DOCSLIB.ORG

Bird Mural Overview a Mural Will Be Made That Can Tell the Story Murals Tell Stories Through Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bird Mural Overview a Mural Will Be Made That Can Tell the Story Murals Tell Stories Through Art Education l Interactive Activity Environment Make a for the Americas Conserving Birds by Connecting People Bird Mural Overview A mural will be made that can tell the story Murals tell stories through art. People have painted murals of birds in the community. for centuries to tell stories and communicate about issues Objectives important to them. Murals can depict stories about history, Participants will design and paint a mural social issues, conservation, and more. A mural can tell a story Recommended Ages through a collection of images or one main image. > Children 7-17 The artist Rafael Lopez, whose beautiful artwork is the feature Activity Time for International Migratory Bird Day 2012, is also a muralist. > In Class:: Approximately 1.5 hours, or On his website you can view pictures of Mr. Lopez creating 2 sessions of 45 minutes. murals and community members helping. View the pictures at > At Festival: Set-up 30 minutes, visitors self-pace, could be an unmanned activity http://www.rafaellopez.com/#/murals. Materials Preparation for Making a Mural > Medium of choice for the mural 1. Choose your medium. Will the mural be painted on canvas, > Newsprint and masking tape wood, or roll of paper? (Sand & paint wood with a primer.) > Acrylic or Tempera paint, and brushes, > Blank paper 8x11 2. Consider where the mural will hang. Decide where and how > Pencils, colored pencils or crayons you will hang the mural. > Chart paper and markers Read through the entire activity. Decide how you will intro- > Optional: Storybooks or other props to talk 3. about murals. duce it & what props (books or mural pictures) you will use. Make it a Festival Activity 4. Gather your painting materials. You will need brushes, paint, > Print Black & White mural at Staples or and for drawing details--sharpies, markers, or pastels. Kinkos (cost $7.00). Mural available on bird- 5. Identify an area for a draft. On your classroom floor or wall, day website. measure out and mark with masking tape the same size area > Paints, brushes, that the mural will be. You can also cut newsprint to the > Buckets of water for rinsing brushes same size as your mural for the draft layout. Activity in Action 6. Prepare your medium. If you use paper, double layer it if Send your comments and pictures on this needed to make it stronger. Also, fold back and tape the activity to [email protected]. edges so they stand up and do not rollover. Get Involved! Discover easy, fun ways to learn and Find free educational materials (and much more) at BirdDay.org connect with others while spreading bird conservation Have you registered your IMBD event? It’s quick, easy, free, and one way we measure IMBD suc- awareness—join the EFTA Flock at BirdDay.org cess. To register, go to birdday.org or send your event information to [email protected]. Environment for the Americas • 2129 13th Street, Suite I • Boulder, Colorado 80302 • T: 866-334-3330 • E: [email protected] • BirdDay.org Bird Mural Education l Interactive Activity Making a Mural Activity 1. What is a mural? Begin by asking participants the following: What is a mural? After some discussion you may want to show them some pictures (see examples of murals by IMBD artist Rafael Lopez in this activity). Ask what murals they have seen and where? Build on their answers to talk about how murals tell stories about things important to people. Draw from the examples the participants give you to talk about how murals they have seen depict issues and subjects of importance or interest in the community. You could also use the murals by Rafael Lopez to talk about what the murals depict. 2. Discussing their mural. Next you could read the book The School Mural by Sarah Vasquez that talks about a group of kids making a mural. Or, you can take the discussion right into talking about birds in the community by reading a book from the suggested book list with this activity. Follow the book, with a discussion about birds they see at home, school, and around the community To get the discus- sion flowing, share out loud examples of the personal connections in the book that made you think about birds in your community. For example, if you saw a picture of birds that are blue in the book you might mention bluebirds you have seen in the community, or if the book talks about migration you might mention that you’ve hung up your hummingbird feeders and are looking forward to the hum- mingbirds returning this spring. 3. Create a chart. Create a chart like the sample in this activity and record the answers from the discus- sion. Ask your participants what birds they see and where they live? What do they need to live? How do we help birds? Record their answers in the chart. Depending on the age group, ask how birds are important to people and to them? Record their answers. 4. Explaining the mural activity. Explain that they will make a mural telling a story about birds in their community. The next step is to work together to choose the story they will depict in the mural using the chart as a reference for ideas. Ideas include drawing a diversity of species, showing the places they live, showing what’s being done for birds, the role birds play in the community, or a mixture of some of these ideas. 