Yorkville Murals

Saturday, September 14, 2019 - 2:00pm to 5:30pm

Yorkville Murals cordially invites you to an intimate panel on public art. With the expertise of five professionals in the field and moderated by Taiga Lipson from Olga Korper Gallery, you will learn about the different ways in which these panelists are shaping Toronto’s public art scene, and their thoughts about the importance of public art in our city. After the panel, all attendees are invited to a movie screening of “Faces, Places” by JR and Agnes Varda presented by the Hazelton Hotel. This beautiful 90min documentary shares the creators love for unique stories, visual culture, and public art. This screening will be a great way to finish a rich conversation on the subjects discussed.

Date: Saturday September 14th
Time: 2:00pm – 4:00pm
Location: SPACES | 99 Yorkville Ave. (2ND floor)

Movie Screening
Date: Saturday September 14th
Time: 4:00pm – 5:30pm
Location: The Hazelton Hotel | 118 Yorkville Ave.

Panelists: 5
Open spaces: 20

Venue & Address: 
SPACES 99 Yorkville Ave. (2ND floor) and The Hazelton Hotel 118 Yorkville Ave. Toronto, ON
poster with list of participants
figurative image in front of rock face

Redefining Public Art in Toronto

Toronto is poised to become a leader in public art after four decades of significant investment. At the same time, Toronto is at an inflection point; our investment and overall initiative has lagged vis-à-vis peer cities. Toronto will thrive if we renew our commitment to a powerful public art presence for our city and support that commitment with appropriate private and public sector institutional capacity, funding, and collaboration.

Spurred by this dialogue and by the relevance of public art to universities, researchers from OCAD University and the University of Toronto joined together to produce this report, Redefining Public Art in Toronto.

Funding for this project was graciously provided by the Fondation Emmanuelle Gattuso, Leslie Gales, Metropia Developments/Howard Sokolowski, David Moos Art Advisory, Bill Morneau & Nancy McCain Foundation, the University of Toronto, and OnSite Gallery and the Office of the President, OCAD University. We acknowledge the important contribution of Ilana Altman’s research to our conclusions. We thank David Moos for inspiring us to undertake this project.

We also extend a sincere thank you to our informal Advisory Group: Mitchell Cohen, Elsa M. Fancello, Leslie Gales, Emanuelle Gattuso, Claire Hopkinson, Peter Kingstone, Nancy McCain, David Moos, Anthony Sargeant, and Carol Weinbaum.

We thank our readers who gave helpful feedback to our draft: James Booty, Rebecca Carbin, Stuart Keeler, Bruce Kuwabara, Ciara McKeown, Terry Nicholson, and Catherine Dean and her City of Toronto colleagues.

OCAD University Team

  • Dr. Sara Diamond, OCADU President
  • Dr. Marie-Josée Therrien, Associate Professor
  • Ala Roushan, Assistant Professor
  • Francisco Alvarez, Executive & Artistic Director, OCAD U Galleries System
  • Dr. Claire Brunet, Associate Professor
  • Derek Sullivan, Assistant Professor
  • Xenia Benivolski, Alumni/Independent Curator
  • Macy Siu, Graduate Research Assistant
  • Roman Romanov, Undergraduate Research Assistant
  • Jade Lee Hoy, Graduate Research Assistant
  • Robin Buxton-Potts, Coordinator

University of Toronto Team

  • Dr. Daniel Silver, Associate Professor
  • Noga Keidar, PhD Candidate
  • Dr. Analays Alvarez Hernandez, Postdoctoral Fellow
  • Yasmin Koop-Monteiro, Graduate Research Assistant
  • Dr. Mark Cheetham, Advisor Associate Professor


“Redefining Public Art in Toronto” provides a blueprint for the future of public art in Toronto. It makes a number of recommendations:


  • A renewed vision for public art in Toronto
  • Redefine public art
  • Public art everywhere
  • Simplify process
  • Robust funding for public art
  • Build new collaborations
  • Promote public art
  • Integrate public art into all future planning

Executive summary and major recommendations

Toronto is poised to become a leader in public art after four decades of significant investment. At the same time, Toronto is at an inflection point; our investment and overall initiative has lagged vis-à-vis peer cities like Chicago, San Francisco, and Ottawa. Toronto will thrive if we renew our commitment to a powerful public art presence for our city and support that commitment with appropriate private and public sector institutional capacity, funding, and collaboration.

