The Preservation of the Unconventional - The Work of Isaiah Zagar

The Preservation of the

Unconventional The Work of Isaiah Zagar

Abigail Freed

Historic Preservation Capstone Temple University Spring 2019

Table Of Contents i. Abstract

1

1. Who Is Isaiah Zagar?

3

2. Isaiah and the South Street Renaissance

7

3. Isaiah’s Public Mosaics

11

4. The Preservation of Philadelphia’s Magic Gardens

17

5. Visual Artist’s Rights Act (VARA)

29

6. The Painted Bride

33

7. Isaiah’s Options

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8. Conclusions

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9. References

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i.

ABSTRACT Celebrated artist Isaiah Zagar has created over 200 mosaics throughout the city of

Philadelphia. As development in the city reaches an all time high, the need to protect his public murals becomes increasingly imperative. 12 Zagar mosaics have already been demolished and the threats to the remaining persist. In 2016 the Society Hill Playhouse, located at 507 S. 8th Street, was demolished, destroying Isaiah’s largest public mural along with the 100-year-old building.

This project examines how traditional preservation practice can and must be adapt-

ed to protect that which falls outside of the conventional understanding of historic properties.

Philadelphia’s Magic Gardens, the organization founded to protect Zagar’s largest

mosaic, has begun to explore how to preserve their unconventional site. Magic Gardens is a 3,000 sq. ft. bi- level mixed media art environment that is completely covered with mosaics comprising of a multitude of found objects. The materials used to create Magic Gardens include, but are not limited to, handmade tiles, bottles, bicycle wheels, and mirrors. The variety of materials creates a unique preservation task for PMG. By working with the experts at Spaces Archive, the main resource for Folk Art Preservation, they were able to create a preservation guide specific to caring for Isaiah’s work. As of 2018, PMG has started the process of preserving Isaiah’s other 200+ public mosaics.

But how does one go about preserving something that exists on a wall that belongs to

someone else? This question is becoming increasingly relevant as street art bursts into the main stream. Cases are cropping up all over the country of street artists and local communities fighting to protect the work that is integral to the identity of their home. Many of these cases try to find relief through the Visual Artists Rights Act (VARA) of 1990. There appears to be some merit to VARA as in a 2008 case when American Muralist Kent Twitchell was awarded over 1 million dollars for the removal of his 70-foot-tall landmark mural of the iconic L.A. artist Ed Ruscha. However, VARA is loaded with stipulations and loopholes and 1

does not actually protect the murals from demolition.

With the current threat to The Painted Bride Art Gallery, Isaiah’s first full building mosaic, PMG is in the process of trying to identify just how many rights an artist has to his or her artwork when it exists on a wall belonging to someone else.

Until it becomes commonplace for unconventional sites to be inherently included in preservation practice the fate of Isaiah’s work will always be at risk. Thus, it is vital for PMG to keep a meticulous archive of all of Isaiah’s work. This is the only way to ensure that his mosaics will continue to live on even if they are destroyed.

Image 1: Isaiah Zagar at Philadelphia Magic Gardens

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1.

WHO IS ISAIAH ZAGAR?

Isaiah Zagar was born in Philadelphia

in 1939. He studied painting and graphics at the Pratt Institute in Brooklyn, NY. He met

Image 2: Isaiah Mosaicking the Eye’s Gallery, 1968

his wife Julia in 1965 and quickly married and joined the Peace Corps as conscientious objectors to the Vietnam War. In 1968 the couple relocated to Philadelphia where they purchased the Eyes Gallery at 402 South Street to display the art they collected on their travels.1 As a result of an undiagnosed bipolar disorder, Zagar struggled with his mental health and experienced a “crippling nervous breakdown” where he attempted suicide. In response to

Image 3: Isaiah and Julia, 1960s

this he began creating mosaics as a form of therapy. He credits his mosaics to saving him from his depression and views them as a spiritual experience. In 1968 he constructed his first mosaic at the Eyes Gallery.2

Image 4: The Eyes Gallery, 1970s

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Image 5: Isaiah and Zeke (son) outside of the Eyes Gallery, 1970

