Mass sculptures are speckled all across York’s campus and students are guaranteed to encounter them in their daily campus navigations, whether realized or not. However, despite frequent encounters, these sculptures seem to remain a mystery to most. Where do they come from? What are the stories behind them?
For York, acquiring large-scale works of art by prominent sculptors began during the early 1970s, through purchases and donations. Many of these sculptures came at a time when York committed to beautifying the campus. Allyson Adley, collections and education assistant of Art Gallery of York University explains the goal to “make the campus feel more inviting, encourage students to spend more time on campus, and find ways to discourage the notion of the campus as a commuter campus. That’s the reputation York has and continues to wrestle with.”
Perhaps one of the most visible pieces, marked by its trickling water, is Fontana d’Italia (fountain of Italy), in front of Vari Hall, facing the GO bus stops. It was sculpted by acclaimed Italian artist, Enzo Cucchi, who gifted it to York after spending four years as an artist-in-residence, then unveiled it in 1993.
This refreshing design from standard fountains was created to recapture and recreate the role of the fountain in an Italian town. Adley describes the historic role of fountains in Italy as a gathering point, a point where all of the townspeople would come together, and is a central part of the town square.
“So that was the hope in creating that work, to create a physical marker and artwork that would invite that kind of congregation,” says Adley.
The water emerges from the crevice in the face of the bronze columns, dribbles down the trunk, and is then caught in the granite saucer below.
This occurrence is supposed to be allegorical about the history of sculpture, according to Adley. “In Cucchi’s opinion, sculpture originates with the fountain and the vessel. So you have the vessel-like forms that gather the water that are at the base and then you have the fountain as well, so he managed to gather these forms to tell a story of where sculptures comes from, kind of a metaphoric narrative.”
The two columns of Fontana d’Italia are intentional and purposeful, according to Adley. “It can be looked at as Jesus and Mary or if you want to look at it in terms of pre-Christian iconography, mother and child.”
There’s no doubt you’ve spotted the colourful Rainbow Piece in the pool of Scott Library, which is visible as you ascend the escalator from the first to the second floor. Hugh LeRoy, a former associate professor of the Faculty of Fine Arts, designed the sculpture, which was later purchased by York in 1972. Rainbow Piece seems somewhat of an illusion as its appearance changes depending on the weather. Its tubular arcs are reflected across the water’s surface, shifting with the movement of the sun and the wind. On days when water is absent, the rainbow invokes a magic, as the colourful curves emerge from the concrete.
Another notable piece is Sticky Wicket, the vibrant orange piece of cables and welded, painted steel located to the north of the Health, Nursing and Environmental Studies Building. The piece was executed by American artist, Mark di Suvero during the 10th International Sculpture Conference at York in 1978. The five-day event gathered art historians, critics, and artists from all over the world. Adley testifies that the sculpture was conceptualized on spot. “He made that on-site. In other words, people attending that sculpture symposium could actually observe and see his process,” she says. “The campus becomes his studio in a sense.”
The piece was donated to York by the artist, the following year. If you look closely, you will find hooks on the structure, evidence of the swing once attached, which has since been removed due to safety concerns. Perhaps this sculpture seems eerily familiar? Two other sculptures by di Suvero, stand in Toronto, mirroring the orange steel of Sticky Wicket. Flower Power makes its home near Spadina Avenue and No Shoes inhabits West Don Lands.
Public art serves multiple purposes, whether it is fostering, memorializing, or commenting on culture, events, ideas or people. The AGYU website states, “Creating public spaces that are transformative, that can stimulate the imagination by speaking to many diverse uses and users, is a guiding principle for the development of the York University sculpture collection.”
The standing of these structures seems to juxtapose the natural and constructed landscapes on campus grounds. It sparks dialogue of the need to be intentional about the preservation of public art in the face of an industrializing world, and particularly, a developing campus.
If you’re interested in learning more about these structures, you can book a guided walking tour by contacting AGYU at agyu@yorku.ca. Or complete a self-guided tour using AGYU’s guide found on their website. Enjoy and happy campus sculpture musing.
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Alexia Lawson, Arts Editor
Featured images courtesy of Michael Zusev