5. Draft individual pictures. Based on what the group decides is their story, give each student drawing paper and colored pencils. Ask each student to think about what aspect of the story they would like to draw and make a drawing of their idea. You can model this by making a draft to show them before they start their own. 6. Sharing Drafts. Bring the group back together. Ask the participants to show and tell about their draw- ings and have them lay them on the floor next to each other or post on the wall. Stand back with the students when all the drawings are out and look at what they have. Do some of the drawings depict similar ideas? Group those together. Ask students that have made similar drawings to work coopera- tively to make one drawing of their idea or choose one of the drawings already made. For example, if three kids drew American robins ask them to work together to make a new drawing or choose from one they’ve already made. EFTA Conserving Birds by Connecting People Find free educational materials (and much more) at BirdDay.org Get Involved! Discover easy, fun ways to learn and connect with others while spreading bird conservation awareness—join the EFTA Flock at BirdDay.org Environment for the Americas • 2129 13th Street, Suite I • Boulder, Colorado 80302 • T: 866-334-3330 • E: [email protected] • BirdDay.org Bird Mural Education l Interactive Activity Making a Mural Activity 7. Creating a draft mural. Next have students layout their drawings in the prepared draft mural area that you made. Have them work cooperatively to lay out their drawings, gently guiding the participants to be respectful and thoughtful of each others ideas. 8. Consider the results. When drawings are laid out ask participants to step back and consider the layout. What do you they like? What would they change? Does the mural tell the story they want to tell Make any changes that the group agrees to. Now ask them to consider the background of the mural. Will it be one color? Will it be part of a larger scene the group chooses? 9. Sketch out the draft. If your participants are young, consider sketching out the mural yourself. If they are older and you have time, let the participants sketch out their drawing. 10. Get out the paints--have fun! See tips for painting with this activity. Older students (4th grade and up): Consider using a grid method to transfer their draft on the mural (see sample mural grid). Make a grid that can be put over your draft mural. The grid can be made on tracing paper, or you can use string (tape it down so it doesn’t move), or make chalk lines. Using the same number of blocks as your draft, draw blocks on your mural medium. Assign painters to each block; the grid will help the painters figure out how much of each drawing on the draft goes into the corresponding block on the final mural. Might be wise to write names with stickies on each block so painters don’t get mixed up. For more information, visit http://murals.com/scaling.html. 10. Ask students to go back to their chart and their mural story idea to write a short text to describe their mural. Type this up and post it with the mural. Show off the mural whenever and wherever you can! Make it a Festival Activity 1. Hang up a large double layered paper OR print the black & white mural available for free download at www.birdday.org. If you choose blank paper make it large but manageable for hanging and moving. The benefits of providing a black & white outline for visitors to fill-in are that it may be easier for folks to color in an outline rather than create their own drawing especially in an atmosphere where a lot of time is not spent at any one activity. People also understand what you are asking if they have some- thing to follow. 2. On a nearby stand post the directions. Sample Directions: Help us create a mural to celebrate birds today! Choose a paint brush and 1 color of paint at a time.
Load more

Recommended publications
  • A Practical Guide to Creating a Mural
    A PRACTICAL GUIDE TO CREATING A MURAL 1 WHY CREATE A MURAL? The benefits of murals are plentiful: not only do they beautify and enhance the urban environment, they deter costly tagging, foster community partnerships and pride, and can even boost the local economy. Above all, they’re fun! This guide assists artists, community organizations, business and property owners and arts and heritage organizations by recommending best practices in mural production. The guide is to be used in conjunction with the City of Nelson Murals Policy, which outlines the approval process for murals. An application form must be completed to propose a mural. The City of Nelson’s Cultural Development Commission is also available to offer advice. DEFINITIONS COMMEMORATION: The act of honouring or perpetuating the memory of a person, persons, event, historical period or idea that has been deemed significant. COMMUNITY ART: Public participation and collaboration with professional artists in visual art, dance, music, theatre, literary and/or media arts within a community context and venue. MURAL: A large-scale artwork completed on a surface with the permission of the owner. Media may include paint, ceramic, wood, tile and photography, etc. SIGN: If the primary intent of the work is to convey commercial information, it is a sign. TAGGING: A common type of graffiti is "tagging", which is the writing, painting or "bombing" of an identifiable symbolic character or "tag" that may or may not contain letters. PUBLIC WALLS: A space that belongs to a public organization, i.e. municipal, provincial or federal government. Approval for the mural should be among the first steps undertaken in the planning process.
    [Show full text]
  • Mural Installation Guide City of Frankfort, Kentucky
    Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed.
