated with condo development. Can you describe what public art looked like before there was so much development happening in the city?
When I started, it was a recession, so there wasn’t a lot going on. There were a lot of policies that were put in place. Our official plan came in, I think it was 1994, and before that we had hired a woman—Patricia Fuller—who is very well known in the States as a public art consultant. She helped us to do what we called City Plan 91, and we had a whole chapter on public art. We were very new at it as far as implementing policies and programs. Before I was hired, Ken Greenberg, who is very well known in Toronto, was running the Urban Design section and worked with a woman—Mary Lynn Reimer —and they looked at policies and programs in the United States, because those started in around 1960, 1959. We were looking at examples that might fit for Toronto. That’s why there was a public art commission in 1985. We didn’t have a lot of programming then but that was the beginning of it, looking at the processes and what would work. Since then, yes there’s been a lot of condominiums that have been built, but that’s the market. That’s not our policies, that’s what the market has offered. But we do have public art in offices and in other institutions for sure, and there’s a number of examples that are across the city and it’s not just in the downtown core. Development certainly is happening the most in that area, but also in North York, East York and the West District, former Etobicoke.

RH: You’ve been on the scene a long time, and you were working with American public art consultants. How did the controversy around Richard Serra’s public work Tilted Arc affect you?
I’m not sure it affected us but we heard about it and realized what it really came down to was moral rights and copyright. Who owns the sculpture and who can remove it? I mean, how appalling of this developer to actually remove the artwork. So rights of artists were very important to us, so we have that in our contracts with the developers. It’s a hard one to get your head around saying “Well, I own the art but I don’t own the idea.” We saw that as a landmark case. We also had our own controversy in Toronto, with Michael Snow and his geese sculpture in the Eaton Centre. The marketing people wanted to put little ribbons around the geese for Christmas, and then they were thinking about Easter, that might be fun. Michael took them to court and said “No, you can’t do that.” That was also lessons learned for all of us, about the importance of respecting an artwork. On the other hand, there are two Jonathan Borofsky’s Hammering Man in Frankfurt and Seattle. It moves and, seasonally, it gets different hats. But Jonathan likes that. It’s playful and he supported it. But someone else might not think that’s a fun idea. People crawl up it and put a hat on it. And that’s public engagement. The Eaton Centre one was about marketing but this was not about public engagement.
YW: Part of the reason we commissioned this conversation is to look at different working models and how different the municipalities have public art programs and what we can learn from them. I’m very curious about the two streams of public art in the City of Toronto—one under Planning and one under Culture—and how they operate separately. What’s the difference? How do they interact with each other and facilitate each other?
Well, with the former City of Toronto—and this is going back before amalgamation—City Planning did all of it. City Planning commissioned capital projects, our own infrastructure projects—that’s when the public art program started—and then also the private developer program. This is when we had North York, East York, Scarborough, Etobicoke, Metropolitan Toronto. There were several different layers of governments and agencies. Metro Toronto had its own agency, and the other boroughs were beginning to have their own public art policies. With amalgamation, almost 20 years ago, the roles and responsibilities were divided up, because the City just became so big for one department to be able to manage or handle all of that. It wasn’t possible. So, the culture division is responsible for the art that is on City-owned lands. Planning is responsible for overseeing the private developer program. But from that, culture gets a lot of money from the developers. The developers have three options. One is to commission public art on site on their own property in the public realm, or they can donate the funds to the City and that would then go to the culture division. Culture is not going to commission on the developer’s property. They’re going to find a park or a public area in the vicinity of the development—ideally—and then commission the artwork. If it’s not a big enough sum, they will collect the money until there’s enough there to commission a work of art. Then the third option is a combination of the two. There might be some money that would go to the City and then some that would remain on-site. The culture division runs competitions. They are open, they are transparent, they usually happen in two stages, and they do a public call. With the install, the City oversees this, and hires consultants to help them, because it’s not a large department. City Planning oversees the method within which the developer will commission public art: what kind of competition they have, where will the art be, who is on the jury, who is making decisions, who are the artists, and so on. It’s a paper trail, in a way. They put together a public art plan. It comes to a group called the Toronto Public Art Commission, chaired by David Anselmi, which is a group of volunteers who advise the Council, and they also advise City Planning. When the plan is approved, we report it to the Council, and then they go ahead with the actual commissioning of the work. So there’s two different streams, but we work together very closely, and while the Culture division is responsible for works on capital infrastructure, they don’t always get it. It’s not always applied consistently. They actually get a lot of money through City Planning, that goes directly from the private sector. A significant amount is generated from the private sector that comes to the City.
