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Thread: Stand back Blue Ring, there is a new piece of public art in town!

  1. #61
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    Quote Originally Posted by spikerS View Post
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    Honestly, I *THINK* I am ok with this one. When I first saw this, I immediately thought of death rituals and the importance of the beliefs of the Natives that used to roam the praries. This totally reminds me of a funeral stand or whatever they are called.

    Nomadic tribes in the Great Plains region either buried their dead, if the ground was soft, or left them on tree platforms or on scaffolds, and this totally remindes me of that. To hear that this was to pay tribute to the Blackfoot makes total sense to me.



    I've been doing some research into this and they are definitely not burial stands and are not intended to look like them.

    Calgary herald discusses what they are supposed to represent. They are supposed to represent the 4 seasons, 4 directions, 4 elements and 4 stages of life in honour of the aboriginal heritage in the region (Blackfoot).

    Anyone that has taken low level social studies knows there is absolutely nothing about those meanings that is unique to or representative of the Blackfoot culture as echoed by a community member in the article. I also can not find any indication that the Blackfoot built "sentinels". All around a major fail at accomplishing its goal:

    http://calgaryherald.com/news/local-...canada-highway
    Last edited by J-hop; 08-05-2017 at 08:24 AM.

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    Quote Originally Posted by firebane View Post
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    I heard about that stupid key art project and reminds me of the key bridge in Paris
    The locks in Paris symbolizes unbreakable love. The keys on 17th is quite a fitting project for the red mile haha.
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    For future art projects (and there will be many), I would like to see proposals submitted and allow the public to vote. There are so many easy and inexpensive ways to conduct online poles.

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    My opinion on this new art installation varies depending on how much cheap beer I have had. Considering the beers are around a dollar thirty a can, the budget for this thing could keep me pretty drunk.
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    Quote Originally Posted by J-hop View Post
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    I've been doing some research into this and they are definitely not burial stands and are not intended to look like them.

    Calgary herald discusses what they are supposed to represent. They are supposed to represent the 4 seasons, 4 directions, 4 elements and 4 stages of life in honour of the aboriginal heritage in the region (Blackfoot).

    Anyone that has taken low level social studies knows there is absolutely nothing about those meanings that is unique to or representative of the Blackfoot culture as echoed by a community member in the article. I also can not find any indication that the Blackfoot built "sentinels". All around a major fail at accomplishing its goal:

    http://calgaryherald.com/news/local-...canada-highway
    Well, I stand corrected I guess. I made my assumptions before the explanation, and I thought for sure I was right, especially when I heard the refrence to the Blackfoot. Would have made so much more sense. Now I can join the rank and file and say WTF?
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    Local artists weigh in on the public art talk.

    https://www.facebook.com/incandescen...26436254081398

    The first question is easy to address: public art costs so much because itís treated as infrastructure. Even the ďblue ring,Ē often considered Calgaryís most infamous artwork, was subject to the intense scrutiny of being required to embody both a standard streetlight fixture and a public sculpture: http://ingesidee.de/project.php?dvop...lang=en&id=113. It was REQUIRED to serve the function of both, and it HAD to be embedded in a bridge (which Iím sure is the main reason for the seemingly high price). By comparison, Cloud Gate by Anish Kapoor in Chicago (perhaps one of the most successful public artworks in the world) has an annual CLEANING budget of $35-50,000 USD for buffing and maintenance alone. http://anishkapoor.com/210/cloud-gate
    Again helps explain why Corten steel is so popular. Very little cleaning and maintenance costs required. Such costs come out of the same funding model.

    Whatís more, thereís a misconception that Calgary is pouring gold doubloons into the pockets of some wealthy New York City artist. Trust me, the artists are pocketing very little of this ca$h. Most of the money is going to fabricators, project management, engineering, installation, contractors, specialist fees, heavy equipment, raw materials, rigorous testing, and any number of invisible substructures intended for our safety. There is a net infusion back into local economies. In fact, the bulk of most public art money is spent in our city, on the workers who help build and install these projects. Itís pretty big bang for buck!
    I have a feeling this kind of explanation will see $500,000 both being an unacceptably high amount to spend as well as so insignificant to the relevant industries it isn't even worth talking about as a benefit.