Image 6: Isaiah, Eyes Gallery, 1980s

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Since then Isaiah has created over 220

mosaics throughout the city of Philadelphia, with 28 Zagar mosaics located elsewhere in the world, including Arizona, Hawaii, New York, California, Kansas, Mexico, Chile, and India. His work is on permanent display at the Philadelphia Museum of Art, The Pennsylvania Academy of Fine Art, The Brandywine River Museum of Art, and The Museo de Art Contemporaneo de San Luis Potosi in Mexico. He has also received many awards including a National Endowment for the Arts

Image 7: With a little help from his friends, Isaiah Zagar, Pennsylvania Academy of Fine Arts

Fellowship in 1979 for his work in the sculptural arts and a Pew Charitable Trust Individual Artist Fellowship Grant in 1995 for work in the interdisciplinary arts. In 2005 Isaiah received honors from the City of Philadelphia for his “commitment to make Philadelphia a “labyrinthine mosaic.”3 In 2009, First Lady Michelle Obama recognized the artist for his “unique contribution to his community.”4 In 2015, the Society of American Mosaic Artists feature Isaiah as the guest of honor and keynote speaker.

Image 8: Self Portrait, Isaiah Zagar, Philadelphia Museum of Art

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Isaiah Zagar is “an artistic pillar of the South Street community. Whenever he walks

casually to Whole Foods for lunch or to PMG to work in his studio, passersby usually nod or say hello. They do it out of respect. Zagar has made the streets of South Philadelphia his own personal canvas. His own public diary. He has created his own world of mosaics. The center of his own artistic vision to share with the world and with the people he loves.”5

Image 9: Isaiah and Julia Zagar

Image 10: Isaiah Zagar with Artist Majid Iraei

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2.

ISAIAH AND THE SOUTH STREET RENAISSANCE

Isaiah is tied to the very history of South Street itself. In the late 1960s, the area

around South Street was in decline. The state of South Street mirrored challenges throughout Philadelphia—the city’s population, which peaked in the 1950s, suffered greatly in the 1960s and 1970s due to suburban flight, restructuring of industry, and loss of jobs.6 Plans for the Crosstown Expressway further depressed property values on South Street. The plan for the expressway first appeared in the 1940s when city officials saw the depressed state of South Street as a perfect location for the highway that would function as the southern segment of the inner city loop connecting the Schuylkill Expressway and I- 95.7

Image 11: Crosstown Expressway Proposal

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Image 12: Sketch of Isaiah and the South Street Renaissance on display at PMG

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The already suffering neighborhood shut off from any prospects of revitalization as

developers expected the street to be demolished in the coming years. This trend continued for over 30 years, even as no solid actions were made by the city to begin the construction, and by the time Isaiah and his wife moved to Philadelphia in the 1960s the property values were so low that it became a hub for artists who could not afford to live anywhere else while maintaining their artistic freedom.8

Together with this artistic community Isaiah worked to beautify South Street by in-

stalling his mosaics on the walls of South Street- often times attempting to cover up graffiti and signs of decay. He and his wife were also able to purchase multiple properties during this time due to the low prices. On these Isaiah installed the larger mosaics. This period during the 1970s became known as the South Street Renaissance. With this team of artists and activist the Zagars led protests against the crosstown expressway and the proposal was officially removed from the City’s plans in 1974.9

Image 13: Protest Signs for the Crosstown Expressway, South Street Philadelphia

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“

The fight against the Crosstown Expressway was in full swing. Philadelphia was in chaos.

America was at war with itself and at war in Southeast Asia. In our little corner of our street, we were fighting for our moment here, for our families, our community, our ideals of a beautiful life: spiritual, cultural, and healthy living.

The South Street Renaissance was a concept that was becoming a reality. The Works Gallery owned by Rick and Ruth Snyderman, the couple who championed the growth of fine American crafts, moved into one of the many abandoned clothing establishments, at 319 South Street. The Painted Bride Art Center, then located at 527 South Street, was a venue for painters, dancers, and musicians. Then the Vietnam War was over and so was the fight over the Crosstown Expressway. We had kept our homes and our businesses alive, but prosperity was to quickly dissolve the community. Real estate values climbed, investors saw clearly what we were blind to. The corridor of culture became an economic cow with

-ISAIAH ZAGAR

“

a legend of creativity, youth, and freedom

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3.

ISAIAH’S PUBLIC MOSAICS

Today, Philadelphia is home to the largest

number of public mosaic created by one artist.

