My Chinese Painting Bonanza !

My Chinese Painting Bonanza  

Over the summer time I have gotten back into painting again, a nice respite from work and study which occupied all of my time over the previous nine months.  I took a two pronged approach. On one end I am using oil paint and pursuing the pop/Asian/culture jam approach, and on the other pulling out the aromatic inks and rice paper.  Initially it started with similar subject matter, but the Chinese materials started to take on a traditional look and I’ve kept with it.  What you see here are the better ones, I threw out about three times as many.  If interested you can find them on my Etsy shop - D Plus International Etsy

The Value of an Internship

Below is my reflection of a recent internship I completed for coursework.  As a preface; the first writing prompts asks me to discuss the academic and professional benefits of the internship.  The second on whether or not I would recommend this venue for future students.  There are other, less interesting to the public sections that I skipped over.  I'll make a more societal reflection in later posts.

The Internship Cycle

My internship at BURNAWAY was enlightening in many ways.  The original plan for this internship was to gain experience about development.  When I interviewed with Susannah Darrow, she explained the upcoming plans for the organization and framed them generally, in the perspective of development.  I had expected to hear a lot of about grant writing.  However, the way development was explained, expanded beyond that.

The development experience I gained was definitely beneficial.  I worked with the specifics of grant writing; creating final reports, preparing support materials, and even getting the chance to write one of the grants.  Another particularly beneficial aspect of my internship was that I got to attend a grant writing workshop by The City of Atlanta Office of Cultural Affairs.  The workshop itself, was quite straight-forward, however, the impression it left on me was that I was now a part of the arts industry.  This was more beneficial than the actual content of what was offered.

Another important development experience was related to my work with the Emerging Arts Writer Mentorship. I got to attend the meetings and offer my ideas as they came along.  I also made contributions in language and concepts to the needs statement (a task I undertook on my own) and investigation of appropriate funding sources.

Overall, what was most beneficial was the experience I had in the industry itself.  Any small arts organization does not have the luxury of assigning discreet roles to individuals.  Everyone in the organization must contribute to whatever they are capable of, at least on the administration side.  This internship gave me the opportunity to complete some editorial work, conduct research and preparation for board meetings, and general clerical work, even my software and mechanical knowledge was employed to help the office run smoothly.  I met people from different facets of the industry like editing, design, publishing, and marketing.  Some of these connections carried over into other parts of my life.  Someone I had an informal conversation with at BURNAWAY is the gallery manager at a nearby space who I met again at an opening.

Arts administration is quite a bit different from teaching.  While there is a fair amount of administration work in the life of a teacher, administration work is much less emotionally and physically taxing.  There is the opportunity in administration to make grand plans a reality because of this added space in one’s energy.

In regards to my future academic work, I do not believe it will effect my choices for future classes as I only have the one elective, the review, and thesis left ahead of me.  For me, the internship was an opportunity to practice what I learned in class, to compare how the academic side of arts administration plays out in real organizations.  In general, I found that the concepts are the same, but the practice is less intense in organizations than it is in the classroom.  Perhaps this changes from organization to organization, but my previous work in arts administration, long ago that it was, was similar to how things operate at BURNAWAY.

Professionally this internship did a great deal for me.  On a most basic level, I filled more than one entire notebook of ideas that the work gave me, avenues to explore, and people to connect with.  So much in fact, that I do not feel I will ever have enough time to investigate all of them.  This internship also revealed to me that being solely a grant writer is not for me, nor is managing databases for that matter.  I am comfortable with making these activities part of a job, but I would turn down a job that is exclusively these tasks.  What I do find potentially exciting about development work is the chance to approach it in the way a for-profit entity would, as business development.  It is a given fact that contributed income is a very important part of non-profit organizations, but there are many opportunities to steer that towards earned revenue development.  I am not certain how far this concept has been explored, but it is a on my list of things to investigate on my notebooks.