    There is an argument to be made for favouring local talent (CanCon!) but we need to acknowledge that weíre living in a globalized arts community, and itís important that there be space for international voices and expertise in Calgary. Reciprocally, Calgarian voices should be allowed to occupy space in other cities: itís a cultural exchange. But despite Calgary Public Artís attempts at reaching out to local artists (both through Calls for Submissions and educations programs like Public Art 101), in relation to the large number of practicing artists in our city, there are very few local artists interested in, or able to, make the leap from making small-scale works to large-scale public art commissions without many steps in between. Perhaps theyíre turned off by the bureaucracy. Perhaps they value their freedom. Perhaps they donít want to be slayed by the press (cough, Rick Bell, cough). Perhaps their chosen medium doesnít translate into public art. But more likely, the leap is just so big itís intimidating.
    The calls for public votes certainly wouldn't be appealing, especially since the only way you wouldn't waste money is to ask artists to work on spec before openly rejecting their ideas. Not going to get too many people jumping at that opportunity.

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    Cultural exchange is great but that kind of ignores the fact that people value their culture. Funds for cultural projects should celebrate not dilute a culture shouldn't they?

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    ^exactly

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    honestly reminds me of a 9/11 memorial. I dont think in highlights any of the features of our city.
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    Quote Originally Posted by kertejud2 View Post
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    do people support the idea of the government paying two people for five years for no other reason than to use up a budget item?
    mincome for all!

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    Intentionally went out of my way to drive by this yesterday. I thought it wasn't as bad in person as the photos would lead me to believe. The view from street level (we were under the bridge, westbound) is slightly different too, so that helped (But maybe it's just because the whole area is still a construction zone so it fits in place haha. Mind you Calgary is in construction constantly, so maybe this is just forward thinking?).

    The gf, with no prior bias, gave it a "it looks kind of cool" rating.
    Still not my favourite, but not one that I'll overly complain about in the city.
    Signatures are dumb..

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    This legitimately looks like the steel girders that they used for the new overpass at Macleod/22X. Not even joking.

    I drove by it a few nights ago, and it looks like an unfinished construction project. Not quite sure how 'artistic' that is.

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    Now it looks like at least one city council member is trying to freeze the public art fund "after the latest controversial installation".
    http://calgaryherald.com/news/local-...c-arts-funding

    Flashbacks to Calgary’s infamous Giant Blue Ring are troubling a city councillor who hopes to put a freeze on public art funding after the latest controversial installation — the $500,000 Bowfort Towers.

    Coun. Sean Chu plans to put forth the motion when council reconvenes in September. He said the temporary halt to funding would be a practical measure to help ensure Calgarians survive in a struggling economy.

    “If someone lost their job, do you think they’re going to buy some expensive art to put on the wall? No. They’re going to buy food first,” said Chu. “We have to listen to people. It’s our job.”

    Last week, the Bowfort Road overpass art project, a quartet of steel poles holding Rundle stone aloft, was unveiled along the Trans-Canada Highway at Canada Olympic Park. The project, which enlisted New York artist Del Geist, sparked public outrage with criticism over its price tag, location and perceived lack of consultation with Indigenous people.

    Chu agreed to put forward the motion after talking with Colin Craig, interim Alberta director of the Canadian Taxpayers Federation, on Friday.

    “It’s certainly inappropriate for the city to be spending millions on public art when Calgary is leading the nation in unemployment,” said Craig. “Certainly, the price tag for the exhibit is raising a lot of eyebrows — and for good reason.”

    Craig said a better alternative would be pushing public art projects from the public to the private sector — financed by corporate sponsorships or donations.

