Research Log #1 - Solutionary Project 2020

Date: Kaila Flores

Name: Feb 4 2020
Essential Question: How is street art beneficial to the community?

Three Points to Prove: #1: The stigma behind street art.

#2: How street art affects communities.
#3: Why this affect is beneficial

Point that this Source Proves: #

The stigma behind street art

Excerpts (These should provide insight into the Point to Prove):

To begin the article, Maria woodie states, “There was a time, not long ago, when street art was believed to be
the work of derelicts, unruly hooligans with a clear disrespect for the city in which they lived. This is an
unfair generalization.” (Maria Woodie)

She goes on to say “The works of these artisans are breathtaking in their own right. But they also often bring
communities together and shine a light on larger issues that stretch beyond their city’s borders.” (Maria
Woodie)

In an interview art director Hues, he says “I hope it triggers their curiosity to learn about the history and
existing communities in a neighborhood they may not be familiar with,” he says. And he’s quick to express
his thanks to those who help beautify local communities. “Public art is a way for any community to express
their ideas to the world,” notes Hues. “And we need to keep those voices alive.” (Maria Woodie)

Analysis (How does this source support the Point to Prove?):

In this article written by Maria Woodie, she opens with this statement, “There was a time, not long
ago, when street art was believed to be the work of derelicts, unruly hooligans with a clear disrespect for the
city in which they lived. This is an unfair generalization.” (Maria Woodie) It is important to break this
stigma because “The works of these artisans [that are painting murals] are breathtaking in their own right.
But they also often bring communities together and shine a light on larger issues that stretch beyond their
city’s borders.” (Maria Woodie)

Murals make art more accessible to everyone. In an interview conducted with Hues, an art director
for ArtWorks, a nonprofit organization in Cincinnnati, Ohio, he says “I hope it triggers their curiosity to
learn about the history and existing communities in a neighborhood they may not be familiar with,” he says.
And he’s quick to express his thanks to those who help beautify local communities. “Public art is a way for
any community to express their ideas to the world,” notes Hues. “And we need to keep those voices alive.”
(Maria Woodie)

Work Cited (correct MLA format):

Woodie, Maria. “Erasing the Street Art Stigma: Why Painting in the Streets Works.” Artists Network, 4 Dec. 2018,
www.artistsnetwork.com/magazine/street-art-stigma/.

This is a reputable and reliable article because

This article was published to ArtistsNetwork.com which only reports on important artists and movements in the art
industry and community.
Research Log #2 - Solutionary Project 2020
 Date: March 11 2020
Name: Kaila Flores
Essential Question: How is street art beneficial to the community?

Three Points to Prove: #1: The stigma behind street art.

#2: How street art affects communities.
#3: Why this street art is beneficial

Point that this Source Proves: #2

Excerpts (These should provide insight into the Point to Prove):

“Murals make art accessible to everyone” (Jane Golden)

“At Mural Arts, we believe art ignites change” (Jane Golden)

“As a city service [murals] are a sign that people care” (Jane Golden)

“ [Art] shines a light on our diversity and it lifts up our commonality” (Jane Golden)

Analysis (How does this source support the Point to Prove?):

This TED Talk, given by Jane Golden: an American artist who has been an active mural painter since
the 1970s and founder of Mural Arts, is focused on the benefits of bringing more art into the community in
the form of murals and street art. She begins the talk by talking about her endeavors of starting Mural Arts
and the outcome that she could’ve never foreseen. “ I didn’t really know what art could do until later, when I
was hired by former mayor Wilson Good to run a small art company for the anti-graffiti network” says
Gooden, “What I found out is that these kids [delinquents] had extraordinary talent and energy and potential
and what they did not have were opportunities.” (Jane Golden)

Golden argues that art brings meaning to life. “[Art] shines a light on out diversity and it lifts up out
commonality.” (Jane Golden) Art that is given as a city service, such as murals, are a sign that people care.
By demonstrating this, “Art connects us, inspires us, lifts us up, educates us, and it connects us to all that
makes us human” (Jane Golden)

Work Cited (correct MLA format):

“Transforming a City, One Mural at a Time | Jane Golden | TEDxPenn.” YouTube, uploaded by TEDx Talks,
5 July 2016, www.youtube.com/watch?v=2Rq4gOQAj_E.

This is a reputable and reliable article because TED's process for inviting speakers is at least as strict as that of
many scientific publications. Most TED speakers are invited to speak at TED because they've become renowned
scientists through their peer-reviewed publications.
 Research Log #3 - Solutionary Project 2020
Date:
Name:
Essential Question: How is street art beneficial to the community?

Three Points to Prove: #1: The stigma behind street art.

