Boston Murals featured on Boston.Com

The Boston Globe and caught on to my mural project and asked me if I was interested in highlighting a few of the best ones. Click here to check out the slideshow or head over to the Boston Murals Tumblr page where you can see the latest murals I’ve uploaded. 

Sticks and Stones May Break My Bones, But Destroying Art Will Always Hurt Me

In reference to his site specific work Tilted Arc in New York City, Minimalist artist Richard Serra stated in an interview with The New York Times that “to remove the work is to destroy the work.[1]” In the early eighties, Tilted Arc was at the center of a controversy that eventually led the government to dismantle and tank it.

Tilted Arc, Richard Serra, 1981, sculpture, steel, New York City (destroyed). Photo © 1985 David Aschkenas.

This past summer, I caught Richard Serra Drawing: A Retrospective at the Metropolitan Museum of Art and was struck by one drawing in particular titled “The United States Government Destroys Art (1989).” The drawing, part of the Eli and Edythe L. Broad Collection, is made using paintstick on two sheets of paper arranged to form a slit at the center.

RICHARD SERRA. The United States Government Destroys Art, 1989. Paintstick on two sheets of paper; 113 x 215 ¼ inches. Los Angeles County Museum of Art.

Like much of Serra’s drawings, when the drawing above is experienced in person and up-close, it looms over the viewer, it makes us aware of ourselves and of the space we’re in.  Because these drawings are different shades of black with varying degrees of textures, they provoke an intense palpable feeling that lingers on forever.

From left, works from 1989: “The United States Courts Are Partial to the Government,” “No Mandatory Patriotism” (center) and “The United States Government Destroys Art.” Ozier Muhammad/The New York Times. Installation view at the Metropolitan Museum of Art, New York.

Just like with Serra’s Tilted Arc, a similar battle has been unfolding in Downtown Hartford, Connecticut since the late seventies. Steps away from the Wadsworth Athenaeum, is Carl Andre’s Field Stone Sculpture (1977), another site-specific “earthwork” threatened with insensitive changes like the removal and the rearranging of some of its components.

Aerial photo of Carl Andre's Stone Field Sculpture (1977) in Hartford, CT

The sculpture comprises of 36 boulders arranged on a triangular parcel of land bordered by Main Street, Gold Street and the Ancient Burying Grounds. The stones are all local and are positioned on the ground without looking like much intervention happened. This is the point of many of the works born out of the Environmental and Site-Specific Art movement that emerged in the 1960’s. The works of this movement were made accessible to everyone and often encouraged public interaction. Field Stone Sculpture is accessible by everyone and encourages user interaction.

Carl Andre's Stone Field Sculpture (1977) in Hartford, CT. Photo Credit: Anulfo Baez

Field Stone Sculpture has not survived without polemics. Very much under appreciated by the people of Hartford, the work is seen by many as a testament to the power of time, and by others as a field of “rocks.” Do the people of Hartford not know that this is Carl Andre’s largest work and only public commission?

On a recent fall trip to Hartford, I spent time exploring the adjacent historic burying ground and contemplating the stillness that surrounds Field Stone Sculpture.

Carl Andre's Stone Field Sculpture (1977) in Hartford, CT. Photo Credit: Anulfo Baez

In spite of the hustle and bustle of Downtown Hartford, the siting of the work, the scale and arrangement of the boulders on the land allowed my mind to wander around freely. Field Stone Sculpture could not fit in more perfectly in this location. The handsome Colonial Revival buildings that surround it and the nearby parks designed by the firm of Frederick Law Olmsted create a wonderful “natural” and man-made contrast in this section of Hartford.

On October 30, 1963 an editorial in The New York Times lamented the terrible loss of New York’s Pennsylvania Station, a grand Beaux Arts building designed by the prestigious firm of McKim, Mead and White. “…we will probably be judge not by the monuments we build, but by those we have destroyed” were the words that have now shaped the current preservation movement. Should Field Stone Sculpture in the near future suffer the same fate of Tilted Arc, Penn Station and countless other long lost monuments, Harftord will not be judge by the monuments it will builds, but by those it has destroyed.

It would be a terrible shame to alter Field Stone Sculpture because by simply altering it, would be to destroy it.

[1] Grace Glueck, “What Part Should the Public Play in Choosing Public Art?” New York Times, February 3, 1985, 27.