    A similar motion, to temporarily slash public arts funding, was put forward by Coun. Peter Demong in February 2015. Chu supported the proposal two years ago, but it didn’t garner enough support to move forward.

    Chu hopes council members rethink their position this time around.

    However, some of Chu’s colleagues are calling for a less abrupt approach.

    Coun. Gian-Carlo Carra thinks a discussion on whether public art should be funded is “unfortunate” considering public art is proven to make a city more desirable.

    “I, personally, am a supporter of our public art process and the approved approach we took following the outrage surrounding the Giant Blue Ring,” said Carra.

    Although he said he doesn’t particularly like the Bowfort Towers, he said people are “overly outraged.”

    “Let’s not throw the baby out with the bath water,” he said.

    In 2014, the city tweaked its public art policy.

    One of the biggest changes was made to how it’s funded. Under the new policy, one per cent of any large infrastructure project under $50 million goes to public art, while projects over $50 million see half of one per cent of their budget put toward esthetics. Council also brought in a $4 million cap for public art.

    Previously, one per cent of the budget for all projects over $1 million went toward public art.

    The amendments to the policy also added two new members to the selection committee, looked to increase local artist involvement and focused on lifting restrictions that placed art in less-favourable locations.

    Despite the focus on local talent, two artists from New York were chosen to create the Bowfort piece. They were able to apply for the open competition because of international trade agreements.

    Over the past few days, many Calgarians have turned to social media to voice their anger at the city’s choice and condemned the decision to push money outside of the province. Carra said this is unreasonable, considering 80 per cent of the $500,000 went to Calgary construction firms.

    Unlike Chu, he isn’t concerned with funding.

    He thinks the policy should only change if it becomes clear it appropriated Blackfoot culture.

    At the unveiling of the Bowfort Towers on Thursday, Sarah Iley, manager of arts and culture for Calgary, said the piece is meant to align with Blackfoot symbolism. Since its unveiling, many people have commented on the lack of consultation with Indigenous peoples and condemned the city for not hiring a local Blackfoot artist.

    Although Chu is supporting a freeze on public arts funding, he said more public input is necessary if the policy remains. Rather than several people making the final decision, he thinks residents should be able to vote for their favourite proposals online — making the process more democratic and less bureaucratic.
    Originally posted by rage2
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    Corrupt process, the idiots who select the "artists" seem to always go for out of country talent, been foreign art is more classy I guess.... this POS is supposed to represent the Blackfoot culture, yet they were never consulted lmao, like others have said it looks like a burial site...
    Last edited by SCHIDER23; 08-08-2017 at 04:58 PM.

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    This 'artist' really likes rocks on sticks...



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    I havent seen this in person but i already know i would rather see this than the blue ring. Watched the news yesterday and there was a local artist who was part of the Blackfoot tribe and he submitted a piece but missed the deadline, you would figure a piece with so much meaning towards the Blackfoot tribe they wouldve involved them lol

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    Tsuut'ina Nation wants to see a redesign

    Tsuut'ina Nation wants to see a redesign/
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    Quote Originally Posted by SCHIDER23 View Post
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    Corrupt process, the idiots who select the "artists" seem to always go for out of country talent, been foreign art is more classy I guess.... this POS is supposed to represent the Blackfoot culture, yet they were never consulted lmao, like others have said it looks like a burial site...
    They legally have to, as part of a trade agreement. If they choose local artists over competing offers from abroad, they would get sued.

    Quote Originally Posted by schurchill39 View Post
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    Tsuut'ina Nation wants to see a redesign

    Tsuut'ina Nation wants to see a redesign/
    If they're going to pony up the money, then I say let them. Otherwise let's not waste anymore money on this elevated trash pile (except when it's time to send it to the scrap yard)

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    Quote Originally Posted by Tik-Tok View Post
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    They legally have to, as part of a trade agreement. If they choose local artists over competing offers from abroad, they would get sued.
    I thought i saw on the news that they have to source it out if it gets over a certain price point.

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