U of L alumnus talks public art at Art Now
By Ry Clarke - Lethbridge Herald Local Journalism Initiative Reporter on January 26, 2023.
When it comes to art we think of galleries and exhibits, picturing art within those four framed walls, but what about the art we see out of these traditional means, in our public eye?The University of Lethbridge invited artist Collin Zipp to speak during its Art Now program recently, discussing his work and time as a public artist.
The multidisciplinary artist spoke on this type of artwork and the process of being an artist that uses mediums like video and photography and how they present in the public eye.
“It is some of my favourite art. It is always, generally, free to get to experience, it is fun when you happen upon it, and also I found during the pandemic it never slowed down. You see more and more public art calls happening throughout the lockdowns, people weren’t allowed to go into places, so people were pushed outside where public art is,” said Zipp. “Public art had this little renaissance of being able to speak to communities. I think it really forced people who work with public art at the time to rethink why they are putting things where they are. Not just making pop art, but making sculptures or murals that spoke to something for a retason.”
Coming all the way from Toronto, Zipp is the programs manager at Steps Public Art. “We are seeing more and more organizations and municipalities approach us at Steps and say we want to do this with this equity deserving group,” said Zipp.
Zipp is also a University of Lethbridge Alumni, obtaining his MFA from the Faculty of Fine Arts in 2011.
Zipp was also selected as the artist to design and construct the Lethbridge Sports Hall of Fame permanent location back in April 2022.
“There are tons of opportunity for public art. Through these different movements, and just looking at how equity is being looked at throughout the country, more and more people are starting to want to include equity deserving artists within the planning process of these pieces, and I am seeing more of it being done, not just as lip service, but as meaningful opportunities for change.” 2
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