One Gallery I Bet You Didn’t Even Know Existed in Boston

The Fish, Artist: Harbor Arts Team. Image Credit

Sprawling over the grounds and docks of an active shipyard on Marginal Street in East Boston are thirty contemporary artworks by established and emerging artists from three continents. The Shipyard Gallery, an initiative of Harbor Arts, a collaborative community organization “whose sole purpose is to protect and preserve our oceans and waterways by helping each of us to understand the issues and solutions facing our blue planet” is an outdoor gallery where art meets science. The gallery opened in 2010 and I just recently learned of it while at meeting at the Urban Arts Institute who sponsored the competition juried by Randi Hopkins, former associate curator at the Institute of Contemporary Art, Boston.

2Ralph Berger/Captured Flight & A Toy For Sisyphus. Image Credit: Anulfo Baez

It was love at first sight for me. I love that it is less than 10 minute walk from Maverick Station on the Blue Line. I also love that behind each one of the thirty works (mostly sculpture) on display is a pressing environmental issue facing our oceans. I also love that I get to learn about the sponsoring organization behind each piece and of the work they’re doing to protect our oceans.

Mark Favermann/Zig Zag Benches. Image Credit: Anulfo Baez

This place is so fantastic I hope more people get to see it and experience its magic (sculptures are on loan for at least a year and new ones are added on a seasonal basis). Head over to East Boston and learn about the fabulous organizations that constitute Harbor Arts and see some neat artworks. You’ll thank me later.

New Project: Documenting Boston’s Murals

Dear Subscriber/Reader,

I would like to introduce you all to a project I have been quietly working on for a little over a year. I have been walking the streets of Boston exploring its colorful neighborhoods and photographing every mural in the city in hopes of shedding some light on Boston’s rich mural history. I hope you head over to my Tumblr page and check out the 63 murals I have uploaded so far and learn more about this project. I have many more photographs of murals in my files that I need to upload and many more that I need to photograph.

Have you seen a mural that you think I have not seen? Email me the address and I’ll photograph it.

Governor Paul LePage of Maine recently removed a piece of the state’s mural history from the Department of Labor building in Augusta, an act so frivolous that not only angered many people in this country, but also made us more aware of the beautiful murals that enrich our lives on a daily basis. This is the story of Boston:

Boston’s Murals

Review: River Street

Saturday May 1st, Daniel Phillips preparing for the installation of River Street (center)

A site specific installation in Hyde Park by Daniel Phillips, River Street fosters an enriching cross-cultural and multi-generational dialogue between people whose memories are encapsulated in the built environment and “outsiders” like me who might be interested in learning about the architectural, industrial, social and natural history of the site in its present state.

According to Dolores Hayden in The Power of Place, historic places help citizens define their public pasts and trigger social memory through the urban landscape. Hayden investigates the concept of “place memory” through philosopher Edward S. Casey’s formulation, in that place memory “encapsulates the human ability to connect with both the built and natural environments that are entwined in the cultural landscape.”

River Street is installed on the former site of what was until 2004, the oldest operating paper mill in North America. Built on the Hyde Park side of the heavily polluted Neponset River, the history of the Tileston-Hollingsworth Paper Company extends as far back as 1733.

Besides its social and industrial history, the site of the mill complex was architecturally significant until recent years when it succumbed to demolition’s wrecking ball. The firm of W. Cornell Appleton and Frank A. Stearns (Appleton & Stearns), and later members of the illustrious Boston architectural firm of Peabody & Stearns, designed an 1890 “handsome” Georgian Revival office building which is no longer extant. In its present state, the remaining scars resulting from the demolition of the site evoke a sense of loss and nostalgia of an era gone-by.

River Street is a multi channel video projection composed of thousands of photographic stills shot on site by Daniel Phillips. For every one and a half minutes of video, it is estimated that approximately 900 photographs are used to create a time lapse moving image. Each photograph captures the passage of time, the crumbling death of the last remaining buildings on site and the slowly renewing life of the Neponset River Reservation. Projected on the loading bays of a dilapidated water pumping station, River Street triggers our memory by capturing those moments that vanish before our eyes. Moments like ice melting from the branches of trees or the rhythmic flow of the river or the transient life of the graffiti in the area, allow us to visually connect the past with the present.

A collaboration between the artist Daniel Phillips and Finnard Properties; the current owners and developers of the site, this one night installation of River Street was presented in conjunction withthe Boston Cyberarts Festival. The installation on Saturday April 30 attracted many members from the Hyde Park and Dorchester communities. “It was wonderful, breathtaking, unbelievable” says Adrian of Hyde Park, “This is my community, of course I had to be here tonight.”