YW: In that case, if it’s option one and the developer decides to run their own plan, on their own site, and the developer keeps ownership of the work, do they have the option to do direct commissions? In the context of municipalities, commissioning methods are limited by procurement policy or purchasing by-laws. Because of budget size, this usually requires a competitive procurement process, which makes directly working with certain artists not an option—either through direct commissions or curated projects, even though we know their work will work well in the context of the site.
Exactly. You have to be accountable. Everybody does. It doesn’t matter what kind of competition. At the end of the day everybody has to be able to say, “This is how it happened.”
YW: Even with a private developer, do they have to do this?
They don’t have to do it. But they bring forward a public art plan to the City. We review it. It goes to the Commission. We report on it to the Council, and if there’s changes, they will let us know. But the changes might be because an artist that they want to work with isn’t available. Or maybe a jury member isn’t available. But do they have to explain how they do it? Perhaps not, but they might want to. They might have a brochure or they have a plaque. And that’s for the public to enjoy as well. That’s such an important aspect of this as well. That’s really how it works. There’s a lot of accountability. Not to get too much into the bureaucracy, but let’s say they had committed a million dollars, they actually provide financial receipts. They let us know how the money was spent. We have a chart specifying how much you can spend on maintenance, on administration and how much should be held for the actual artwork. That’s what we’re interested in knowing and making sure that it’s there, that it’s not being used up by changing drawings or architecture—all of that. The other aspect you asked me about was: what kind of competition? We encourage the developers to have a competition. They could have a direct commission, and they have. Sometimes it’s worked. We just warned them, I guess you could say: “You know what that means? You’re working with one artist and what happens if it doesn’t work out? You need to have a memorandum of understanding. You need to work with the artists. Have legal agreements, that if you need to say, we can’t do this together, you can get there. I won’t name the artist, but there was a case—probably now about 10 years ago—where the artist sued the developer because the developer did not go ahead with that particular commission and commissioned another artist. And we had to be all involved in that. So they do have the option to do a direct commission, but for the most part it’s a limited competition and it’s probably five or six artists that they’re interested in. Some developers will do an open call, which is great. But you usually know which artists might apply. Or they could encourage artists to apply. So they’ll have a two stage or maybe three stage process: an open call to see what’s out there, just send in your credentials to get a short list together, and then invite those artists to produce proposals and be paid for it. That’s the other part of it that we look at with the developers, of course, how much are the artists getting, what are the fees? It’s very important to oversee that. We help the developer spend their money, in the right way.
YW: On this type of project, does the developer usually hire a third party to run the competition, or run the project as a whole for them?
Always. They will always hire a consultant. We have had a couple developers in the past who are art collectors—and again I won’t say who—but very prominent collectors, who say “I can run this competition”. And within a few days we get a phone call back asking “Who is it that we could hire”? Because it’s a lot of work. It’s administration, it’s understanding what artists are out there, understanding the implications of a contract for an artist—all of those things that happen behind-the-scenes that aren’t as much fun and interesting, but are obviously key to the success of the program. So that’s why we have in our chart a limit on how much a developer could spend on a consultant and running the competitions. If they don’t hire an art consultant, we know that the staff at the City are going to be doing a lot of work, and that’s not our role.
YW: Does the developer have the option to let the City run the project?
No. In the agreements with them, we outline what our expectations are. This includes administration, running competition, etc. Frankly, if a developer asked us to run their competition, we would say “No, we can’t do that. We don’t have the staff or the resources, and why would we be running a competition for something that then would be not on our land? That’s not part of our mandate.” Another city might say “We can help you.” And certainly, I’m not suggesting that they write a public art plan and we report to Council and hear back in three years. Not at all. It’s almost on a daily, weekly, monthly basis that we are hearing from the art consultants. If they run into problems and challenges and updates, we’re there to help them, for sure, but not to run the program.
RH: I had a conversation with the public art consultant Brad Golden and he was talking about how the competition in the market ramped up and that’s why the architecture in the city got more ambitious, let’s say, because there was so much building and they needed to differentiate themselves. That brings up the question: do the developers see that public art as a necessary evil or do they like it? Would they see it as a way to differentiate themselves in the market?