    [Show full text]
  • SAMPLE Portfolio Assessment for ART-395 Urban Mural
    SAMPLE Portfolio Assessment for ART-395 Urban Mural Art Note from the Office of Portfolio Assessment Knowledge and background in more “applied” subjects tend to be better suited for portfolio assessment credit because the student’s proof of “doing the work” is viewed as direct evidence of the knowledge. In this portfolio you will see more than a dozen “samples of work” along with several letters of support. In such portfolios those are the two most significant types of necessary evidence to earn credit. ART-395 Urban Mural Art – Table of Contents Course Description and Learning Outcomes page 1 Introduction page 2 Narrative pages 3- 13 Evidence Items • Bibliography page 14 • Letter of support page 15 • Letter of support page 16 • Newspaper Article pages 17 & 18 • Newspaper Article page 19 • Samples of work (17 pages) pages 20 - 36 Summary page 37 Urban Mural Art (ART-395) 3.00 s.h. Course Description The course discusses the history and practice of the contemporary mural movement. The course couples step-by-step analysis of the process of designing with the actual painting of a mural. In addition students will learn to see mural art as a tool for social change. Combining theory with practice, students will design and pain a large outdoor mural in West Philadelphia in collaboration with Philadelphia high school students and local community groups. Learning outcomes: • Develop and understanding of the history and practice of mural design • Analyze the design process • Design and paint a mural • Articulate familiarity with the concept of mural painting as it reflects social change • Demonstrate the ability to collaborate with groups and individuals toward a finished piece of art Introduction My career as an artist predates my career as an educator.
    [Show full text]
  • Mural Mural on the Wall: Revisiting Fair Use of Street Art
    UIC REVIEW OF INTELLECTUAL PROPERTY LAW MURAL MURAL ON THE WALL: REVISITING FAIR USE OF STREET ART MADYLAN YARC ABSTRACT Mural mural on the wall, what’s the fairest use of them all? Many corporations have taken advantage of public art to promote their own brand. Corporations commission graffiti advertising campaigns because they create a spectacle that gains traction on social media. The battle rages on between the independent artists who wish to protect the exclusive rights over their art, against the corporations who argue that the public art is fair game and digital advertising is fair use of art. The Eastern Market district of Detroit is home to the Murals in the Market Festival. In January 2018, Mercedes Benz obtained a permit from the City of Detroit to photograph its G 500 SUV in specific downtown areas. On January 26, 2018, Mercedes posted six of these photographs on its Instagram account. When Defendant-artists threatened to file suit, Mercedes removed the photos from Instagram as a courtesy. In March 2019, Mercedes filed three declaratory judgment actions against the artists for non-infringement. This Comment will analyze the claims for relief put forth in Mercedes’ complaint and evaluate Defendant-artists’ arguments. Ultimately, this Comment will propose how the court should rule in the pending litigation of MBUSA LLC v. Lewis. Cite as Madylan Yarc, Mural Mural on the Wall: Revisiting Fair Use of Street Art, 19 UIC REV. INTELL. PROP. L. 267 (2020). MURAL MURAL ON THE WALL: REVISITING FAIR USE OF STREET ART MADYLAN YARC I. INTRODUCTION ........................................................................................................... 267 A.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770
    Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] INFO FOR ARTISTS Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] Brunswick Mural Committee ROLES AND PROCESS o Serves as the clearing house and coordination point for the Brunswick Mural Project to implement murals o Collects and records names of potential mural artists, building owners and volunteers as a resource bank to execute murals in downtown Brunswick o Identifies and communicates with various community stakeholders including city and county government (elected officials, DDA, Main Street, etc.), businesses, the arts community, the historic preservation board and other interested parties about BMP o Seeks funding and other resources for murals o Glynn Visual Arts as a non-profit community arts center and part of the CoH Arts Sub-Committee acts as repository and distribution point for any monies collected to fund the BMP project Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] ARTIST’S PROCESS 1. Artist submits design ideas and budget to the Mural Committee based on the guidelines included in BMP package 2. Mural Committee matches artist and design with building owner 3. Artist and building owner agree on design, timeline, budget, etc. (contract or MOU may be required) 4. Artist or building owner submits design and completed Certificate of Appropriateness Form to the Historic Preservation Board for approval 5.