There are over 1,000,000 square feet (or 24 acres) of Zagar mosaics, surpassing Antonio Gaudi’s mosaicked Barcelona (Spain) and Nek Chand’s Rock Garden of Chandigarh (India).10 They are easily recognizable by Isaiah’s unique mosaicking style and are a trademark distinctive to Philadelphia.

There are over 220 Isaiah Zagar mosaics in

Philadelphia. 12 Zagar mosaics have already been demolished and the threats to the remaining persist. The map in figure 15 calls out the demolished 12 and their locations in addition to the remaining documented mosaics. Some of the demolished mosaics have been removed as part of a larger demolition to make way for new development (see Community Arts Garden and The Lion Tamer).

The rest were destroyed when a building changed ownership and the new tenant, whether commercial or residential, decided to remove the mosaic for unknown reasons (see Robin’s Bookstore, Big Green Earth Store, South Philly Barbacoa, Physicians for Social Responsibility, South Street Hats, 1167 S 2nd Street, Bauccus Wine Wall, etc).

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Image 14: Philadelphia Zagar Mural Map, Abigail Freed, May 2019

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12

In 2016 the Society Hill Playhouse, located at 507 S. 8th Street, was demolished to

make room for a 26-unit apartment complex, destroying one of Isaiah’s largest public mural along with the 100-year-old building.

Image 15: Society Hill Playhouse

Image 17: Garden of Earthly Delights, Isaiah Zagar Mosaic on the wall of the Society Hill Playhouse

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While Alterra Property group did not give a second thought to destroying one of Isa-

iah’s treasures to erect The Bradford, they find no issue in using their proximity to Magic Gardens to sell the units in their building.

Image 16: Society Hill Playhouse Demolition

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Image 18: The Bradford Apartments at the site of Society Hill Playhouse

Image 19: The Bradford Website

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Image 20: The Bradford Website

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4.

THE PRESERVATION OF MAGIC GARDENS

Philadelphia’s Magic Gardens, the or-

ganization founded to protect Zagar’s largest

Image 21: Philadelphia’s Magic Gardens Materials

mosaic, has begun to explore how to preserve their unconventional site. Magic Gardens is a 3,000 sq. ft. bi- level mixed media art environment that is completely covered with mosaics comprising of a multitude of found objects. The materials used to create Magic Gardens include, but are not limited to, handmade tiles, bottles, bicycle wheels, and

Image 22: Philadelphia’s Magic Gardens Materials

mirrors.11 The variety of materials creates a unique preservation task for PMG.

Image 23: Philadelphia’s Magic Gardens Materials

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Image 24: Philadelphia’s Magic Gardens Front Entrance

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After being established as

an organization in 2008, the preservation team consisted of two people: Stacey Holder and Emily Smith, both art school graduates with no preservation experience, yet were enlisted to find and document the parts of the Gardens most in need of restoration. The first steps were to begin routinely inspecting the outside area for broken pieces by roaming the grounds with a repurposed broom handle known as “The Poker,” testing parts of the murals with gentle prods and recording their findings on a clipboard.12

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Image 25: Emily Smith and Stacey Holder with the Poker, 2011

PMG reached out to Spaces Archive in 2008 for advice in how to begin their preser-

vation process. Spaces Archive, the main resource for Folk Art Preservation, is a non-profit organization that was founded in 1978 “for the purposes of identifying, documenting, and advocating for the preservation of large-scale art environments.”13 Their resources included a “Preservation Toolbox” that lays out a general how to guide for preserving a folk art environment, sample site plans, National Register of Historic Places sample nomination forms, and advocacy sample letters intended to be sent to government officials. It also serves as an archive for these sites and boasts a collection of over 35,000 photographs in additions to books, articles, audio and video tapes/DVDs, and artists’ documents.

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Image 26: Letter from PMG to Spaces Archive, 2008

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Image 27: Response letter from Spaces Archive to PMG, 2008

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By working with experts Seymour Rosen and Jo Farb Hernandez, in 2011 PMG was

finally able to create a preservation guide specific to caring for Isaiah’s work. After a $60,000 NEA Grant, they were able to put the preservation guide into place. The guide that they laid out for PMG is broken down into eight categories:

1. Weekly On Site Inspection – Completed to identify and monitor issues or changes within the artwork which include cracks, deterioration, loose or broken objects (Sculptures, bottles, tiles, grout, etc.) Documentation consists of a list of problem items identified by numbers, digital photos who file names correspond with the item numbers, and a map that locates the items found by a circled number corresponding with list and photo. This information is stored in hard copy binders and the photos are saved in digital archives.