Yes, they do. And if they see it as a necessary evil, they won’t be doing it. Remember, this is an option for them. It’s voluntary until they agree to do it. It’s about density bonusing. It’s about allowing the City to be in a position to secure public benefits, and public art is one of them. It may not be on all projects that are eligible. It’s the developers option. If they want to enter into the field of public art and commission public art, they will say that. If they don’t want to, if they think it’s a necessary evil, as you put it, they’re not going to do it. And frankly, I don’t think it would be much fun for staff either. If they come in and say “we were told we had to do this, how do we get it over with, how do we do it, and so on”. Actually, sometimes it turns around and it’s more positive but for the most part, if they don’t want to do it, they won’t. But if we’ve secured a public art commitment initially, it could be different owners by then. So they may just decide to go for option two and just give the money to the City, and that’s a contribution as well. And I think when you say that some of the buildings, because of the market, are more interesting, and they’re more innovative and creative, absolutely. And so are the architects, and the urban designers and the planners for that project. A lot of them see public art as a real benefit, because it can add that character and signal that this building, this development, is different. Come stay here, come live here, come buy. Rent an office here, or whatever. I think public art not just in Toronto but in the Western world and much further has really taken this on. And it’s not new. It’s been going on for hundreds of years. What public art is, with a plaza and so on. But it has evolved and I think that some developers are more open to it because they see the benefits they see how it has the potential to improve their development. They also get awards, they get acknowledged. There’s been a number of awards recently. Concord Adex got the Arts and Business award from the Toronto Arts Foundation at the Mayor’s lunch just a few weeks ago, which is fantastic. And that’s for all the public that they’ve done in the city. The Toronto Urban Design Awards for Micah Lexier at the Adelaide Centre won the top award, this is two years ago. So that gets their attention as well.
YW: How has Section 37, which allows the developer to add community benefits in exchange for increased density, played a role in the public art program?
Section 37 is part of the planning act and it has formalized the public art program. Whereas, before it came into play—and I think we’re talking probably about 15 years ago or so, in the planning act they included Section 37—and they allowed municipalities to secure public benefits as a trade-off to density and bonuses, so really formalizing that kind of engagement. Public art is mentioned, but it could be many public benefits. And it’s for municipalities to choose to use Section 37. A lot of municipalities don’t use it. They never have and that’s their choice. Before that, we had different kinds of agreements. Basically, they were called collateral agreements, formalizing a commitment from a developer to commission public art. Over the years, these agreements have become more fulsome. The public art provisions are pretty tight. We have a template that we provide to the lawyers and then the lawyers go back and forth and have a look at it and so on. So it’s a tool that we use. It’s not the only tool. We have Urban Design guidelines. We have public realm guidelines. We have secondary plans. We have tertiary plans. We have all kinds of different documents that help to engage, or help to forecast that there’s a potential for public art. And I I think in my introduction here I did mention but, I’m a planner as well as coming to the field with my background in the visual arts and film, because I find it so interesting. So I’m an accredited planner. I’m a combination of the two, which is fantastic, in that it helps me when I’m in conversation with other developers and planners. Because I understand that public art isn’t the first thing that they think about. It’s the first thing I think about. But it’s about trying to find that balance. How they would benefit. If public art can play that role, it’s fantastic.
RH: When I looked at the City’s map of public artworks, which is great, there are many little art works, but does Toronto need some kind of big huge iconic work, like the CN tower? Something that really brands the city, like Anish Kapoor’s Cloud Gate in Chicago?
When you say there’s lots of little works, I mean, there are hundreds of works and some of them are little but I think a lot of them are very large, and really have impact. That map represents what Culture did and what the private developers have done and there are probably about 400 works on that map. It goes right back to the 1850s when donations came to the city and most of those are monuments and memorials and pretty traditional works. Something like Cloud Gate could be fantastic but I did hear Ken Lum’s keynote speech, and he wasn’t being critical of Cloud Gate, but he talked about the attention and how much money it takes to actually maintain that artwork, a million dollars a year, but that remember that Cloud Gate it started with a smaller budget and then it went up and up to about $25 million, and it’s fantastic. It’s a great tourism draw. I went to Millennium Park. because I want to see that and the Plensa that’s what you go to, but Chicago also has fantastic art everywhere else in the city, and architecture too. That’s a city that understands what private can do to improve the public realm. And that’s what Millennium Park is. I’m open to it. If there’s an idea for an iconic work of art. Where it would be, I don’t know. Who it would be by, I don’t know. But if we could ask the private sector to contribute to amassing monies to do this, I think that would be great. But if that means that’s all we’re going to get, then I think that might be a problem. I think you have to have a balance. In planning, if there’s an initiative—like the John Street Corridor or the Bloor Street streetscape—if there is an initiative that we say “This is real. We want to dedicate public art dollars to it” then that’s what we’ll do. And we’ll secure that from the private sector. It comes to the City. It’s held until there is the opportunity to actually do it.
YW: So about half of the works on the map are owned by the private sector?