Given the cultural diversity of Toronto, its Indigenous population, ongoing development, population growth, and the strength of its public institutions, Toronto should be known for the reach, diversity, and transformational power of public art in its downtown core and across its neighbourhoods and communities. Toronto is Canada’s largest city and a dynamic hub of economic activity and immigration. It is increasingly a vertical city where the public realm plays a critical role in its social and recreational life. Public art can educate and engage youth, spark tourism, help us to understand ourselves better, and enhance our day-to- day experience of the urban environment. Public art can be a powerful force that serves many constituencies and can unify and challenge us across our cultural identities and neighbourhoods.

While at a turning point, Toronto has benefited from decades of significant investment in public art. City policy has harnessed the unprecedented development boom to make public art a compelling presence in the downtown core and other areas of intense growth. Development is now moving into other neighbourhoods, heralding opportunities for continued developer-driven public art investment outside of the downtown core. The number of public art works within the city borders is at an all-time high (700 public artworks in Toronto from 1967– 2015), and various programs co-exist to deliver large-scale permanent work, festivals, and temporary and ephemeral installations across multiple media and scales.

Yet there are gaps and challenges. The City of Toronto lacks a public art master plan. Outside of intensive development zones, public art is scarce; and in the urban core there are few sites where it is aggregated into larger or interconnected projects. In comparison with other cities’ public art policies and bylaws, Toronto lacks strong policy tools to bring public art to underserved areas. The City of Toronto does not mandate a significant place in its own infrastructure plans and budgets for public art. Moreover, Toronto’s formal public art guidelines have not kept up with emergent global public art practices, which increasingly encourage more open and diverse ideas of what public art is and can be, emphasizing the power of public art for audience and viewer engagement. Even within the limits of its current policy framework, there is much that the City of Toronto could do to expand the scope and vision of public art. For example, public art created through the City’s own capital projects offer opportunities to realize projects beyond sculptural work, thereby redefining the notion of permanence when it comes to public art.

Over the last four decades public art has galvanized neighbourhoods around the world, yet in Toronto it is a relatively untapped tool for engaging with and promoting vibrant and inclusive communities. Inspired by the potential of art in public space, a vigorous dialogue has sprung up from many sources with the goal of making Toronto a leader in global public art practice. Participants seek to evaluate current practice and explore future opportunities to expand the definition, practice, and support for public art in this city. Though this conversation transcends policy, policy is a key part of the puzzle. Spurred by this dialogue and by the relevance of public art to universities, researchers from OCAD University and the University of Toronto joined together to produce this report, Redefining Public Art in Toronto.

While the final chapter provides an in-depth discussion of our conclusions and recommendations, major recommendations are summarized below and structured into immediate actions and midterm actions.

1. A renewed vision for public art in Toronto


  • The City of Toronto must renew its commitment to public art.
  • Establish the goal of international leadership in public art.
  • Establish the goal of public art everywhere and end “public art deserts” outside the downtown core.
  • Launch a one-year public art working group to develop a public art master plan (called for in the 2003 Culture Plan for the Creative City but never implemented). In the short term, establish a timeline and oversee implementation of immediately actionable proposals in this report. Include City of Toronto staff, public art experts, artists, developers, planners, and architects.
  • Augment the public art master plan with an implementation plan and integrate public art planning into other key City planning documents and core values.