Another professional direction I am now considering is the role of marketing.  This is related in a great to deal to the business development concept mentioned above.  On my off days I have been reading Michael Kaiser’s The Cycle and see the importance and the creative opportunities in marketing.  Not just the posting on Twitter and Facebook, and maintaining an engaging web page, but also the chance to work with the media, other non-profits and for-profit entities; to make the organization a part of the community.  I saw first hand how well this could work last weekend at the Living Walls Conference’s main event.  The education director is a friend of mine, and despite the party atmosphere, he and I had a long discussion about the nature of people’s involvement in not only the organization, but also what the organization offers the community.  Both of us are hoping for a shift which sees arts organizations working with the community and vice versa  in the near future.  This is a role I would like to be playing.

Beginning this internship process was actually quite difficult for me.  I was simultaneously working full time and going to school full time and to make plans in advance I found difficult.  Consequently, BURNAWAY was really one of the only options I had if I wanted to keep to my timetable.  Furthermore, it coincided with me leaving the teaching profession, in part because there was no way I could complete the internship and continue with my teaching job.  Initially I had wanted to work for a larger institution and I was disappointed in myself when I realized for those opportunities, one needs to be making applications in February.

However, despite some initial pessimism this internship turned out to be fantastic.  It gave me four or five unique experiences working in an arts organization, I met wonderful people not only at BURNAWAY but in other organizations that regularly cooperate with BUNRAWAY, and it gave me insight into the status of the visual arts community in the Southeast.  There were many engaging experiences and it helped me hone my career goals through experience of what I like and dislike about arts administration.  It also pointed to areas I need to improve my skills and inspired a lot of possibilities (see the segment about more than one entire notebook full of ideas.)  Would I recommend this organization in the future?  Yes, with a caveat.

One of the frustrating aspects of the internship program is the disconnect between the academic side and the professional side.  Previous to the internship I interviewed with Susannah, we discussed the direction of the organization and my potential roles while there.  However, this was not nearly enough information to create SMART goals.  I am very happy I worked at the internship a full two weeks before the actual internship class began, otherwise it would have been very difficult to make any kind of effective goals that adhered to the parameters of SMART.  I do believe the SMART goals are extremely effective.  Being an educator previously, I have been working with SMART goals and action plans for more than five years.  They separate the creative and executive side of any action making both more efficient and effective.  But, as I have found in education, and this internship is not different, attaining all the goals rarely, if ever happens.  I did a great deal towards completing everything I set out for myself.  But circumstances create a situation where not everything can be completed.  In my case, the language for the web site update, and collating information from stakeholder surveys.

From an educational standpoint, I thing it would be advantageous for both professors and students, to begin with a series of questions the student asks about working the in organization.  For example:  How does a small arts organization prioritize its funding sources and how does it explore new venues for revenue?

Another critique I have is not with the school or the organization but the nature of how much an organization relies on cheap or free labor.  In my opinion it does a great disservice to the arts administration industry to see an organization absolutely require interns just to operate.  I am not certain that every organization is this way, but BURAWAY’s effectiveness would be greatly reduced if it did not have as many interns as it does paid staff.  As a future arts administrator I feel the value of the industry is undervalued by this practice.

Critiques aside, both BURNAWAY and the internship program is beneficial for the opportunity it gave me a chance to see how organizations operate, the people I got to work with, and the level of participation I got to have in the visual arts community of Atlanta.  I would recommend this organization to anyone who wants a holistic experience in arts administration and insight into the visual arts community of the Southeast.

Approaching Donors and Members in the Annual Fund

For both of these facets of the annual fund, the work begins by setting goals for each and appointing a volunteer leader (board member) for the membership drive, donation drive, and major gifts.  The volunteer leaders will be responsible for analyzing current donor lists and making new prospective donor/member lists.  This work should be done together so that members and donors are kept separate.  Generally speaking, a donor is motivated my altruism and a member is motivated by participation.  It should be noted that members could be asked for donations separate from their membership dues for special projects or end of the year giving.