Yes, and the City is working on expanding that inventory to incorporate existing public art websites from City Planning, Culture, and Transportation, and launching it with the Year of Public Art. This includes all of the street art programs. There are dozens and dozens of murals. That’s under Transportation, which is another really interesting program that the City does. That came about because of the graffiti that was happening. Because of the street art that wasn’t considered art—it was tagging and vandalizing private buildings. And there was an initiative to put together a committee that looked at the so-called graffiti art and an owner would come forward to the City and say, “I like it. I commissioned it. People want it,” and so it would remain. Otherwise, they were being told to remove it by the bylaw officers, by municipal licensing, and if they didn’t remove it, there would be a charge. So they would then sometimes resist and say “I like it.” We haven’t met for a long time, but I’m actually on that group that helped to evaluate whether it was art or not, which was a problem too, because that’s not for me to do, so we would say “Get some support from your neighbour or your local business association. Write a letter and tell them. That started because of all of the tagging. How can we clean up the street—maybe? And out of that came the StreetARToronto (StART) program, approaching some of these artists and saying “Do you want to do this officially, or not?” If you don’t want to do it officially then we won’t work with you. But do you want us to work with you and commission works that you can have that might be on a more permanent basis. We can pay you to do that. We can find walls and areas and you can work with the community and actually install these artworks. And that’s how that program started. That’s going back about a decade and it’s just fantastic—what’s been done and how it enlivens the city.
YW: One last question, you can choose not to answer. You have all these hundreds of works and commissions realized through you, what’s your favourite piece?
No. I can’t do that. I remember somebody else was asked that once and said it’s like asking me who’s your favourite child? We have so many backstories on projects that they might be more about how we got there to have something that’s magnificent, but I don’t think I can do that. When I do slide presentations, I do select ones that are probably the most prominent and maybe the most sophisticated in their presentation. That for me is then congratulating and celebrating whoever commissioned it and the artist, of course, but I do like the ones that people maybe don’t know about and maybe discover. There’s a lot of artworks in the City of Toronto that people don’t even know exists. Maybe you know, we have a sculpture installation by Evan Penny right at Bay and Wellington, right in the downtown core there’s an installation there that he did over 20, 25 year ago, and it’s fabulous. And then there are the big scale ones, like the James Turrell, it’s so fantastic to have one in Toronto. I remember the art consultant was saying that the construction crew were saying “What is this? It’s just light and colour. That’s not art.” It’s really more of not a trick but it’s just something that’s a little more subtle in some ways that I enjoy. But they’re all my children. They’re all my favourites.
Interview conducted by Rosemary Heather and Yan Wu on October 21, 2020 as part of Markham Public Art’s Becoming Public Art: Working Models and Case Studies for Art in Public, a nine-week virtual summit presented by the City of Markham in partnership with ART+PUBLIC UnLtd. Framed by current discussions happening at the intersection of contemporary art, public realm issues and urbanism, the summit features working models and case studies that address the challenges and opportunities faced by those working in this constantly evolving field.
Why Toronto is trying to evict an arts organization on Queen West
March 10, 2020 § Leave a comment
The fate of the Toronto Media Arts Centre on Lisgar hangs in the balance as a civil dispute with the city drags on
BY ROSEMARY HEATHER MARCH 9, 2020

A years-long dispute between the city and a Queen West arts space could soon find a resolution.
Since 2015, the artist-run Toronto Media Arts Centre (TMAC) has been in a fight over its occupancy of a building on Lisgar south of Queen West. The 30,000-square-foot facility is home to four non-profit art organizations focused on media arts: Canadian Filmmakers Distribution Centre (CFMDC) and Charles Street Video – early partners in the project – and video game arts organizations, Dames Making Games and Gamma Space.
TMAC wants legal title to the space. Without it, the organization can’t make full use of the location, which is staffed by volunteers. TMAC members were closely involved in the design of the facility – the build was financed through the city’s Section 37 provision, which allows developers to add density or height to a building in exchange for community benefits – and in 2015 the organization signed an agreement of purchase and sale.
However, within a year, city hall moved to cancel the agreement, citing a lack of confidence in TMAC management, in part due to infighting between the various organizations. (At the time, there were different organizations under the TMAC umbrella.)
In response, TMAC sued the city, and the parties agreed in 2018 that TMAC could take occupancy provided the organization met certain fundraising targets. Whether TMAC succeeded in meeting these targets is being challenged by the city, which asked TMAC to vacate the premises last March.
“It is the city’s position that statements on TMAC’s website regarding the funds it raised do not satisfy the clear targets it agreed to,” Pat Tobin, Toronto’s director of arts and culture services, wrote in a statement to NOW, adding that the organization has failed to demonstrate that it has “the financial capacity to successfully fit up, own and operate the facility over the long-term.”