2. Redefine public art


  • Change Toronto’s definition of public art to encompass artworks of different typologies, durations, and media, from the temporary and ephemeral to semi-permanent and permanent installations and sculpture, media art, and performances, reflecting best practices in leading cities.
  • Define inclusive eligibility for professional artists, interdisciplinary artists, and teams that include (for instance) artists, designers, architects, landscape artists, and new media artists-engineers.
  • Support local, international, and emerging artists’ projects.
  • Create opportunities for Indigenous and culturally diverse voices.

3. Public art everywhere


  • Build a district-oriented approach into a new Public Art Master Plan while simultaneously fast-tracking new local-area public art plans.
  • Deploy public art as a means to create community hubs and districts and to humanize and aestheticize much-needed infrastructure.
  • Commission public art as a means of social engagement, dialogue, and social interaction, including all City of Toronto neighbourhoods.


  • Integrate public art into specific plans, including those of TOCore, Parks and Recreation, and other Toronto agencies.
  • Aggressively deploy existing policy tools to pool public art contributions collected through Section 37 and City capital projects, hence creating dialogue across projects and spaces.
  • Strengthen policy mechanisms that permit pooling existing and future funds from private and public sources.
  • Establish a centralized and consolidated Public Art Trust Fund from City of Toronto capital projects and new funding sources, capable of targeting any part of the city.
  • Partner with Toronto’s existing Local Arts Services Organizations (LASOs) to build a strong public art presence in all parts of the city.
  • Support purchases of existing works and loans as an economically viable means to expand public art works.

4. Simplify process


  • Create a single Public Art Office that spans Culture and Planning. Ensure that artists are engaged in site and project planning to better guarantee quality, integration, and cost.
  • Create clear policies regarding process to acquire existing works: sustainability and stewardship for loans (lending practices), rentals, and purchases.


  • Create and more proactively implement flexible methods to acquire public art through open calls, invitational competitions (RFQ and RFP), commissions of new works, rentals, loans, and purchases of completed works.

5. Robust funding for public art


  • Implement Toronto City Council recommendation (2003) that the City of Toronto and its agencies apply a “per cent for art” program to all major capital projects, both for new buildings and infrastructure.
  • Create a set-aside to service conservation of City of Toronto art works over the next five years to bring works up to appropriate standards, including conservation and annual reviews by conservators who will issue reports and updates.
  • Mandate that the set-aside from developer-supported projects for maintenance (10 per cent or another agreed-upon amount) support an arms-length fund for conservation and annual reviews by conservators, who will issue reports and updates.


  • Create policy mechanisms that require developers to make public art projects a component of all new building projects in the City of Toronto, according to a clear set of guidelines. We acknowledge that the Ontario Planning Act does not currently enable this approach through Section 37. However, this practice is common in many Canadian, North American, and international cities. Possibilities include recognizing public art as an eligible development charge.
  • Develop new tools for funding public art. Possibilities include setting aside a portion of current billboard taxes for billboard public art, setting aside any new City hotel or vacant property tax, and provincial recognition of public art as an eligible development charge.
  • Create a central Public Art Trust Fund to support significant public art projects. This fund would pool City of Toronto funds with other potential funding sources.
  • Create specific project funds for Indigenous works, screen-based and media works, and works of shorter duration.
  • Create opportunities for artist-run centres and post-secondary institutions to commission public art works that are temporary, created by emerging artists, and/or community-based.
  • Require that all City of Toronto agencies contribute a fixed percentage of
  • their capital budgets towards public art.
  • After the task force completes its work, create a “Friends of Public Art" group to foster collaboration and dialogue regarding public art in the City of Toronto and to build the Public Art Trust Fund.

6. Build new collaborations


  • Collaborate with the Ministry of Canadian Heritage to ensure that there is a public art set-aside for investments in cultural spaces funding in Toronto.