    [Show full text]
  • Mural Creation Best Practices
    Mural Creation Best Practices Since 2006, Heritage Preservation’s Rescue Public Murals (RPM) initiative has confronted the risks that community murals face by being located in outdoor, public spaces. Murals have been, and are an increasingly, popular public art form that adds vibrancy and vitality to the built landscape. Many communities in the United States, large and small, have mural programs or are actively commissioning murals. Unfortunately, almost every community is also aware of the negative image that a faded, flaking, or vandalized mural creates or the misfortune of an artist’s work that has been unjustly removed or destroyed. While working to ensure the protection and preservation of existing murals, RPM recognizes that many common issues that murals face could have been mitigated with careful planning and preparation. RPM has held conversations and brainstorming sessions with muralists, conservators, art historians, arts administrators, materials scientists, and engineers to document best practices for mural creation. We present these recommendations on this website. Recommendations are not meant to be prescriptive but instead to pose questions and raise issues that should be considered at each stage of creating a mural: planning, wall selection, wall and surface preparation, painting, coating, and maintenance. Each recommendation has been considered both for mural commissioning organizations/agencies and for artists to address their particular needs and concerns. Each section includes links to further reading on the topic. The recommendations on this website assume that a mural that is painted with careful planning and consideration to technique and materials and that receives regular maintenance could have a lifespan of 20-30 years.
    [Show full text]
  • Mural Rights: Establishing Standing for Communities Under American Moral Rights Laws
    Mural Rights: Establishing Standing for Communities Under American Moral Rights Laws Christian Ehret * Introduction The origins of mural art have been traced back more than 30,000 years, evidenced by prehistoric images of animals found painted on the walls of the Chauvet Cave in Southern France.1 Throughout history, murals have been employed by man to tell stories and to convey artistic expression. The Ajanta Caves in Maharashtra, India, date back to the third century B.C. and contain intricate mural art depicting the Jataka stories.2 The San Bartolo murals in Guatemala were created in the first century B.C. and represent an important part of Mayan history.3 The significance of mural art still exists in society today and remains an effective way of communicating expression to a large, public audience. Public murals create accessible artistic expression for the enjoyment of all classes of people, help to define urban neighborhoods and offer aesthetic relief from blight and abandonment. Given the recognized historical and artistic importance of public mural art, imagine the following scenario: an artist is given the opportunity to paint a mural on the side of a building to be enjoyed by the city and its visitors and to elevate the moods of passersby. The neighborhood chosen to host the artwork is undergoing redevelopment and revival, slowly recovering from an economically depressed past. Five years pass and the artwork has become a landmark of the neighborhood. Travel guides direct visitors to it; art journals, magazines and books have * Christian Ehret is a second-year student at the University of Pittsburgh School of Law.
    [Show full text]
  • MURALS Plan, Sherwood 2020
    MURALS PLAN PAGE 1 SHERWOOD MURALS PLAN The Public Art Murals program is a Sherwood city‐wide program administered by the Cultural Arts Commission as part of its new Public Art program. The Sherwood Cultural Arts Commission completed writing the Public Art Master Plan in 2020, creating a path forward for public art. This handout lays out the plan for citizen-driven public art murals in Sherwood. A mural is defined as a painting, mosaic, or bas-relief that is applied directly to a wall and is visible from the public right-of-way. Proposals for new murals are reviewed by the Cultural Arts Commission, the body responsible for overseeing Sherwood's Public Art Program, with support from the Manager of the Sherwood Center for the Arts. Arts Commissioners go through an application process and serve for a designated term. They are citizens of Sherwood who bring a diversity of backgrounds and expertise to their positions, and they are committed to promoting arts and culture in our city. All Cultural Arts Commission meetings are open to the public. WHO CAN APPLY FOR A MURAL? Applicants may be individual artists or a group of artists; a building owner; a business owner; a non- profit organization; a citizen group; or a neighborhood association. Any individual or organization interested in creating an outdoor mural in Sherwood must apply for approval through the Public Art Mural Program. Approved murals must remain on the approved site for no less than five years. SHERWOOD PUBLIC ART MURALS PLAN MURALS PLAN PAGE 2 MURAL SELECTION CRITERIA The following
    [Show full text]
  • Art Walk Challenge!