River Street Tower Still #16, Daniel Phillips, 2010

River Street Tower Still #16, Daniel Phillips, 2010

Riding the Urban Wave

On March 23rd, 2011 as I was walking around the South End photographing murals for an upcoming “project,” I noticed this public art work. It is called LandWave and it is designed by Gillis-Smith/Kilkelly/Cormier led by landscape architect Shauna Gillies-Smith. I think the project is interesting especially given that a good chunk of Boston is built on land reclaimed from the sea, in fact, Boston was known as Shawmut Peninsula. The SHIFTboston blog dedicated a post to this land art work (with more recent images too).

Suffocating Boston’s Public Art


The Boston Phoenix loves to frown upon EVERYTHING that is good. They blamed The Decemberists for the death of indie rock music and they referred the New England Holocaust Memorial as “a breathtaking banality.” Every year, the Phoenix publishes its “Best of Boston” issue, highlighting the best in everything that is OVERRATED in the city. With the help of Bostonians who vote for the best, I meant “most” (OVERRATED) burger joint, political blog, clothing store, favorite place to get a haircut for men and/or women and so on, Boston’s “alternative” newspaper is anything BUT alternative.

Highlighting everything that is overrated in Boston isn’t enough for The Boston Phoenix of course; they also invite anyone who doesn’t have a single clue about art and architecture to vote in the category for bad public art work. If a newspaper or magazine highlights the “Best of Boston” why not have a category for “Best Public Art Work?” and not the “Best of Bad Public Art?” Why not name the edition “Worst of Boston 2011” instead?

This year, the Best Bad Public Art Work category features, in the words of Chris Millis, works that exude “a breathtaking banality” like the boring, uninspiring and most literal representation of the Irish Famine memorials I have ever seen. The list also features Boston City Hall (a “brutalist” building as public art work, I think the listing instigates more hatred towards a building that is already much maligned among Bostonians) as well as other, once again, uninteresting public art works in Boston. Why not nominate EVERY single public work of art in the city (with the exception of the public art collection at the Massachusetts Institute of Technology which is truly spectacular)?

The New England Holocaust Memorial is Boston’s most eloquent and powerful monument. Regardless of one’s race, nationality or creed, one cannot deny all the emotions and thoughts this memorial allows us to experience. Designed by Stanley Saitowitz and dedicated in 1995, the memorial features a long black granite path with six glass towers, allowing visitors to pass through each tower. Each square tower represents the major Nazi concentration camps and six million numbers in total are etched on all four sides of the columns, one for every person killed in the concentration camps. If this wasn’t emotional enough, one walks through each tower surrounded by steam, yes, steam, to further emphasize the horrors of the gas chambers and incinerators during the Holocaust.

The Boston Globe’s architecture critic Robert Campbell considered the memorial a mix bag, “the good news is that the memorial is pretty successful urban design” but it was “…caught between a rock and a hard place:
the huge Boston City Hall on one side and the delicate old Blackstone Block –Boston’s last surviving chunk of 18th-century streetscape – on the other.” Overall, Campbell’s critique referred to the memorial as being over symbolic. This is true, but there are dozens of public art works in Boston that should be also on the list because let’s face it, why are we judging bad public art works in Boston when in the words of Mr. Campbell himself, “we lack a common visual language of public symbols”?

For as long as Boston continues to embrace its puritanical roots and ideals, its architecture and art will continue to suffocate.

Campbell’s quotes are taken from “A Matter of Design: Evaluating Boston’s Holocaust Memorial,” published on November 26, 1995 in The Boston Globe.

Photo Credit: Alice Chan,


This past weekend, I visited the Cambridge Public Library to admire the beautiful restoration of Van Brunt and Howe’s 1888 handsome Richardsonian Romanesque building executed by Ann Beha Architects, as well as the stunning addition by William Rawn and Associates (both Boston firms). I’ll post photos of the library at a later date, but  I wanted to share a public work of art I found interesting.

The landscape (which is not picture in this post), as I learned later was designed by Michael Van Valkenburgh Associates (the firm has offices in Cambridge), but I couldn’t find out who created the work which wraps around the entrance to the garage underneath the library). Do you know who created it? Was it also part of Michael Van Valkenburgh’s design?