Once lists are organized for each main group, analysis of each individual member concerning appropriate levels of support should be made.  This is where donors and major gifts are also separated.  It is more effective to suggest a level to give over allowing the patron to choose, so analysis should be based on personal knowledge and past history of giving.  Keep in mind, this campaign is approaching individuals already known to the volunteer and/or organization.

Scheduling for both the donation campaign and the membership campaign needs to take place in conjunction with each other and the other events that will happen at the organization throughout the year.  For donations, the end of the year is always a good time because of the tax benefits and sense of giving that is prevalent in the community’s mind.  Autumn and Spring are good times for the membership campaigns because it is typically a time of change in the year and does not coincide with big holidays or events.

For both of these campaigns follow-up is very important.  Members will need more follow-up than a donor.  A member wants to be a part of the organization so regular news letter updates, notification and invitation to events and volunteer activities will all support the relationship between member and organization.  Donors will also need updates, but these will need to appeal to the altruistic effects of the donor and the organization.  Included in a letter can be a special message from the executive director, board chair, or editor about developments in the organization and upcoming events and plans.

An effective tracking system needs to be put in place for each of these groups.  Organize the system by individual, recording the amount or level, time period with BURNAWAY, participation at events, and any interaction the organization or a board member has with the donor/member.  Tracking will help the organization better understand its relationship with its patrons and make efficient use of the annual fund efforts.

What's the point of making art anyway?

A Personal Exploration of Why We Should Make Art

 

Recently I have been working with BURNAWAY, a non-profit arts magazine, well not necessarily working, interning, and through the course of my development work there I have read many, many things.  The first couple of days I was struck by depression.  Depression because I felt that all this work goes into getting such small amounts of money, people who want to make and present art do it for so little pay off.  Payoff that worries me because I have a family to support. In defense of what we do, often time artists and those that support art form a nepotistic group.  “We are the artists, we are the ones that understand and our value is self evident,” and similar attitudes is what I was come across.  This led me to question “Why I decided to be in this position with my life?”  A lot of the art I was seeing I wasn’t interested in.  Even in making my own art, I went through a graffiti phase because I didn’t want to make stuff, I just wanted to decorate the outside.  I feel like sometimes I am wasting time when I paint.  While I really like street art, I am becoming more turned off by it.  At least this is how I feel when I am depressed about art and the whole industry.
 

So what is the point?  I’ve been wrestling with this because I know there is value in art but it was going to take some investigation to pull myself out of depression.  At the end of the second quarter of study, my finance professor showed the class a film on Vimeo, The Future of Art, and while I was plenty exhausted from studying finance and only a week away from marketing and fundraising classes, I knew this video was important and warranted future investigation.  I watched it a couple of times, but today I watched it in the daytime and actually had the energy to pay attention, and take notes!  What I brought away from the film is that the definition of art is so wide.  I’ve long been a proponent of the purpose of art is for documenting the human thought process and this is reason I am now much more enthusiastic about art because this is what the film is about.  It really explores how we are thinking now.  The communal nature of making art, how so many ideas are out there and the artist can use those ideas to explore, use the ideas, and contribute more ideas to the ether, or maybe now we call it the cloud.
 

Why I was so depressed about art before is because of the disconnect between the artist and the industry that supports him or her.  In the United States, financial rewards go to commerce.  Artists feel the need to sell, to make money, or to go looking for government support which consumes a lot of time and pays very little.  This film helped me see the value of art disconnected from this way of thinking and shows me the connection in a new way of thinking. 
 

What’s the point of making art?  Because it provides for all of humanity possibilities for the multitude of avenues one can take an idea.  This is a good justification for art writing as well, writers need to interpret and provide their interpretations for art; more ways of thinking.  The question remains, how can one make a living, support a family on this?  There are actually several different methods but I am going to endorse my favorite.  Institutions.  Galleries should could continue to sell art for decoration, but institutions need to sell the art that doesn’t make money.  The marketers, the doctors, the designers, everyone needs to have access to this art, to help them along the way with generating ideas, entertain avenues to carry their thoughts along.  The socialist in me says “taxes, taxes, taxes!” but that is not how it works in the United States.  Therefore, engage, go to galleries and museums, particularly ones that show art you can’t hang on a wall.  Artists need to welcome everyone in for no other reason than to share.  Communicating, that’s the point of making art!