In response to the city’s demand that TMAC leave the building, TMAC filed a motion against the city in June.
At stake is the future of the purpose-built space, home to a community of artists and makers. TMAC estimates more than 60,000 people have attended workshops and events at the centre since April 2018.
Complicating the situation is the building’s developer, Urbancorp, filing for bankruptcy in 2016, leaving the building unfinished and not up to code. Concrete floors are unpolished and accessibility considerations were never provided. TMAC’s 200-seat cinema space is half-finished, though potentially functional.
“Under the terms of our agreement with the bankruptcy trustee, TMAC can’t use the cinema,” says Lauren Howes, executive director of the CFMDC. “We know we are getting a space loaded with deficiencies, but the benefit TMAC brings to the community is clear.”
The idea to create a hub on West Queen West devoted to film, video, photography and interactive web art dates back to 1994 when a feasibility study for the project was commissioned by six Toronto non-profit arts organizations.
As originally envisioned, it would bring together production, exhibition and distribution services for media-based artists and create a home for a broad cross-section of creators, as well as enabling cost savings for the tenant organizations. Ownership would, in the words of the study, “anticipate the future needs of the organizations.” Today, the phrase reads like a grim foreshadowing of the ongoing fight for arts organizations to find – and hold on to – affordable real estate in 2020.
In late February, the two parties underwent a cross-examination. In civil disputes, judicial mediation provides a non-binding opinion on evidence given by the opposing parties. The finding can then be used as a basis upon which to negotiate a settlement, avoiding the expense of a trial.
Henry Faber, founder of Gamma Space, a co-working space for game and interactive media makers and president of the TMAC board, spoke on behalf of TMAC at the cross-examination.
“We maybe saw a glimmer of hope,” Faber told NOW. “My cross-examination took four hours. But I was asked no questions about TMAC’s ability to deliver benefit to the community.” Who benefits from TMAC’s existence is at the core of the organization’s appeal to the arts community for support in the dispute.
“I spent all day being grilled about the viability of TMAC and then came back to a vibrant event at the space,” Faber said, referring to an all-day symposium about the future of arts management in Toronto. It is one of more than 450 events TMAC has hosted since 2018.
Howes told NOW that TMAC has received over 250 detailed letters of support.
“These are impassioned letters. TMAC is a meaningful organization within the community,” she says. “What we have provided to the community is well beyond what even we envisioned,” she adds.
The city remains unconvinced.
In March 2019, TMAC announced it had secured over $2.5 million in sponsorship. Partners include the gaming giant Ubisoft, and local internet provider Beanfield Metroconnect.
But, according to the city, TMAC agreed in writing to abide by a decision made by an independent adjudicator about whether the more than $2.5 million in fundraising partnerships fulfill agreed-upon targets.
“The city has made repeated efforts to support TMAC in its fundraising efforts, including reducing the financial targets over time, providing extensions to deadlines and consenting to the monitor granting TMAC interim occupancy over part of the space,” says Tobin. “Despite these efforts, the city’s position remains that TMAC has still not raised the funds in the manner it agreed to in the minutes of settlement.
“For almost a year, the city has repeatedly asked TMAC to participate in this independent adjudication process on the basis it agreed to in these minutes of settlement,” he adds. “But TMAC has declined.”
TMAC disputes this assertion.
“We followed the steps outlined by the city [in the adjudication process], but the city instructed the adjudicator to disregard our fundraising, then halted the process entirely,” a spokesperson for TMAC said in a statement. “We filed our motion in June precisely because of the city’s interference with the independent adjudication process. We’ve heard nothing further… about proceeding with the review as agreed.”
Transcripts from last week’s cross-examination will be reviewed by a judicial mediator on April 15.
Cassils turns the act of looking at trans bodies into performance
March 3, 2020 § Leave a comment
While suspended from a harness in a Plexiglas box, the Montreal artist made a big impression – and a mess – at the Gardiner Museum
BY ROSEMARY HEATHER MARCH 2, 2020

How hard is it to scape raw clay off the walls of a plexiglass box while suspended from a harness? Very hard, judging by artist Cassils performance at the city’s Gardiner Museum of Ceramic Art on February 20. For 90-minutes, Cassils swung themselves against the confines of a 10 x 10 box, moving to different levels within the space with the help of a theatrical rigger.
Visitors to the sold-out performance initially could only hear the sounds – grunts and hard breathing – of Cassils at work. Gradually the artist became visible through the clay-smeared apertures they made with their hands. Visibility was the point, with Cassils being the stand-in for the trans body in public consciousness. During the performance, it was easy to see how the audience becomes a stand-in for society at large.