Image 28: Routine Cleaning at PMG

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Image 29: Routine Cleaning at PMG

Image 30: Delamination

2. Weekly Off-Site Inspections - Performed on the public mosaics throughout the immediate neighborhood – Completed to identify and monitor issues or changes within the artwork. Because of the flat nature of the off site mosaics, black and white photographs are used instead of maps to mark damage or issues within the mosaic.

3. Cleaning - Routine cleaning is important as a preventative measure as pollution and natural elements can deteriorate the artwork. The products used to clean the mosaics are Prosoco 2010 All Surface Cleaner for masonry and general cleaning procedures, Prosoco Revive as a biological soiling remover used for areas with biological growth such as moss, ivy, etc. , and D/2 as a biological growth cleaner for spray on applications of the more delicate materials such as clay sculptures, wood masonry, etc.

4. Sealing - Routine Sealing is important for surfaces that absorb moisture that will promote biological growth, deterioration, delamination, water damage, etc. Metals are sealed with Gempler’s rust converter that creates a protective coat on all exposed metal to prevent rust. Rustoleum Protective Enamel (oil based, white) is applied on top of Gempler’s Rust Converter to add a layer of protection to specific delicate objects. Wood is sealed with Cabot Spar Varnish, which prevents water from absorbing into the wood. Masonry, grout, and cement are sealed with Prosoco Sure Klean Weather Seal Siloxane PD as a water repellent without impairing the natural breathing characteristics of treated surfaces.

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5. Consolidation Treatment – This is a type of chemical used to combat areas of cement, brick, and grout that lose their strength and begin to soften, deteriorate, and flake away.

6. Repairs – Repairs include securing an object with more grout, sealing cracks to keep water out, removing objects or tiles and replacing them with either the same object/tile or different/new ones. Consultation with Isaiah usually needs to happen with an object requires replacement. When possible staff should replace damaged tiles with tiles already created by Isaiah. All of the repairs must be made by a person who has taken a workshop with Isaiah.

7. Folk Art Documentation Process - Isaiah has spent many years collaborating with Mexican folk artists and uses many of their pieces in his mosaics. Folk art is deteriorating due to weather, pollution and visitor damage. PMG strives to maintain these relationships with the artists for when a piece breaks, deteriorates, or gets stolen they commission either the original artist or a new artist for a replacement. The nature of the replacement is not to be an exact replica, but a piece that continues the spirit of the artwork.

8. Public Art Documentation - In the summer of 2018 PMG decided they finally had the resources to start trying to maintain the public mosaics throughout the city. They sent out letters to the property owners who have a mosaic first asking for permission (Figure 36) to document and then asking for permission to make the necessary repairs (Figure 37).

They plan to begin the actual repairs in the summer of 2019.

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Image 31: Replacing Broken/Damaged tiles at PMG

Image 32: Cleaning the Mexican Folk Art

Image 33: Artist Josefina Aguilar in Mexico

Image 34: Work by Artist Jose Antonio Garcia

Image 35: Self Portrait, Josefina Aguilar

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Image 36: Permission to Document letter sent out to community from PMG

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Image 37: Permission to work letter sent out to the community from PMG

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5.

VISUAL ARTIST’S RIGHTS ACT (VARA) Philadelphia’s Magic Gardens is makings great strides in protecting Isaiah’s work

from natural decay and destruction, but the biggest threat to the mosaics is development.

What rights does an artist have to their work when it exists on a wall belonging to someone else? This question is becoming increasingly relevant as street art bursts into the main stream. Cases are cropping up all over the country of street artists and local communities fighting to protect the work that is integral to the identity of their home. Many of these cases try to find relief through the Visual Artists Rights Act (VARA) of 1990. VARA attempts to protect the moral rights of an artist.14 These moral rights include:

1.

Disclosure or divulgation, which allows the artist to determine when a work is complete and may be displayed;

2.

Paternity or attribution, which allows an artist to protect the identi-

fication of his name with his own work, and to disclaim it when applied to another’s; 3.