Double Exposure Print Photogrpahy

Last month I worked with some other teachers to organize a history, geography, arts filed trip for grade ten which included trips to The High Museum of Art and Oakland Cemetery (with a stop by a well known, local pizza shop.)  Aside form the pedagogical activities (read about those on my creative thinking blog) I lugged around the old Seagull Twin Lens Reflex camera with eh intention of taking double exposure images of our travels.  I like accidentally doing this sort of thing, and when it's intentional it is even more fun.  The theme behind these images is to transpose people onto place.  This is an extension of my explorations of Zen concepts in art making in a media I haven't visited in far too long.

Enjoy!

Devin

Dplus International

Back Again

It's been a while since I've been able to write, ah what the combination of full time work and full time grad school will do to a person.  However, I was looking at my blog address and want to post some images from the recent exhibit put on by students.  I enjoyed putting this exhibit together, and I hope that it was a s positive an experience for them as it was for me.
Enjoy!

Legal Issues Surrounding Murals and Street Art as they Pertain to VARA and Copyright

The Visual Artists Rights Act (VARA) of 1991 has been in place now for more than twenty years, protecting the moral rights of artists; allowing them rights of attribution, disassociation and protection of the artists honor and reputation (Yampolsky, Goldstein ed. 2005.)  As time moves on artists and arts administrators, as well as city planners, and designers need to consider what is to become of public art as the need for altering because of the changing shape of cities may arise in the near future.  The more time passes the more likely it will be that issues like this arise.  Copyright has been put in place to allow the artist or author to benefit from their product and can be passed from author to another party.  Art work put into the public view becomes part of the landscape and an artist’s copyright may be infringed upon accidentally, or in some cases on purpose.  At other times public art may considered acceptable for fair use depending on its placement, how it is classified and use can be permitted in different forms.  The aim of this paper is to examine some of the nuances of both VARA and copyright protection as it relates to public art, specifically murals and street art.  The issues now developing are the aging of public work that is protected under VARA and whether or not street art can and should be protected under both VARA and the American copyright law.  The largest challenge to these issues is that there are valid arguments for every side of the positions.  Right now is the correct time to collect data and information regarding all of these issues and decide upon legal structures that protect the public’s interest in public art as well as adequately protect the moral and copyrights of artists who put their work in the public sphere.
    Public murals enrich the lives of people who occupy the community and serve as a safe and valuable outlet of creative expressions by artists.  Several cities across the United States, either now or at one time have taken an active role in commissioning this work and private individuals have done the same.  Often these two sources of sponsorship work hand in hand, each encouraging the other.  Of particular note is the City of Los Angeles which has seen proliferations of public paintings, a moratorium on public art work, and just recently encouragement of public work again (Baca 2013, KABC 2013.)  Interviews with artists across the city all appreciate the title of Mural Capital of America and organizations such as UGLAR, The Freewalls Project, and the Mural Conservancy of Los Angeles have taken it upon themselves to encourage new murals and protect existing ones.  Seattle is another American city which has taken a very proactive approach to public art, setting aside one percent of its budget for the creation of public art (Seattle 2013.)  Many professionals in the arts have praised Seattle for its efforts of commissioning and also taking upon the necessary action to preserve public art.  Both of these cities can be looked to for physical, practical, and philosophical understanding about the function of art in the public.  As art work created after VARA was enacted is now aging and cities are always in a constant state of evolution these cities provide examples of the pitfalls and triumphs in this field.
    Street art has gained more attention and ultimately acceptance as a legitimate art form by the visual arts community.  In most middle to large sized cities some extent of street art can be found.  The following quote by noted street artist Blek le Rat illustrates the importance and relevance of street art: “. . . in galleries they (artists) are seen by forty people, in museums by ten people, but in the streets they’re seen by 100,000 people.  And that’s the integrity of an artist’s work:  to be seen.  Not to be sold or to be recognized in a museum - but to be seen by the world.” (Waclaweck 2011.)  As artists who either began as or remain street artists and artists exhibiting in museums and galleries we are faced with the problem of ownership and VARA protection when an artist or his or her work becomes one of stature.
    This paper is organized into three parts.  First, the examination of the intellectual and legal conditions surrounding public art and VARA protection.  Second, a look at several cases where the conundrums and challenges of these issues are highlighted.  Finally, analyzation of of the legal issues and cases to illustrate the need to have a more coordinated effort by artists, art professionals, city planner, and designers.  This paper will not discuss the legality issues of street art nor justify, defend or condemn it.