#2: How street art affects communities.
#3: Why this street art is beneficial

Point that this Source Proves: #3 Why street art is beneficial

Excerpts (These should provide insight into the Point to Prove):

“By and large, art critics consider Thomas Kinkade a commercial hack whose work is mawkish and suspiciously
fluorescent, and whose genius is not for art but for marketing—for creative an “editions pyramid” of his prints, each
level up a little more expensive, which whips up collector’s appetites the way retiring beanie babies did.” (Susan
Orlean)

“In 1994, Kinkade was named Artist of the Year by the National Association of Limited Edition Dealers, and the
demand for his pictures was growing so fast that he was able to take his company public. Business Week named it one
of the “Hot Growth” companies of 1995” (Susan Orlean)

“People like to own things they think are valuable, and they are titillated by the prospect that the things they own might
be even more valuable than they thought.” (Susan Orlean)

“Thom says there are forty walls in the average home. Our job is to fill them” (Craig Flemming)

Analysis (How does this source support the Point to Prove?):

In this article entitled Art for Everybody by Susan Orlean, it talks about Thomas Kinkade and his genius art
business where he sells duplicates of his paintings that are personalized by highly educated assistants. These paintings
are personalized by highlighting different aspects of the painting. “The customer could sit with the highlighter
(assistant) and watch the process, and even make requests—for more pink in the rosebushes, say, or a bit more green
on the trees. Some highlighters—Glenda was one—would even let the customers dab some paint on the picture
themselves, so it would be truly one of a kind.” (Susan Orlean) As the demand for Kinkade’s paintings were growing
so fast, we was able to take his company to the public. “Business Week named it one of the “Hot Growth” companies
of 1995” and “In 1994 Kinkade was named Artist of the Year by the National Association of Limited edition Dealers”
(Susan Orlean)
With this massive success came criticism. “By and large, art critics consider Thomas Kinkade a commercial
hack whose work is mawkish and suspiciously fluorescent, and by whose genius is not for art but for marketing—for
creative an “editions pyramid” of his prints, each level up a little more expensive, which whips up collector’s appetites
the way retiring beanie babies did” (Susan Orlean) Although the underlying suspicion of an unethical scheme,
Kinkade’s works were still in high demand. “People like to own things they think are valuable, and they are titillated
by the prospect that the things they own might be even more valuable then they thought.” (Susan Orlean) Thomas
Kinkade has no intent of stopping “Thom says there are forty walls in the average home.” Says Craig Flemming,
C.E.O of the Media Arts. “Our job is to fill them.”
Work Cited (correct MLA format):
Orlean, Susan. “Art for Everybody by Susan Orlean.” SusanOrlean, The New Yorker, 15 Oct. 2001,
www.susanorlean.com/articles/art_for_everybody.php.

This is a reputable and reliable article because Susan Orlean is a journalist and bestselling author of The
Orchid Thief and The Library Book. She has been a staff writer for The New Yorker since 1992, and has
contributed articles to many magazines including Vogue, Rolling Stone, Esquire, and Outside.
 Research Log #4 - Solutionary Project 2020
Date:
Name:
Essential Question:

Three Points to Prove: #1: : The stigma behind street art.

#2: How street art affects communities.
#3: Why this street art is beneficial

Point that this Source Proves: #2 How street art affects communities.

Excerpts (These should provide insight into the Point to Prove):

“Diego Rivera believed painting on the walls of public buildings was the highest form of art because it made art
accessible to everyone” (Richard McCoy)

“Murals in the late 1960’s and early 70’s demonstrated how art can highlight the value of local community and place”
(Richard McCoy)

“So many excellent murals from the past that are worthy of being restored or preserved for that to happen though, a
city and its citizens need to take ownership of these murals and work to preserve them” (Richard McCoy)

Analysis (How does this source support the Point to Prove?):

In this video entitled “Why Murals?| The Art Assignment” By PBS Digital Studios, Richard McCoy,
Executive Director at Landmark Columbus Foundation, was brought on to talk about the origin of murals and why
they’re important. Modern murals were introduced during the Chicago World’s Fair in 1893 as a way for architecture
and art to create public spaces that were designed to be representative of the aspirations of the government or public
they served. Due to the rise in large public spaces, the rise in interest in decorating them. “Deigo Rivera (a renowned
mural artist) believed that painting on the walls of public buildings was the highest form of art because it made art
accessible to everyone.” (Richard McCoy)

As murals migrated from inside the building to the outside, it caused a shift in communities having the
opportunities to take hold of the problem of beautifying a public space that is highly visible. As this phenomenon
grew, Graffiti Art ( art done without permission) became more common. This subject is tricky because “the most
influencial art is done without permission” (Richard McCoy) Graffiti art became a tool of community activism.
“Murals in the late 1960’s and early 1970’s demonstrated how art can highlight the value of local communities and
places.” (Richard McCoy) In the 60’s, early 20th century buildings were run down so people sought out ways to make
them prettier. This birthed the “environmental graphics” mural. These murals spoke the same visual language as the
city. It played off the architecture rather than storytelling. “So many excellent murals from the past that are worthy of
being restored or preserved. For that to happen, though, a city and its citizens need to take ownership of these murals
and work to preserve them.” (Richard McCoy)

Work Cited (correct MLA format):

The Art Assignment. “Why Murals? | The Art Assignment | PBS Digital Studios.” YouTube, uploaded by
The Art Assignment, 15 Apr. 2016, www.youtube.com/watch?v=TS1oPqP2qyY.