The right of withdrawal, which permits the artist to modify or withdraw a work following publication; and

4.

Integrity, which allows the artist to prevent his work from being displayed in an altered, distorted, or mutilated form.

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However, VARA applies only to a restricted category of visual artworks, extends only

limited rights, and is subject to loopholes, exclusions, and waiver provisions that substantially erode its powers. VARA does not apply to: works made for hire, posters, maps, globes or charts, technical drawings, diagrams, models, applied art, motion pictures, books and other publications, electronic publications, merchandising items or advertising, promotional, descriptive, covering, packaging material or container, nor does it cover any work not subject to general copyright protection.15

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Image 38: Ed Ruscha Mural by Kent Twitchell

Despite Vara’s limited reach, street artists have found some success in using it to

receive compensation after a work has been destroyed. In 2008, Kent Twitchell (an American muralist) settled a case under VARA and California’s Art Preservation Act (CAPA), in which he was awarded approximately $1,100,000 for the destruction (painting over) of his 70-foot-tall landmark mural of the iconic L.A. artist Ed Ruscha.16

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Image 39: 5Pointz Graffiti

In 2018 Jerry Wolkoff, the developer who owns the building known as 5Pointz in

Long Island City, Queens, was fined $6.7 million for painting over the works of 21 graffiti artists. Even though Mr. Wolkoff owned the building that was painted, a jury found that under the Visual Arts Rights Act, the art was protected.17

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6.

THE PAINTED BRIDE

In 2017 The Painted

Bride located at 230 Vine St, Philadelphia, announced its plans to sell their building. As the home to Isaiah’s largest public mosaic, this potential sale caused great

Image 40: The Painted Bride

fear for PMG and Isaiah as it puts one of their most loved and important treasures at risk of destruction.

Image 41: The Painted Bride

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The Painted Bride moved to its location in 1982 and helped transform the formerly

vacant commercial and industrial buildings into a thriving artistic and cultural community.

The Painted Bride invited Isaiah to create a mosaic on the façade of the building in the early 1990s. This mosaic, named Skin of the Bride, was Isaiah’s first attempt at a fully embellished wall from street to roof. His mosaic, wrapping around three of the buildings facades, marked the height of Old City’s cultural boom and is one of Isaiah’s defining works.18

Image 42: Isaiah Working on the Painted Bride, 1990s

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In an effort to guarantee the protection of the mosaic even after it trades ownerships

PMG worked tirelessly to pull together a nomination for the mosaic to the Philadelphia Register of Historic Places. This type of designation would have been the first of its kind in Philadelphia and could have set a precedent for other important works of public art that are integral to a community’s identify.

Image 43: The Painted Bride in progress, 1990s

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Image 44: The Painted Bride in progress, 1990s

Image 45: The Painted Bride in progress, 1990s

This would not have been the first time a mural was designated in the United States.

In 2017 the State Historical Resources Commission approved the Great Wall of Los Angeles mural’s nomination to the National Register of Historic Places. . The Great wall was created in 1976 as part of a mini-park project to beautify a flood control channel. Measuring at almost 3,000 feet, The Great Wall depicts the history of California through images of significant figures and historic events from diverse and traditionally marginalized communities and is one of the largest murals in the world. Over the years it employed over 400 youth and their families from diverse social and economic backgrounds working with artists, oral historians, ethnologists, scholars, and hundreds of community members.19

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Image 46: The Great Wall Murals, Los Angeles

Image 47: The Great Wall Mural under construction, Los Angeles

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Unfortunately for PMG, the fate of The Painted Bride was decided with a 5-4 vote in

opposition of designation.20 The main factors that swayed the committee’s decision came down to the age of the mosaic combined with the uniqueness of the case. If the mosaic had been done in 1967 it would have stood a better chance. This unwillingness to designate was a missed opportunity for the committee to redefine preservation in Philadelphia with a groundbreaking case.

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7.