The performance is part of the exhibition RAW, opening on March 5 at the Gardiner. Unfired clay is the medium for work by artists Magdolene Dykstra, Azza El Siddique and Linda Swanson, along with the performance by Cassils, the remnants of which will be on view in the gallery.
In person, Cassils is an imposing presence. They are of modest height (about 5-foot-6) but packed with muscle. Not surprising for someone who has worked as a stunt person and semi-pro boxer, and who runs a personal training business in Los Angeles. Originally from Montreal, Cassils attended California Institute of the Arts and went on to build a powerhouse art career that includes international recognition, gallery representation in New York City and a Guggenheim Fellowship.
NOW spoke with the artist at the Gardiner Museum the day after their performance.
As a viewer, looking in and hoping to see more as your performance progressed, I felt self conscious about the role I was playing as a voyeur. This faded, however, and I became invested in your efforts to remove the clay. Is that because as we see more of you it becomes easier to identify with you as a whole person?
It’s hard for me to be succinct about the thesis of the work since it’s the first time I performed it. I am making the audience’s act of looking performative, not just being an experience of passive enjoyment. They are going through a process of witnessing my struggle. There is a fascination with the trans identity. In the performance, I am both enacting and denying this dynamic.
I hadn’t before done a work where there was a barrier between me and the audience. At first, this cut my energy. But I see this as an expression of trans isolation. We are in this heightened moment of trans visibility. But without systemic change, it puts the trans body at risk. I am a white, middle-class trans person. I don’t represent the most stigmatized trans people. This is one reason why I trouble visibility.
The body obscured in the performance is a form of resistance to examination. But another element of the work is the way it puts you in control, are you doing this to reverse that dynamic?
No. I don’t feel in control. I am attached to a rope, controlled by someone who I can’t control. When I am upside down, there are straps in my harness that… if they press on my femoral artery for too long, I will die. I don’t have a lot of control over my velocity when I am swinging. I also have the responsibility to make a connection with the audience. The burden of representation is on me – the responsibility to make the work, and to connect with my audience.
The performance evokes a number of artists. I really thought about certain works by Yoko Ono, and especially Cy Twombly.
When I’m pulling the clay off the wall, I’m throwing it on the ground to create a platform I can stand on. When it’s high enough, the performance ends. Most of my work is about the indexical. Clay picks up every gesture. In the process of making the platform beneath me, I’m throwing the clay on the ground, and each time you can see the negative space of my fist. Doing this in a ceramics museum, it’s about self making and embodiment. It’s also about making a mess.

In one of your works, Cuts: A Traditional Sculpture, you gained 23 pounds of muscle in 23 weeks. I consulted a fairly technical article on bodybuilding.com about muscle gain. Turns out, gaining one pound of muscle per week is pretty much the optimum a bodybuilder can hope for. Sustained over 23 weeks, it’s an incredible feat. Did you do this bodybuilding to make yourself into an object?
It’s not bodybuilding. I was responding to a 1972 work by Eleanor Antin, Carving: A Traditional Sculpture, in which she crash diets and documents the effect on her body. She documents performing an act of starvation. In 2011, when I did this work, there was very little awareness of trans identity. I identify as trans-masculine, not non-binary. I don’t believe I need to have a double mastectomy to be trans. I am an athlete and have my own personal training business. I think of my body as both an instrument and an image. To do this performance, I had to lay off the weight training and focus on my core flexibility. This is part of the vocabulary I am working with.
Looking at my snapshots of the performance, I was surprised to see how painterly they are. This is a thread that runs through all your work: becoming image. Formally, the work is very strong, very legible. Since all of it revolves around your body, are you making art as a pretext for circulating images of a powerful trans body?
Yes. I was trained as a painter. My work is always a material exploration; a tremendous goal of the work is formal investigation. I use a formal language that isn’t didactic; though it is still complicated, it can’t just be a clean read. Right now, I am working on something about for-profit immigration detention centres. That needs to be didactic.
Nine art exhibitions to be excited about in 2020
January 3, 2020 § Leave a comment
Look out for shows by Laurie Anderson, Michael Snow, Wendy Coburn, Tau Lewis and Nuit Blanche’s move into Etobicoke and North York
BY ROSEMARY HEATHER JANUARY 2, 2020

It’s fitting that a Michael Snow survey exhibition kicks off Toronto’s 2020 art season. The influential Toronto-born multimedia artist’s practice has been a baseline for contemporary art in the city for an incredible 70 years. A marvel of productivity – and longevity – Snow deserves much of the credit for the sheer eclecticism of formats and styles that comprise contemporary art today.