Intellectual and Legal Review
    As mentioned above VARA  was enacted in the United States 1 June 1991 and gives the artists rights of attribution, disassociation and protection to honor and reputation (Davidson, Goldstein ed. 2005.)  However, these rights come with some conditions when the art is placed in the public realm.  It is generally understood that deterioration and alteration could harm the artist's reputation, however, natural weathering is not protected under VARA when work is of a public nature (Davidson, Goldstein ed. 2005.)  Owners of public art can be faced with issues of wishing to preserve the work by moving it to a safer location, however, that safer location may involve alteration of the work.  The artist must give approval before that alteration can take place but must respond within ninety days of written notice of the prospective plan.  If no response is made within that time frame, then the owner of the work has free reign to do as he wishes (Yamplosky, Goldstein ed. 2005.)  The cost of maintaining a public painting can also be difficult for an owner and an individual or a municipality may be faced with the need to remove the work altogether or allow it fall into disrepair or destruction.  What does the owner do when the artist refuses to allow removal or destruction but the owner cannot afford to neither move nor preserve the work? (Yamposky, Goldstein ed. 2005.)  The owner may consider deaccessioning the work but the legal proceedings will take up sufficient amounts of time and energy on all sides (Kendellen and Krueger, Goldstein ed. 2005.)  The solution to this seems to be that from the outset agreements must be made and documented between the artist and the commissioning agency about how to proceed should the site change, the work becomes damaged beyond repair or needs to be changed in a way that facilitates safety and design.  This needs to be done before execution of the work even begins (Yamplosky, Goldstein ed. 2005.)  The owner of the work would also be wise to keep a record of the documentation of the proposal and prospectus of the work (if there is one), a written artist's statement, and press attention either the work gets or the artist gets about or after the execution of the work.  This way should the need to alter or move the work, there are more opportunities to do so in a way that is satisfying to both the artist and the owner (Favero, Goldstein ed. 2005.)
    Image ownership of any public work can be a problem as well.  A painting on the side of a building that is used as a backdrop for television, film, and photography and if that work is used in a commercial sense, then permission form the artist must also be given (Hayton, Goldstein ed. 2005.)  Most murals commissioned by municipalities qualify the mural as integrated into the architecture which makes it unable to receive copyright protection.  However, a private individual may not be aware of this and could find herself in the center of a legal struggle between two artists.  Consider the amount of commissioned graffiti style work on a private building that can be used for photo shoots.  If those images are used to sell a product then legal issues can arise.
    The popularity of graffiti style street art has grown over the years and it is not uncommon to find it used as an element of design in products throughout the market.  Designer Agnes B. has long been a supporter of graffiti artists and commissioned them to paint delivery vans for the company as well as design aspects of the clothing distributed by the company (Peiter and Raynal, Peiter ed. 2009.)  While she and her company have been careful to give credit and treat the work as work for hire, there are other cases where the gray area of using a work as a point of inspiration, or using work directly have arisen.  Under copyright law, a new work of art may not created as a derivative of an existing work of art without the original author’s permission (Hayton, Goldstein ed 2005.)  One such case is examined below.

