Ephemeral installations: Contemporary Canadian art in the public arena

This dissertation maps the development of experimental public art in Canada since the 1960's. Through an evaluation of relevant local and international discourses, an examination of the uniquely Canadian conditions that inform the practice, and the analysis of several case studies, this study characterizes and contextualizes the shifting roles of both the 'public' and 'art' in contemporary conceptions of public art in Canada. I argue that the most significant development in the field has been the installation of ephemeral and temporary art in public spaces. These transitory artistic interventions are best equipped to respond to contemporary social and political issues and the ever-changing urban conditions that characterize public life. By adapting to the shifting and fragmentary nature of the contemporary city, these challenging ephemeral artworks are able to by-pass the bureaucratic restrictions that plague permanent public art, make a permanent impact on the individual and collective memory of its viewers and stir the discourse and debate required for a healthy and progressive cultural arena in Canada. I examine four case studies that each uniquely addresses the issue of ephemerality in Canadian public art: the sculptural program at Expo 67, public artistic interventions by artist's collectives on the West Coast in the early 1970's, architectural explorations of Melvin Charney and Krzysztof Wodiczko, and the incorporation of new technologies in public art. I conclude that, though not a substitute for monument making, establishing ephemeral art as a prominent part of the urban fabric familiarizes the public with the everyday experience of progressive art, allowing for a more malleable and discursive public art practice that is able to shift and expand into the next millennium.