  • Strengthen collaborative programs between professionals, public institutions, the City of Toronto, the Toronto Arts Council, Business Improvement Areas (BIAs), neighbourhood and civic associations, developers, and universities.
  • Promote public art exhibitions in public facilities, such as libraries, police and fire stations, community and civic centres, and municipal and provincial service centres, as well as cultural institutions and universities.
  • Embed public artists in many city agencies, on the model of Edmonton’s "Art of Living" plan, Seattle's Artist-in-Residence program, or Vancouver's Artist-Made Building Parts program.

7. Promote public art


  • Create online interactive tools to promote Toronto’s rich public art holdings by building on Ilana Altman’s The Artful City.
  • Develop ongoing support for expert-led engagement with artworks in partnership with universities, existing public art agencies, public art leaders, and other groups, in collaboration with Tourism Toronto. Community consultations and community involvement in the function, site, and conceptual approach of a given public art project should be woven into both the process of choosing artists and finalizing commissions.

8. Integrate public art into all future planning


  • Integrate public art into all aspects of urban planning such as urban design guidelines. Use public art to enhance the meaning and impact of policy priorities, such as affordable housing, infrastructure developments, or environmental awareness.
  • Review policy every ten years in recognition of the dynamic environment of Toronto.

Approach to research

The interdisciplinary OCAD University and University of Toronto team consisted of public art practitioners, curators, art and architectural historians, design thinkers, urban planners, and cultural sociologists. We deployed a mixed-method approach, beginning with a literature review. We then examined Toronto’s own history through an overview of policy documents, interviews, and a quantitative analysis of the number of public art works produced in Toronto over time to understand where public art is produced and who is producing it. We considered the Canadian and international field of municipal public art policy and practice through a rigorous evaluation of policy documents in order to identify trends and future directions in the field. We undertook a deep comparative case study with Montreal, again using documents and 40 interviews from both cities as part of our qualitative approach.

Public art bylaws, zoning, and funding models vary from province to state and from city to town, as delineated in this document. But a common theme across policy and legal environments is that cities with a strong commitment to public art find a way to realize that commitment, whatever their distinctive policy challenges may be. Measured against the international trends in the field, Toronto has not kept up in the ways that we document.

We are suggesting new elements of programs and strategy as well as the implementation of previously proposed but unrealized ideas. But we are also supportive of much that exists in Toronto, seeing ways to update its currency for now and the future. Although not focused beyond Toronto, our recommendations may bear relevance for other cities in Ontario and beyond.

The report is structured as follows: Chapter 1 provides a synthesis of our methods, while Chapter 2 is a literature review. Chapter 3 examines Toronto’s history and practice through its policy documents and patterns of public art development over time. Chapter 4 develops the international comparison, while Chapter 5 discusses the results of our qualitative research, interviews with key public art stakeholders in Toronto. Chapter 6 briefly reviews ideas from two public forums, the result of collaboration between the Art Gallery of Ontario and OCAD University. Chapter 7 articulates the results of a close comparative case study with Montreal.

Chapter 8 reiterates our recommendations. It was clear that Toronto could adopt best practices from other Canadian cities, such as Ottawa and Montreal, as well as from international leaders such as San Francisco, while continuing to lead in this city’s considerable commitment to public art — not only through ongoing investments by the developer community, but also by expanding the City’s own investment while pursuing other new funding tools.

Title banner for "Redefining Public Art in Toronto" with OCAD and U of T logos.
Monday, June 19, 2017 - 4:45pm
Lab Member: 
Dr. Sara Diamond
Marie-josee Therrien
Ala Roushan
Claire Brunet
Derek Sullivan

OCAD U alumni influencing public art spaces in Toronto

Together, by Jihee Min, a participatory mural installation created for CreativeTO
Monday, April 22, 2019 - 4:30pm

Jihee Min selected for Public Art Mentorship

OCAD University’s alumna Jihee Min is the selected artist mentee for a Public Art Mentorship launched by The Sustainable Thinking and Expression on Public Space (STEPS) Initiative, a charitable organization that works with large scale public artworks, along with Brad Golden + Co.  There were more than 125 applicants from across the country.

