“Modern Art” tags graffiti artists’ motives
You know the adage about the three things that matter in real estate: “location, location, location.” The question is whether the rule has any relevance in art.
Who says art has different value when framed and exhibited in a gallery versus, say, spraypainted illegally on the side of a building?
In “This Is Modern Art,” a consciously hip play by Kevin Coval and Idris Goodwin about graffiti artists and the rules that constrict and inform their work, the basic definitions of art are challenged. Some artists leave their mark on a “permission wall,” others on private property. Some works achieve a few hours’ of overnight existence in “the urban wild” before being blasted away, while others are created to last. Aren’t both examples of modern art?
Directed by Goodwin (who recently served the same role for “Detroit ’67” at Curious Theater), the concise and fast-moving play at the Denver Center’s Jones Theatre explores the line between creative genius and vandalism.
As a subplot, the impact of class differences gets a nod. Clearly, the blonde girlfriend who serves as lookout and drives the getaway car doesn’t have as much to fear from the system as the black and brown guys who do the spray-painting.
Jargon-filled explanations of graffiti methods successfully educate newcomers to the scene.
References to rapper Lil Wayne, and common graffiti stylings like tags and “bubble throw ups” ensure that this Off-Center production won’t sound stale to younger audiences.
The youthful cast members, several making their debuts at Off-Center, bring infectious energy to the task. Robert Lee Hardy, Jake Mendes and Marco Robinson give grounded performances as the artistic co-conspirators. Chloe McLeod is worthy as the girlfriend and accessory, an embodiment of white privilege. John Jurcheck and Brynn Tucker assume a number of supporting roles as ensemble players. Mendes is most engaging and wins the most laughs as Dose, giving a sly, hardto-pinpoint ethnic/gay spin to his character.
A few lines were marred, but the evocative soul of the piece beamed through, thanks to the terrific set and projections. Simple but effective scenic design by Nicholas Renaud offers a multilevel spectacle highlighted by three metal garage doors, painted by Denver graffiti artist Robin Munro, and clever projections of in-process graffiti designed by Topher Blair.
This play was surprisingly controversial when it debuted in Chicago in 2015. It caused a stir by pitting a grand institution (the Chicago Art Institute) against the street artists, based on true events. Here, the irony may be that an anti-establishment play about a vibrant subculture is being performed within the grand institution that is the DCPA.
For that, we have OffCenter to thank.