Case Studies
    The City of Los Angeles presents one of the most interesting cases for the examination of public and street art currently because it has a history of both promoting and condemning public work and may have put itself in a difficult position.  As early as 1976 the City of Los Angeles was providing not only space for artists to work in the public arena but also supplying materials needed for the execution of this work (Baca 2013.)  Muralist and UCLA professor Judith Baca has been a key figure in the Los Angeles mural community and has served as both an artist and activist for the creation and protection of murals in the city.  In an interview with the Huffington Post she sated that Los Angeles stopped conserving murals in 2006 and in 2007 stopped issuing permits for murals on government property (Baca 2013.)  The city had, up until very recently, a moratorium on any murals in the city on private property since 2002 (Sailliant 2013.)    The issue here is that if the city has allowed murals owned by the city  to fall into a state of disrepair, or be destroyed altogether since 2006 they may be liable to the artists, especially if those are artists of stature such as Judith Baca, Risk, and Saber.  As of 28 August 2013 the moratorium has been lifted (Saillant 2013.)  The city has run another risk by painting over murals on private property citing the 2002 Moratorium (Wilson 2012.)
    Seattle has been held as the most proactive city in regards to both the commissioning of public art and its conservation.  The city has worked into its budget a line item for the dedication of money for the creation of public art and has charged the Cumulative Review Sub-fund with the upkeep of this work (Seattle 2013.)  What is best learned from Seattle is its organization in commissioning, approving and maintaining public art which comes from more than thirty years of experience.  While a lot of work was created before the 1991 VARA act, the city appears to almost of had a premonition about what areas needed to be covered as all their official documents discuss the funding, ownership, and future of work before the work even begins (Seattle 2013.)
    Artist Curtis Kulig is like many of his generation.  He has created fine art, been commissioned to work with interior design studios and fashion houses and been qualified as a street artist because of his graffiti work.  His graffiti work even made a small appearance on the opening sequence for Saturday Night Live and it is this particular work that is under examination here.  His most popular work reads “Love Me” and before it was a fashion logo is was pasted across New York City in the form of stickers, posters and graffiti.  Victoria Secret used the term as the label for a line of body lotion, Kmart took the image directly and put it on a tote bag and Michael Stars did the same on a t-shirt with the addition of a small butterfly.  All of these organizations claimed that it used Kulig’s work as a point of inspiration.  Kulig is working on stopping the use of his image and is having some success (Kulig 2011.)