The Public Art Mentorship will run until December 2019, giving Jihee Min the opportunity to develop a full understanding of large-scale public artworks while gaining valuable portfolio-building experience. The program is managed under the mentorship of Steve Driscoll, a Canadian artist who has a contemporary approach regarding traditional Canadian landscape.

Jihee Min received a BFA with Honours in Sculpture & Installation from OCAD U in 2005. She uses her own experiences to explore the idea of identity and cultural dislocation. The artist works with a wide range of media such as drawing, performance and photography and has received many grants, awards and scholarships.

Click here to learn more about Jihee Min’s work.

Jennifer Fryer and Rosena Fung develop art panel in St. James Town

OCAD alumni Jennifer Fryer and Rosena Fung have developed an art panel for Tridel Corporation in partnership with The PATCH Project (under the STEPS Initiative) and the students of Art City, a charitable organization that offers after-school art programs to kids residing in St. James Town.

The project titled “Our City, Our Home” celebrates Toronto and the St. James Town’s neighbourhood. With joyful colours, the art panel celebrates the differences and similarities of residents and visitors of the area. The work is part of the St. James Town Cultural Plan,  that uses temporary public art initiatives to engage local residents.

Jennifer Fryer studied Illustration at OCAD U and her work has appeared in prominent news outlets such as the National Post and the Toronto Star. Rosena Fung is also an OCAD U Illustration graduate and her work has been included in major news outlets such as The Globe and Mail and The Boston Globe.

Click here to learn more about Jennifer Fryer and here for Rosena Fung’s work.

Our City, Our Home by Jennifer Fryer, Rosena Fung and the students of Art City, highlights the diversity of St. James Town

Culture Creates Bonds


The Culture Creates Bonds study defines key drivers, scenarios, and conditions that create  natural human bonds, those of cultural activities and practices, in a residential or immediate neighbourhood. Historical and contemporary research indicates that cultural contexts, content, and activities act as mechanisms and factors that create a sense of identity, engagement, and relationships within and between communities. Research explores constraints as well as conditions that lead to successful bonding. The study applies a mixed methods approach that includes a literature review; interviews with stakeholders; an analysis of the data and results from the 2017 Culture Track Canada report, and a series of case studies.

Research Study:


For the Toronto Star feature on this research project, please see here: https://www.thestar.com/news/gta/2018/09/30/sidewalk-labs-launches-research-grants-to-study-human-behaviour.html

Wednesday, March 20, 2019 - 3:00pm
Lab Member: 
Dr. Sara Diamond
Dr Alia Fortune Weston
Marcus A. Gordon

Call for Applications - Nuit Blanche TO 2019 Career Launcher Independent Projects

Career Launcher: Nuit Blanche Toronto 2019 Independent Projects
Friday, December 21, 2018 - 4:30pm to Thursday, February 14, 2019 - 12:45am


Nuit Blanche Toronto and the Centre for Emerging Artists & Designers are inviting recent and upcoming OCAD U graduates from classes of 2017, 2018, and 2019 to apply to Nuit Blanche 2019 Independent Projects Program. One selected Independent Project by OCADU graduates will be awarded with a Career Launcher support valued at $1,500. 

To apply, please visit: https://www.toronto.ca/explore-enjoy/festivals-events/nuit-blanche-toronto/

Deadline: Thursday, February 14, 2019


2019 Theme: Continuum

The city of Toronto and its inhabitants are in a constant state of becoming. With shifting boundaries, new developments and changing perspectives we are invested in the desire for a change in experiences, viewpoints, landscapes, and ideas.

