![]() ![]() The institutionalised space is exclusionary. Speaking about the nature of the ‘white cube’ space, the most popular euphemism for the sanitised gallery environment, and taking from the notion of public space put forth by the Situationist International, de Vries says, “The white cube of a museum or gallery is often presented as a space that is public but in reality, this is rarely the case. By putting up a “tag” you are trying to own a piece of the public space by marking its territory,” says de Vries.”Ĭolour Rain III, 2019, Mixed media on canvas Image: Courtesy of Rutger de Vries In street art the public space is seen as an exhibition space, using architectural elements of the urban surroundings as a canvas or gallery. To me there is a difference between street art and graffiti. “I would describe my work as post- graffiti art. Over here, the distinction between the occupation, moulding of and response to public space through street art stands apart from the honing of the graffiti gesture that is ultimately about claiming space, speaking to a sense of anti-establishment disobedience in the face of elitist structures that are upheld through the gallery system and its international network. In conversation with STIR, de Vries reveals that he characterises his work as ‘post-graffiti’ art, and not ‘post-street’ art. The German artist’s works span across paintings and ‘installative’ deconstructions of paintings, where pigment takes precedence over form. While Rothko’s canvases spoke to a certain imbibed calm and exploration of palette and form, de Vries’ works don’t limit themselves to purely aesthetic explorations, but instead seek to engage in a critique of form and institution, by challenging the boundaries presented by the gallery space. His paintings that often take the shape of installations, are reminiscent of the bright canvases and colour palettes that speak to the legacy of pop art, hand in hand with the abstract expressionism of Mark Rothko’s canvases. ![]() “The more we can do that across all the different neighborhoods, the better.Rutger de Vries' practice has been described as ‘post-street’ art, in reference to the expanded nature of his grand, colourful paintings that move beyond the confines of the canvas, especially with the use of tools associated with graffiti culture. “I look forward to bringing new life to public spaces throughout the city and leaving a lasting impression on residents and visitors alike,” she said. Quiñonez said she was thrilled at the opportunity to help bring murals that “reflect the diverse and vibrant culture of Boston” to neighborhoods across the city. The city selected Street Theory from a field of 10 as part of a competitive bidding process based on its proposal quality, experience, qualifications, and diversity and inclusion plan. The agency seeks to advance the work and careers of artists of color through mentorship and cross-sector collaborations. “Street Theory can help bring that wraparound support to the project.”įounded by Liza Quiñonez, Street Theory has already helped bring numerous murals to the city, including Mel Mandel’s “Youth Lead the Change: Rise Up from Your Roots” in Dorchester and “Doujans D’al Hirhoal,” by Cyrille Conan in Brighton. “We want to make sure that there are pathways for emerging artists who have maybe not done a wall before,” she said. She added that although she anticipated artists from across the country will participate, the effort will “prioritize local artists.” “This contract feels like a really significant step in being able to work with someone over multiple years, providing technical and production support to artists who are going to really beautify the city,” she said. Kara Elliott-Ortega, the city’s chief of arts and culture, said she was looking forward to working with Street Theory “to transform neighborhoods across the city through more murals.” There are also plans for public artwork collaborations with the Boston Public Library, Boston Public Schools, and Boston Housing Authority, among others. As part of the new, more expansive contract, the firm will help identify potential new mural sites and facilitate the artist selection process, while also spearheading community engagement.Īmong the first projects Street Theory will oversee are a trio of basketball court murals at Malcolm X Park and a mural at the Shelburne community center in Roxbury. Street Theory, a creative agency based in Brooklyn, N.Y., has already worked extensively in Boston, supporting some 11 murals during a previous stint consulting with the city.
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