ISAIAH’S OPTIONS

VARA could work for

Isaiah Zagar, but it’s complicated. VARA only protects works that can be removed without damage to the work. Moving a Zagar mosaic is logistically possible, but cost prohibitive. Zagar adhered pieces directly onto the wall so the mural becomes a part of the building’s architecture. To move the art, one would have to move the entire wall.21

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Image 48: Isaiah Creating Mosaic on wall

Based on this standard, Isa-

iah’s work isn’t excluded from VARA, and Isaiah would be entitled to significant compensation if the owner destroyed the work without his knowledge. That is to say that the owner must give Isaiah a formal notice that they wish to remove the work. Isaiah would then have 90 days find a way to remove it. While VARA does open up Isaiah to the possibility to some compensation of removal (and that’s only if the owner destroys the work without giving Isaiah the opportunity to

Image 49: Entire wall being moved

move it himself), it does not actually protect his work from destruction.

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There is an opportunity for PMG to possibly get an easement for the facades of the

Painted Bride as in the case with the Royal Theater at 1524 South Street. The Philadelphia Preservation Alliance holds an easement on the façade of the theater and while the rest of the building has been demolished to make way for an apartment complex, the historic façade remains. However, this is still a risk as an easement can only take place with the approval of the owner. The best-case scenario for PMG at this point is if the Painted Bride gets a buyer who appreciates the mosaics and even if they want to demolish the rest of the building for development they will agree to an easement for the facades and incorporate them into the designs. This is not too far of a reach considering that The Bradford realized the marketing capabilities of their proximity to Magic Gardens and has used it for sales.

There is a growing trend of appreciation for Isaiah’s work.

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Image 50: Royal Theater Facade after demolition of old building and construction of new behind (Render, JKRP Architects)

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In the future PMG may have more luck getting the mosaics designated as historic

objects rather than properties, as was the case with the Dream Garden Tiffany Glass Mural. When, in 1998, the mural was about to be sold and removed to an anonymous buyer, the community cried out for the protection of the 1916 mosaic. The Philadelphia Historical Commission designated the mural as the City’s first “historic object”, under an existing provision of the historic preservation ordinance. After an appeal and demolition permit filed by The Merriam estate, The Association argued that the mural is a site-specific work of public art integral to the historic building in which it is located, that it was created and located for the enjoyment of the public, and that its relocation risked damage to the work.22 The same argument could be made for each of Isaiah’s public mosaic. However, it is still a gamble as the age of the mosaics may again hurt the case.

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Image 51: The Dream Garden, Tiffany Glass Mural, Maxfield Parish

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PMG must get Philadelphia’s Magic Gardens located at 1020 South Street on the

Philadelphia Register of Historic Places in order to set a precedent. Because they own the property there will be far less push back from the committee. Once it is on the register it will be far easier to make the case that Isaiah’s public mosaics should be included on the register. While PMG does have some reservations about how a nomination to the Philadelphia Register will work for them based on the fact that the spirit of the art environment is to be constantly evolving and changing, sources at the Preservation Alliance of Philadelphia have stated that as long as the nomination is clear in regards to the changing nature of the place and the overall character and spirit of PMG remains throughout the changes, nomination should not be a problem.

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Image 52: Children posing in front of Zagar Mosaic

Image 53: Pedestrians posing with Zagar Mosaics

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8.

CONCLUSIONS

The fact that is has been such an uphill battle for an organization trying to protect

a proven community treasure goes to show just how flawed preservation practice in the United States is. Traditionally, preservation practice in the United States focuses primarily on buildings and structures. This is not the case in other parts of the world. With the Burra Charter the Australian National Committee of ICOMOS set forth principals to protect the cultural heritage of Australia in ways that go beyond the mere preservation of the built environment.

It aims to protect the cultural significance of a place, which includes aesthetic, histor-

ic, scientific, social and spiritual qualities.23 The Burra Charter also touches on the concept of Intangible cultural heritage, meaning the practice, representations, expressions, knowledge, and skills – as well as the instruments, objects, artifacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This concept could easily be applied to Isaiah’s case.24 South Street is a community and Isaiah’s mosaics are woven so deeply into the fabric of the culture that South Street would not even exist today if not for the efforts of the South Street Renaissance. The intangible cultural heritage of a place must be more thoroughly considered in Philadelphia’s Preservation Practice or our environments will soon be devoid of the spirit of place.

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Image 54: Isaiah Zagar Community Mural Workshop

Image 55: Community Workshop

Image 56: Isaiah and Community Workshop

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References

About Isaiah Zagar, Philadelphia’s Magic Gardens handout.

“Art vs. Art.” The Philadelphia Citizen. September 14, 2018. https://thephiladelphiacitizen. org/art-vs-art/.

