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Does public art have to be permanent?
I look forward to the day when I can cite examples of contemporary public art in downtown Victoria. At present no work comes to mind. Sure there are various decorative and figurative pieces that take a three-dimensional form around this town, but they do not hold their ground next to any international examples of public contemporary sculptures in terms of pulling together material, form and concept in a way that might address some artistic ideas relating to the 21st century. Mention contemporary public art in this city and people immediately refer to the sculpture by Mowry Baden's Pavillon, Rock and Shell outside the Save-On Foods Arena. This work however is not exactly 'contemporary'. It is actually an example of a late modernist sculpture with historical roots in the 1960's following the tradition of artists such as David Smith or minimalist sculptor Tony Smith. While I do appreciate the merits of this work and its focus on material, form and its relationship to the human body, I do tire of this work being representative of all public art in Victoria. We need to have more to talk about.
Having served on a public art jury for the City of Victoria, I do understand that the demands placed on public art are so high that it becomes almost impossible for any work to fulfill the criteria. The work has to be structurally sound, withstand sun, rain, pollution and other environmental considerations; it has to not be a danger, aka 'liability' (people can't be tempted to climb on it and potentially fall off) and it also has to appeal to a mass audience. That said the work by Tyler Hodgins' Sleeping Bag (see image above) was an example of the possibilities of exciting contemporary, yet temporary, public art. Hodgins placed a series of ice sculptures on benches around the city as part of an exhibition at the Art Gallery of Greater Victoria called 'Throw Down'. Victoria artist Charles Campbell also created some temporary sculptures in Victoria (and in other cities) as part of his Transporter exhibition at Open Space. So when I speak of no contemporary public art in downtown Victoria, I am specifically referring to work of a more permanent nature. Maybe the solution for Victoria and other cities is to forget about the work having to be so permanent and that would allow for more risk taking and adventurous curatorial leaps on the part of the people who make the final decisions regarding public art. In London's Trafalgar Square there is a something called the Fourth Plinth. This has become a place for the temporary exhibition of contemporary sculpture. Because it is only 'temporary' everybody is willing to take a little more chances. Hahn/Cock (2013) by German sculptor Katharina Fritsch is the latest example of contemporary sculpture commissioned for the fourth plinth. A recent article in the Guardian includes a video of the 'unveiling' of this work: Hahn/Cock. Some readers might be familiar with Kathraina Fristsch Rat King installation. I am amazed at how Fritsch uses the power of scale and a monochrome palette to create work that is majestic, humourous and simultaneously poignant and dark. You want to laugh at the sight of these monumental animals but somehow you can't because you quickly realize that they are stand-ins for us in all our feebleness and not-so-humble humanity. While the 15 foot Hahn/Cock will only be around 18 months, it will create a sense of wonder and curiosity for thousands of onlookers who are lucky enough to pass through London's most popular square during this short time. 
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