    Art Walk Challenge! You’re on a mission to find the following 12 pieces of public art located in Downtown Matthews! If you are completing this challenge on foot, please be a cautious pedestrian. Only cross the street in designated crosswalks. 1. Community Center Mural Location: Steps of the Matthews Community Center (100 E. McDowell Street) Artist: Bree Stallings This colorful and vibrant mural was completed in August 2018 and is a nod to the array of activities that take place in the Matthews Community Center. 2. Flowering Arts Mural Location: Steps of the McDowell Arts Center (123 McDowell Street) Artist: Bree Stallings This mural was completed in November 2018 and gives a glimpse into the creativity and inspiration inside the McDowell Arts Center. 3. Cultivating Matthews Mural Location: McDowell Arts Center (123 McDowell Street) Artist: Carol Hambridge Completed in 2010, local artist Carol Hambridge based the mural on various aspects of the Town's history. The pottery images are taken directly from pictures by R.F. Outen. The Town's textile history is reflected in the mural imaging of cotton, a spinning wheel, thread and a quilt. The Fincher and Phillips Barns are both featured in the mural. (Directions Tip: Turn left on Trade Street to get to Country Place Park) 4. Pollinator Mural on Obelisk Location: Country Place Park (557 S. Trade Street) Artist: Tersia Brooks The obelisk in Country Place Park is a tribute to the history and beauty of Matthews. All of the plants, birds and insects are native to North Carolina, and of course the landmarks along the bottom are easily recognizable.
    [Show full text]
  • Mural Docent Orientation
    MURAL DOCENT ORIENTATION Mission The Roseville Mural Project is an initiative led by Blue Line Arts with the support of the Downtown Roseville Partnership and its property owners to bring new public art of high artistic quality and enduring value to the city of Roseville. Objectives • The creation of 5 new murals in the Downtown Roseville District • Uplift the community with new designs, encouraging residents and visitors to have pride in the area. • Encourage safe community engagement in the project through video content, virtual associated events & a self-guided map brochure. • Executing related free arts programs (such as the Youth Mural Camp for under-served youth) in conjunction with the project to ensure accessibility and inclusion. • Spur economic activity at local shops and restaurants in the area when people visit the murals. Timeline of Events Artists will be painting: ● Thursday, August 6th - August 29th Mural Artists Panel Discussion (virtual) ● Tuesday, August 11th from 5-7pm Guided Mural Tour (limited to groups of 10) ● August 14th starting at 7pm We are Roseville - mini mural competition in Vernon Street Square ● Saturday August 15th & Sunday August 16th Mural Locations Mural Locations Let’s get started Step 1: Volunteer Application. You can fill this out online: https://www.bluelinearts.org/volunteer Step 2: Read the Volunteer Handbook. We can send a digital copy to you via email or you can have a copy when you come in for your first shift. Step 3: Sign the Volunteer Agreement (last page of the handbook). We • need this on file before you start your first shift. Step 4: Sign up for shifts using the links to opportunities listed on the Blue Line Arts Volunteer Page: https://www.bluelinearts.org/volunteer Check-in process Step 1: At the beginning of your shift, please check-in at the Blue Line Arts front desk so that we can provide you with a nametag and have you check in using the volunteer binder so that we can keep track of your hours.
    [Show full text]
  • Public Art & Murals
    5 4 3 2 1 9 8 Downtown Albuquerque public art & murals 7 35 6 14 13 key 12 4 11 Art inside public buildings (multiple pieces) 10 Art outside 18 public buildings 17 Murals 16 Arts & Cultural 41 District boundary 1 Gallery location G 15 Multiple galleries (inside 2 G* building) 5 22 3 6 21 37 10 11 12 20 G* 19 9 13 8 27 26 32 7 Robinson 27 14 Park 26 15 28 G 29 16 25 18 19 G G G 17 24 40 43 36 39 20 33 21 22 Alvarado 23 Transportation 38 Center 23 32 34 24 25 31 30 Alvarado Urban Farm 42 30 31 29 28 44 33 34 35 36 37 38 39 40 41 18. Frutos de la Expresion. Mural by Working Classroom. Installed 2000. 19. Mother Road. Mural by Working Classroom. Installed 1995. 20. We Exist Somewhere Between Limbo and Purgatory, by Ernest Doty. Mural in aerosol and housepaint 42 43 44 21. Totem of the Ancient Ones. Triptych mural by Thomas Christopher Haag. 22. Rotating mural installations at Tinnin Park. More information forthcoming. 1. Aaron Noble and Warehouse 508 Youth Artists. Mural in latex. 23. Working Classroom. Tile mural facade. 2. Multiple pieces, interior of building. Visit culturenow.org for information on all pieces. 24. A Little Color Never Hurt. Mural by Working Classroom. Installed 2004. 3. Mutiple pieces. Interior of building. Visit culturenow.org for information on all pieces. 25. A Stop on the Rio Grande, 2010. Sculpture by John Davis. COA Public Art Program.
    [Show full text]