“Great Wall of Los Angeles (Mural) (U.S. National Park Service).” National Parks Service. https://www.nps.gov/places/great-wall-of-los-angeles.htm.

Howard, Greg. “Graffiti Gets Paid at 5Pointz. Now What?” The New York Times. February 20, 2018. https://www.nytimes.com/2018/02/20/nyregion/graffiti-artists-5pointz. html.

Living Mosaics, “Mozaico.” December 22, 2014.

Marquis-Kyle, Peter, and Meredith Walker. The Illustrated Burra Charter: Making Good Decisions about the Care of Important Places. Sydney: I.C.O.M.O.S. Australia, 1992.

Merriman, Anna. “Iconic Painted Bride Building Fails to Secure Historic Designation.”

Curbed Philly. September 14, 2018. https://philly.curbed.com/2018/9/14/17861972/ painted-bride-building-art-center-old-city-philadelphia.

Michelle Obama, Letter to Philadelphia’s Magic Gardens, September 21, 2009, Archives of Philadelphia’s Magic Gardens.

Olivia Edlund, An Educational Guide to Philadelphia’s Magic Gardens, Philadelphia’s Magic Gardens, 2017.

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Peter Grossi (Philadelphia Preservation Alliance), Personal Communication, April 2019.

Philadelphia Register of Historic Places, “The Painted Bride” City of Philadelphia, Dec 4 2017, https://www.phila.gov/historical/Documents/PaintedBrideNom_03.16.2018.pdf

Portland Street Art Alliance. “MURALS, ART COPYRIGHT, AND VARA.” Portland Street Art Alliance. April 19, 2013. http://www.pdxstreetart.org/articles-all/2016/11/24/murals-art-copyright-and-vara.

Stacey Holder (Philadelphia’s Magic Gardens), Personal Communication, February 2019.

“The Dream Garden.” Association for Public Art. https://www.associationforpublicart.org/ artwork/the-dream-garden/.

“What is spaces?” Spaces Archive. https://www.spacesarchive.org

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Endnotes 1

Philadelphia Register of Historic Places, The Painted Bride, 2017.

2

Philadelphia Register of Historic Places, The Painted Bride, 2017.

3

City of Philadelphia, Resolution No. 050085, 2005.

4

Michelle Obama, Letter to Philadelphia’s Magic Gardens, September 21, 2009. Philadelphia’s

Magic Gardens Archives.

5

“South Street: Meet Isaiah Zagar, the Mosaic Man.” 2014.

6

Weigley, RF et al. (eds). Philadelphia: A 300-Year History. New York and London: W.W. Nor-

ton & Company, 1982.

7

David Clow. “House Divided: Philadelphia’s Controversial Crosstown Expressway as a Plan-

ning Laboratory.” Working Paper of the American Planning Association, 1989.

8

Philadelphia Register of Historic Places, The Painted Bride, 2017.

9

Philadelphia Register of Historic Places, The Painted Bride, 2017.

10

“Mozaico.” Living Mosaics. 22 December 2014.

11

Philadelphia Register of Historic Places, The Painted Bride, 2017.

12

“ How Philadelphia’s Magic Gardens Is Preserved,” National Trust for Historic Preservation.

2019.

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13

“About Spaces”, Spaces Archive

14

Cynthia Esworthy, “A Guide to the Visual Artists Rights Act” 1997

15

Kohel Haver, “Murals, Art Copyright, and VARA” 2013.

16

Cynthia Esworthy, “A Guide to the Visual Artists Rights Act” 1997

17

Greg Howard, “Graffiti gets paid at 5Pointz. Now What?” 2018.

18

Philadelphia Register of Historic Places, The Painted Bride, 2017.

19

National Parks Service, “Great Wall of Los Angeles (Mural)” 2019.

20

Anna Merriman, “Iconic Painted Bride building fails to secure historic designation” 2018.

21

Sarah Jordan, “Art vs Art” 2018

22

Association for public art, “The Dream Garden”

23

Meredith Walker and Peter Marquis-Kyle, “The Burra Charter” 2004.

24

Meredith Walker and Peter Marquis-Kyle, “The Burra Charter” 2004.

52 Image 57: Isaiah at Work

Historic Preservation Capstone Temple University Spring 2019

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