This is a reputable and reliable article because Richard is the founding Executive Director of the Landmark
Columbus Foundation, a non-profit organization dedicated to caring for, celebrating, and advancing the world-renown
design heritage of Columbus, Indiana. He has a long history of creating unique solutions to complex cultural heritage
challenges. 
 Research Log #5 - Solutionary Project 2020
Date:
Name:
Essential Question:

Three Points to Prove: #1: The stigma behind street art.

#2: How street art affects communities.
#3: Why this street art is beneficial

Point that this Source Proves: #2

Excerpts (These should provide insight into the Point to Prove):

“Finally street artists could attempt to prevent the destruction of their work under moral rights law” (Cathay Y.N.
Smith)

“The rights spring from a belief that an artist in the process of creation injects his spirit into the work and that the
artist’s personality, as well as the integrity of the work, should therefore be protected and preserved” (Carter v.
Helmsley-Spear, Inc.)

“VARA does not apply to artwork that is illegally placed on the property of other, without their consent, when such
artwork cannot be removed from the site in question” (Cathay Y.N. Smith

Analysis (How does this source support the Point to Prove?):

In this peer reviewed journal article, Cathay Y.N. Smith discusses how “finally, street artists could attempt to
prevent the destruction of their work under moral rights laws (or VARA)” (Cathay Y.N. Smith) VARA was enacted in
order to protect the moral rights of artists. “The rights spring from a belief that an artist in the process of creation
injects his spirit into the work and that the artist’s personality, as well as the integrity of the work, should therefore be
protected and preserved” (Carter v. Helmsley-Spear, Inc.)

Although VARA is meant to protect the moral of mural artists, “VARA does not apply to artwork that is
illegally placed on the property of others, without their consent, when such artwork cannot be removed from the site in
question.” This was made clear during a case where “a group of artists attempted to use VARA to prevent the
destruction of unsanctioned murals and sculptures they created in a community garden.

Work Cited (correct MLA format):

Cathay Y. Smith, Street Art: An Analysis under U.S. Intellectual Property Law and Intellectual Property's
"Negative Space" Theory, 24 DePaul J. Art, Tech. & Intell. Prop. L. 259 (2014)
Available at: https://via.library.depaul.edu/jatip/vol24/iss2/2

This is a reputable and reliable article because Cathay Y.N. Smith is an Associate Professor of Law at The University
of Montana School of Law.
 Research Log #6 - Solutionary Project 2020
Date:
Name:
Essential Question:

Three Points to Prove: #1: The stigma behind street art.

#2: How street art affects communities.
#3: Why this street art is beneficial

Point that this Source Proves: #2

Excerpts (These should provide insight into the Point to Prove):

“Jasper has exhibited worldwide, in places such as California, Japan, France, London, Mexico, Hong Kong, Chicago,
and Australia and has been selected on multiple occasions by Archive magazine as one of the 200 best illustrators
worldwide” (Jasper Wong)

“He is creator and lead director of Pow!Wow!, which is a non-profit organization of contemporary artists committed to
community enrichment through the creation of art outreach programs, educational programs and engaging the
community in the creation and appreciation of art.” (Jasper Wong)

Jasper co-founded a community art center called LANA LANE STUDIOS. It is a repurposed industrial warehouse that
has been transformed into progressive 2D/3D creative workspace and center for teaching and learning.” (Jasper Wong)

Analysis (How does this source support the Point to Prove?):

Jasper Wong is one of my main inspirations for this project. “Jasper has exhibited worldwide, in places such as
California, Japan, France, London, Mexico, Hong Kong, Chicago, and Australia and has been selected on multiple
occasions by Archive magazine as one of the 200 best illustrators worldwide” (Jasper Wong) Ever since I was 10 ive
been a big fan the murals sponsored by Pow!Wow! and Jasper plays a big “He is creator and lead director of Pow!
Wow!, which is a non-profit organization of contemporary artists committed to community enrichment through the
creation of art outreach programs, educational programs and engaging the community in the creation and appreciation
of art.” (Jasper Wong)

“Jasper co-founded a community art center called LANA LANE STUDIOS. It is a repurposed industrial
warehouse that has been transformed into progressive 2D/3D creative workspace and center for teaching and learning.”
(Jasper Wong) This is an important space as it is used by a lot of upcoming local artists. An example of this is Nica
Lee’s upcoming concert in April held in LANA LANE STUDIOS sponsored by Pow!Pow! School of Music.

Work Cited (correct MLA format):

Wong, Jasper. “About.” Jasper Wong, jasperwong.net/about. Accessed 12 Mar. 2020.

This is a reputable and reliable article because Jasper has exhibited worldwide, in places such as California, Japan,
France, London, Mexico, Hong Kong, Chicago, and Australia and has been selected on multiple occasions by Archive
magazine as one of the 200 best illustrators worldwide