This progression follows many paths through the night of Nuit Blanche. The cycle of creation and destruction that simultaneously depletes and feeds, the elevation of the noble into a place of renown nobility, the challenge of finding inner calm and enlightenment in the midst of it all, underlined by the ever-present renewal of night into day. All are part of the continuum. Is there peace without enduring commotion? Is destruction actually the end of something, or does it mark a new beginning? How can we know there is more to our existence without the contrast and comparison? 

In a world that feels increasingly polarized, there is a critical need for nuanced conversations and intersectional perspectives. From dusk to dawn, Nuit Blanche Toronto plants seeds of change addressing the more compelling and complex parts of our existence, as individuals, as communities and as a city. In this place of potential, process, awakening and evolution exists.

Note for 2019 Applicants

All Independent Project applicants are encouraged to directly reference the 2019 theme, Continuum, in their project descriptions on the application form. The City of Toronto and the Independent Projects Selection Committee will actively adjudicate all applications through the lens of this vision.



  • Must have graduated from OCADU in 2017 or 2018, or will graduate in 2019. 

To be considered for inclusion in the program, all proposed projects must:

  • Be able to stay open all night: Projects must be open for the entire 12 hour period (from 7 p.m. to 7 a.m.)
  • Be free: Projects must be free of charge to the public.
  • Be self-funded
  • Take place in Toronto
  • Take place in a venue or location that is accessible
  • Be produced by a Toronto-based professional artist 

For further details, please visit here


All proposals must be submitted through Independent Projects Application Portal.

Please click here to access to portal



Nuit Blanche Toronto

Nuit Blanche Toronto is an annual Toronto’s free all-night contemporary art event that invites adventurous residents and visitors to take to the streets from sunset to sunrise. Experience Toronto transformed by hundreds of Canadian and international artists. One night only, all night long. 

Venue & Address: 
Toronto, ON
416.977.6000 x 361

Call for Applications - Nuit Blanche TO 2019 Career Launcher Independent Projects

Nuit Blanche Toronto and the Centre for Emerging Artists & Designers are inviting recent and upcoming OCAD U graduates from classes of 2017, 2018, and 2019 to apply to Nuit Blanche 2019 Independent Projects Program. One selected Independent Project by OCADU graduates will be awarded with a Career Launcher support valued at $1,500. 

Ala Roushan

Ala Roushan is a Persian/Canadian curator and Associate Professor at OCAD University. Ala’s research is focused on the polemics of artificial environments, contemporary digital culture, and the public realm. Most recently she was the co-curator/director of SUGAR, a curatorial platform exploring new trajectories for public art informed by site. At SUGAR, Ala curated projects such as a solo exhibition and lecture marathon with artist collective Slavs & Tatars and co-published the book ShapeShift: Sugar, Oil, Gold.

City Hall to review public art report

Dr Sara Diamond seated at a table speaking in City Hall chambers
Thursday, March 1, 2018

President Sara Diamond spoke at Toronto’s Economic Development Committee on March 1 to discuss a report created in collaboration by researchers at OCAD University and the University of Toronto. Published in Fall 2017, Redefining Public Art in Toronto makes a number of recommendations, including updating the city’s current public art policy, drafted in the 1980s, improving funding mechanisms and opening up the definition of “public art” to include digital and performance art, while integrating public art into all future planning.

“Public art increases quality of life for residents, it improves the value of the public realm. There are public art deserts outside of the dense downtown zones, and art must have a presence throughout Toronto,” said President Diamond.

The committee enthusiastically agreed that the research be reviewed by two city divisions: Economic Development & Culture, in collaboration with City Planning. City staff will report back with any recommendations and steps required to improve Toronto’s public art policies and practices. 


Report envisions the future of public art in Toronto

Dr. Sara Diamond at podium next to screen with presentation
Tuesday, October 24, 2017

Sara Diamond and a team of researchers from OCAD University and the University of Toronto have collaborated on a blueprint to make Toronto a world leader in public art projects. Incorporating interviews with artists, real estate developers, architects and other key stakeholders, Redefining Public Art in Toronto examines local and international public art policies. The researchers examined the city’s history of public art projects dating from 1967 to 2015. The report was presented at a launch event on Oct. 23 at OCAD U's Onsite Gallery. 