As artists like Snow made increasingly experimental and challenging work, the venues where art is shown also expanded. All-night art event Nuit Blanche, which will take place in North York and Etobicoke for the first time this year, is possible because artists have an ability to consider any venue as suitable for showing work. The annual event is part of a wider push to grow art audiences in the city, which includes a major emphasis on public art in 2021. In the meantime, Torontonians have plenty of mind-expanding options in the coming year. Here are our most-anticipated shows.
Laurie Anderson: To The Moon
Royal Ontario Museum, January 11-25
Like Snow, American avant-garde artist and composer Anderson is another influential name with a long track record of experimentation, to great success, across a range of art forms. This winter, she’s exhibiting a VR artwork made in collaboration with Taiwan’s Hsin-Chien Huang. The 15-minute experience is an immersive trip into outer space, and through the DNA of dinosaurs. Anderson is also performing a sold-out show at Koerner Hall, giving a lecture and screening her film Heart Of A Dog at Hot Docs Cinema during her visit to Toronto.
Listening To Snow: Works By Michael Snow
Art Museum, University of Toronto, January 18-March 21
The sheer scope of 91-year-old Snow’s practice allows galleries to experiment with the presentation of his work like this exhibition, which focuses on the artist’s use of sound. Sound installations, two recordings and a film will create a sonic experience within the space of the gallery. U of T’s Innis Hall will also screen three of Snow’s most celebrated films, including his landmark 1967 short, Wavelength. Snow will also give a solo piano performance in the Justina M. Barnicke Gallery on March 21.
Naufus Ramírez-Figueroa: Asymmetries
The Power Plant, January 25-May 10
Absurdist and mordant humour, often about the civil war his family fled when he was a child, infuses the work of this Guatemalan-Canadian artist. Something of a superstar internationally, this is his first major exhibition in Toronto. It will mostly include works from the past decade, as well as a newly commissioned work based on the cacaxte, a ladder-like tool used in Latin America for carrying objects on one’s back.
Tau Lewis
Oakville Galleries, January 26-March 22
Currently on a tear through the international art world, Toronto-based Lewis is a self-taught prodigy. With a focus on “telling stories about Black identity,” Lewis creates gallery installations in which multiple figures and their accompanying landscapes and backdrops are sculpted from found textiles and other materials.

Photo: Courtesy of the artist/Sean Fenzl
Fatma Bucak and Krista Belle Stewart
Museum of Contemporary Art, May 1-June 2
Part of Contact Photo Fest, this show presents the two artists’ work in dialogue. Kurdish-Turkish artist Bucak shows photos from an ongoing series, still lifes of found objects taken from border landscapes (including Syria-Turkey and U.S.-Mexico). Stewart, a member of the Syilx First Nation and now based in Berlin, presents work about the artist’s investigation into “Indianers” – the notorious German hobbyists who enact a fantasy of Indigeneity each summer.
Fable For Tomorrow: A Survey Of Works By Wendy Coburn
OCAD Onsite Gallery, May 13-October 3
This is a posthumous exhibition of work by the much-loved influential artist and OCAD University professor, who died in 2015. For those introduced to her work through the mind-blowing investigative video Slut Nation: Anatomy Of A Protest – documenting the world’s first SlutWalk protest in 2011 – this survey will provide an excellent chance for Toronto audiences to better understand Coburn’s wide-ranging art practice and activism.
Vector Festival
InterAccess and other venues, July 16-19
This festival, which showcases art about digital technology, takes place online and at venues across the city. For the eighth edition, the festival asks what happens after the gamification of everyday life – how do artists respond to tech’s ability to engineer our behaviour? The deadline for art and curatorial proposals responding to this theme is February 1.
Nuit Blanche
Various venues, October 3
The annual all-night art event keeps getting bigger. Judging by the crowd sizes, its expansion to Scarborough (starting in 2018) has been a huge success. Next up: moves into North York and Etobicoke. The event has also appointed Dr. Julie Nagam as artistic director for the next two years. Nagam is planning a city-wide exhibition focused on Toronto’s ravines and waterways. By connecting exhibits via the city’s historical trade routes, visitors will enjoy an entirely different experience of the city.
Kristiina Lahde: Follow A Curved Line To Completion And You Make A Circle
MKG127, November 21-December 19
A coolly inventive artist, Toronto’s Lahde makes delicate, geometric artworks using everyday items like wooden rulers, envelopes or paper clips. Her upcoming exhibition promises more of her precise minimalistic abstractions, with a focus on circular sculptural works, including circles discovered in found items and the “zeros clipped from advertising flyers.”