Analyzation
    What does this mean for the future protection of artists’ moral rights, ownership of artwork in the public sphere?  How should artists, arts administrators and the public entities that support public art work proceed?  It is established that publicly commissioned art work must not damage the artist’s reputation and honor.  There have been some very good developments and some instances where precedent is being set, even if these cases are not located in the legal cannon.  However, there is no strong systematic approach to these issues about protection of moral rights and protection of copyright ownership when a painting is placed in the public realm.  Without the development of an approach, artists and administrators are liable to fumble along while these issue raise themselves again and again. 
    In regards to protection of the artist's  moral rights, municipalities that commission works of art need to build into their procedures and documentation both the course of action should a work need to be moved or altered, and the history of artists and the work.  The current system is fractured into different components.  Conservators of public art state that there needs to be better cooperation between artists, engineers, designers, and city planners to plan out work that will be displayed in the public (McNally and Hsu 2012.)  Cities and public owners of artwork will be better poised to do this as the resources are closer at hand.  To protect citizens, cities and public owners should inform private owners of public art about the issues surrounding VARA protection and help them to create proper documentation and guidelines to avoid legal problems in the future.  Arts administrators stand at an advantage to help in these endeavors.  As they are more familiar with both the needs of the public and the needs of the artist they are positioned to facilitate the commission and preservation of public art.  Finally artists should also be made aware of the potential issues when creating public art.  They should be aware that the landscape changes, individuals do not exist in perpetuity and neither do organizations.  Artists should consider how to design work and what their artistic message is and how the form of the work can be changed and still communicate their this message.  Public art is for the public which means that groups of people will need to work together instead of servicing one another.  The approach Seattle has taken towards commissioning and up-keeping its public art should be emulated.  communication and understanding about public art is the key to conserving it as an enriching part of the cultural environment.
    Art in the public, whether legal or not, is becoming more and more common.  At this point in time many artists do not define themselves as street artists because art in the streets is becoming a given, not an option.  However the opportunity for exploitation is far greater when art exists in the public eye and the gray area around who owns the work and who owns the copyright make the issue even more difficult to navigate.  Individuals who wish to use public art as a point of inspiration need to be aware of how they could be infringing upon the rights of an artist if they create a work that is either derivative or uses imagery without permission.  Artists also need to be aware of the potential problems of work being out of doors where viewership will be much higher.  Street art, even graffiti is becoming a work of stature.  In the Brooklyn neighborhood of Williamsburg there are local tours of the area’s public art and some graffiti is featured in those tours.   There are also guidebooks of the area pointing out important work (Imam 2012.)  If an important, recognized artist such as Shepherd Fairy, Kenny Scharf, or Barry McGee put their work on a wall and it was appropriated by a t-shirt company would there be legal recourse.  The case with Curtis Kulig implies there is.  Artists need to consider this aspect and administrators who represent these artists also need to be aware.  Also if one of these artists put their work on a wall, being a work of stature can the owner of the building be compelled to protect the work?  Does the owner of the building own the work?  If the work is created illegally it is unlikely that the artist, no matter what the stature can protect that painting.  However this may change.  The recent case where a building owner in London removed a Banksy work from his wall and set it to auction caused uproars in the artistic community and in the community where the work was located (Zhang 2013.)  It may be a matter of time before art like this is afforded protection.
    These issues are only the beginning of matters that do or can exist when considering public painting.  They are not resolved but it is in the art communities best interest to begin working on them.  Further contact between administrators, legal professionals and artists need to happen and resolutions need to be created to see the positive proliferation of art in the public eye.

Bibliography

    Baca, Judith. Interview by Caroline Modarressy-Tehrani. Huffington Post. The Huffington Post Inc. 2013, WEB. 23 February 2013.

    Goldstein, Barbara ed. Public Art By The Book.  University of Washington Press, Seattle. 2005.

    Imam, Jareen. “From Graffiti to Galleries:  Street vs. Public Art.”  CNN.  Cable News Network.  5 August 2012.  16 November 2013.  WEB.

    Kulig, Curtis.  “The Art of Obsession.”  TEDxTeen.  New York City. 26 April 2011.  WEB.

    “LA Mural Moratorium Ends with 13 - 2 Council Vote.”  KABC. Columbus Media. 28 August 2013. Radio.

    McNally, Rika Smith and Hsu, Lillian.  “Conservation of Contemporary Public Art.”  Conservation Perspectives. Fall 2012:  pp. 4 - 9.  WEB.

    “Office of Arts and Culture.”  Seattle.gov.  City of Seattle. 2013. 16 November 2013.

    Peiter, Sebastian ed. Guerrilla Art.  Lawrence King Publishing Ltd. London. 2009.

    Saillant, Catherine.  “Los Angeles Moves to Lift Decade Old Ban on Public Murals.”  Los Angeles Times.  Tribune Newspapers. 28 August 2013.  WEB.

    Waclawek, Anna. Graffiti and Street Art.  Thames and Hudson, London.  2011.

    Wilson, Simone. “Los Angeles War on Street Art.” LA Weekly.  Los Angeles, 30 August 2012. WEB.

    Zhang, Michael.  “Who Owns Illegal Public Street Art Found on Public Buildings?”  PetaPixel.  PetaPixel. 22 February 2013.  16 November 2013.  WEB.