“Toronto is at a threshold as a growing and dynamic city. Public art can and should be front and centre to its inhabitants, its visitors and its identity,” says Diamond, “It’s not just about beautifying a neighbourhood; public art creates community hubs, spurs social engagement and promotes vibrant and inclusive communities.”

The report makes a number of recommendations including updating the public art policy drafted in the 1980s, improving funding mechanisms and opening up the definition of “public art” to include digital and performance art, while integrating public art into all future planning.

"Bringing together researchers across disciplines and universities, our report catalogs Toronto's many achievements in the field of public art, while also identifying how it could more fully realize its great potential,” says Daniel Silver, Associate Professor, Faculty of Sociology, University of Toronto. “We hope to inspire policy-makers, civic leaders, and community members to seize the moment and come together to re-invigorate Toronto's public art policies.”

The report is available for download online.

Losing Site

Losing Site Graphic Image
Wednesday, March 1, 2017 - 7:00pm to 9:00pm

Losing Site: Public Art Space-Place-Site within Toronto’s Rapidly Developing Urban Geography

OCAD U & AGO Public Art Forum


Session 1: Wednesday March 1, 2017, 7:00pm 100 McCaul Auditorium, OCAD University

Session 2: Tuesday March 7, 2017, 7:00pm Jackman Hall, AGO


OCAD University and Art Gallery of Ontario host two consecutive public forums to discuss the opportunities and implications of Toronto’s construction boom on public art by collectively imagining new social and economic models that support long term ambitions for a diversified and unique approach to art within public spaces.


These discussions will frame new imaginaries and possible trajectories to sustain ‘sites’ that allow for the existence of art and public art spaces within the downtown core. We seek visions that can help articulate policies towards maintaining diversity and texture in Toronto’s rapidly changing urban program. 

Inviting a creative and engaged circle to collectively imagine, the panel will survey new social and economic models that could support long term ambitions for public art space and site in Toronto.

The questions and discussions are informed by the Redefining Public Art collaborative research group from OCAD University & University of Toronto. 


Session 1: Wednesday March 1, 2017, 7:00pm 100 McCaul Auditorium, OCAD University

Session 1 will explore various perspectives, visions and criteria of value for the future of public art in Toronto, considering relevance, inclusivity, site specificity and cultural difference and observing notions of site in relation to colonialism, immigration, and generational differences. What will the public art landscape in Toronto look like in 20 years, what kind of narrative will we choose to be our legacy? What does sustained public engagement really look like?  

Introduction President Sara Diamond

Overview of OCAD U/ UofT Public Art Research Prof. Marie-Josee Therrien & Prof. Dan Silver  


1. Rebecca Carbin

2. Aisha Sasha John

3. Kari Cwynar

4. Catherine Dean

5. Ben Mills

Moderated by Jacob Zimmer 

Organized by Ala Roushan & Xenia Benivolski



Session 2: Tuesday March 7, 2017, 7:00pm Jackman Hall, AGO

Session 2 will draw conclusions from the first session with a focused panel articulating possible trajectories moving forth. This session will address how we can mobilize some of the creative and socially conscious ambitions for the future of Toronto’s public art. Looking to the future, strategies will be discussed to make meaningful change in policy and practice that complement the City’s growth in diversity and geography, addressing the new mediums and conversations taking place. Together we will discuss where Toronto goes next.

Introduction President Sara Diamond

Overview of The Artful City Ilana Altman



Moderated by Jacob Zimmer 

Organized by Ala Roushan & Xenia Benivolski


Special thank you to Paola Poletto and Kathleen Mclean for their support.

Venue & Address: 
OCAD University100 McCaul St Auditorium