Look closer at the Toronto Man sculpture on St. Clair West
December 17, 2019 § Leave a comment
German artist Stephan Balkenhol’s polarizing public art work bears the heavy weight of Toronto’s globalized reality on its sturdy shoulders
BY ROSEMARY HEATHER DECEMBER 17, 2019

It was always going to be controversial. A 25-foot-tall sculpture of a man cradling a condo, standing on multi-coloured cubes. Commissioned by the developer Camrost Felcorp and made by celebrated German artist Stephan Balkenhol, Toronto Man (2019) is one of the city’s newest public artworks. It got a mixed reception when it was unveiled in August.
Balkenhol spends his time living between Meisenthal, France and Karlsruhe, Germany, where he teaches at the Academy of Fine Arts. He’s been a commanding presence on the European art stage for decades, and the work is the sculptor’s first commission in North America.
NOW spoke with Balkenhol by email over a number of weeks this fall. His comments made clear why he thinks his work has sparked dialogue: The sculpture is just a pretext for a conversation Toronto needs to have with itself about rapid development in the city.
Where to find it
Located at 101 St. Clair West and facing the street, the work is part of a three-condo development complex on the site of the former Imperial Oil building. It has provoked consternation ever since it went on display: here is the invasion of the city by developers made literal. Is the artist mocking us? Toronto Man inspired a social media debate, with one Twitter user noting that it represents “a certain class dominance over the society that is supposed to be diverse and multicultural.” It’s a fair summation of the ambivalence the work has prompted.
Why it stands out
Toronto Man is big. At 25 feet in height, it’s not at human scale. When asked how he decided on the size of the work, Balkenhol called the sculpture “big, but not too big.
“The location on the street in front of the high buildings demands a certain height of the sculpture,” he said. “It was meant to be a kind of landmark and should be perceived [by] the people driving on the road as well for those who walk by.”
The rough-hewn surface of Toronto Man is characteristic of Balkenhol’s practice. Using a carving style that dates back to the Middle Ages, he hacks and chisels his figures out of single blocks of wood. Casting the figure in bronze and adding a coat of paint is the artist’s contemporary update on this tradition. At the same time, the rustic look conveys a message about the technique’s medieval origins.
The figure of a standing man wearing slacks and an open collared shirt often recurs in Balkenhol’s work. A Twitter comment noted that Toronto Man has “a Soviet messianic look in his eye.” Is the figure some kind of new New Soviet Man? Or, more likely, John Galt, the libertarian architect hero of Ayn Rand’s 1957 novel Atlas Shrugged? In the book, Rand conflates architecture with a maverick world-building that cares not for the destruction it leaves in its wake. Torontonians could be forgiven for feeling that developers are equally disruptive, given the impact of condo development on city life.
But this reading falls short of seeing the sculpture as a whole. The cubes at the Man’s feet are as important as the building he is holding.
Who exactly is Toronto Man? “This guy in Toronto is a nobody in an everybody – he could be you,” says Balkenhol. “This sculpture invites you to take his place and hold the tower [while] standing on the coloured cubes.”
The cubes are a decisive detail. On a traditional sculpture, the pedestal separates the viewer from the figure it represents. The base of Balkenhol’s work suggests a more playful invitation.
That said, Balkenhol makes clear that seeing the man as a developer is not a misreading.
“I don’t want to illustrate stories but invite people to invent some by looking at my sculptures,” he says. “I do make proposals but don’t tell a story myself up to the end.”
Vice writer Mack Lamoureux couldn’t decide if the work was intended as a celebration of developers’ hold on the city or as an indictment of it. Is the “sculptor shitting on the developers for gentrifying cities by putting up some ‘luxury condos,’” he asks, while conceding “there’s also the real possibility that the developers are in on the joke.”
Balkenhol said in a 2014 interview: “It is the viewer who fills it with meaning. Astonishingly enough, many beholders can hardly bear this ‘openness.’”

The bigger picture
In the last decade, Toronto has been utterly changed by condo development. The skyline is more glossy, the population is bigger and rental prices keep going up. All of this is rolled up into one big, 21st-century package of globalization.
The Yonge + St. Clair BIA is also pushing to raise the profile of the neighbourhood and make it more of a destination. Public art is a big part of the strategy. Other recent projects include an eight-storey mural by Sheffield, UK street artist Phlegm and the pop-up Tunnel of Glam, an 80-foot long tunnel of sequins running to January 6.
More broadly, the city has a policy that requires a percentage of large-scale development projects go toward public art. Until Toronto Man, no public work has been funded through that program while overtly commenting on the city-building phenomenon that made it possible. Toronto Man bears the heavy weight of Toronto’s new lived reality on its sturdy, capable shoulders.
Look Closer is a column in which a writer visits public art or an art exhibition and explores why a specific work jumped out at them. Read more here.