graffiti and color matching in historic districts

Graffiti and

Color Matching in Historic Districts

Anthony DelRosario

Historic Preservation Law Seminar

Professor Lloyd Shields

Master in Preservation Studies

Tulane School of Architecture

1 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010

Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture

Graffiti Background

Modern graffiti has existed for over one hundred years ranging from rail riders

marking boxcars to World War II soldiers writing “Kilroy was here” to gangs establishing

territory to youth in New York City during the 1970s and 1980s creating a new street

culture. When one thinks about graffiti today, one usually pictures the spray paint

designs that the street culture of New York City made famous. These pieces were often

designs of the graffiti writer’s name in large elaborate letters. However, not all graffiti is

self-promotion nor created with aerosol paint. Some graffiti is used to make a political

statement or an intimidating statement. Graffiti can be created with numerous materials

including stencils, markers, stickers, wheatpastes, glass etchers, and tile. In recent

years, a new term, “street art,” has been used to describe graffiti with a broader artistic

appeal. Whatever the message and whatever the material, graffiti is usually unwanted

by the owner of the property upon which the graffiti is found and thus considered

vandalism.

Currently, graffiti is found in almost all large urban areas. Industrial or

commercial buildings are often targets in cities. However, the problem of graffiti is no

longer limited to inner cities nor limited to non-residential buildings. One may find graffiti

along sound walls found along highways in the suburbs or on a house in a historic

neighborhood of an old city such as Boston, Philadelphia, St. Augustine, Savannah, or

Charleston. Some graffiti can be attributed to gangs marking their territory, but most is

due to youths “tagging” their names.



Locally, graffiti could be found on electrical boxes to garbage cans to sound walls

and barriers along the interstates. Since Katrina, there has been a rise in graffiti that

has followed the rise in empty buildings. Two buildings on Canal Street, the Texaco

building and the Grand Palace Hotel, are large empty structures that have very

prominent graffiti seen from Interstate 10.

Graffiti has been making news in New Orleans since at least 1997 when

Operation Clean Sweep was first created by former United States Marine Fred Radtke

as a crime reduction program. According at an article in The Times-Picayune from

1997, Radkte stated that “that if graffiti is ignored, it can lead to a sense of lawlessness,

destroy property and a neighborhood's morale, and invite more serious crime.”

(Pompilio). Another article from The Time-Picayune from 2008 states that:

Radtke is an adherent to the well-known "broken window" theory, the

notion that small neighborhood blemishes must be set right or they will lead to

more blemishes and, eventually, blight. The theory was famously applied to the

runaway graffiti in New York subways in the 1980s. Stripping the Big Apple's

passenger cars of graffiti was an early step, many believe, in New York City's

vaunted economic and social recovery in the past two decades. (MacCash)

Radkte formed Operation Clean Sweep in 1997 when weeks of commuting past graffiti-

covered cemetery walls at Canal Street and Metairie Road spurred him to contact City

Hall. From there, he was referred to the New Orleans Police Department whose usual

response to graffiti was only to file reports. Radkte invested $20,000 to establish the

non-profit organization and to take matters into his own hands.

(www.operationcleansweepnola.com)



Graffiti, Historic Districts, and Community Involvement

Historic districts in cities are commonly heavily trafficked tourist destinations.

These areas are also often vulnerable to graffiti and vandalism. Thus, municipal

agencies are very involved with the removal and prevention of graffiti. However, careful

steps should be taken to insure that the historic buildings of these districts are not

further damaged in the graffiti removal process.

One of the first cities to produce information for citizens was Providence, Rhode

Island. In 1986 with a grant from the Rhode Island Historic Preservation Commission,

the Keep Providence Beautiful group created Graffiti Removal Manual (Figure 1) after “a

12-month in-depth study on the problems and solutions of graffiti removal and

prevention.” (Keep Providence Beautiful, 1) Even in 1986, the Graffiti Removal Manual

states that graffiti is “not a new problem” and has “spread to all sections of large and

small communities marring building surfaces, roadways, parks, and recreational areas.”

(3) The manual begins with these graffiti facts and a list of graffiti agents and removal

ease. The manual also provides descriptions of the most commonly affected surfaces

and materials.

Figure 1: Graffiti Removal Manual, Keep Providence Beautiful



The historic preservation guidelines of the Graffiti Removal Manual state that “the

integrity of a building before and after graffiti removal” is of “prime consideration” and

that “the concerns become more complex when dealing with a building of historic value.

(9) The historic preservation guidelines give a very short synopsis of Standards of

Rehabilitation and Guidelines for Rehabilitating Historic Buildings from the Secretary of

the Interior. Interestingly, a decade later in 1995, Graffiti Removal Manual was cited as

selected reading of Preservation Brief 38: Removing Graffiti from Historic Masonry from

the Secretary of the Interior.

The bulk of Graffiti Removal Manual is comparisons of removal products and

surface protectants. The guide compares three chemical removers, three mechanical

removers, and three chemical surface protectants on twelve different surfaces. Water

and detergent or poultices are suggested as first steps before moving on to the products

in the comparison charts and abrasive cleaning like sand blasting are discouraged as

methods that can jeopardize the integrity of the building.

City departments or programs that remove graffiti can be found in cities such as

Savannah, Georgia and Charleston, South Carolina. In 2000, the city of Savannah,

Keep Savannah Beautiful and Savannah Development and Renewal Authority began an

effort called the Graffiti Abatement Program. (Rossiter) “Through funding from the city

and with help from Keep Savannah Beautiful, the program works directly with property

owners in downtown Savannah who want to remove graffiti on their property themselves

and reimburses them up to $200 for materials.” (Savannah Morning News)



In Charleston, the Livability Division within the Department of Design,

Development and Preservation is responsible for graffiti removal. According to Dan

Riccio, Director of Livability, property owners are responsible for removing graffiti but “if

the owner signs a liability waiver our Livability Division will paint over or remove the

graffiti.” According to The Post and Courier, Charleston's graffiti removal program

began in April 2007. (Coley)

In other cities, community members take action when needed in addition to or in

lieu of local government efforts. “The more responsibility the neighborhood shoulder, in

fact, the more progress can be made in graffiti control.” (Moss, 2) “While graffiti cleanup

campaigns can be a positive experience for a neighborhood, technical expertise is

necessary to reap the full rewards of residents’ labor.” (Moss, 3) Community groups

often employ or seek advice from professionals to protect members from toxic

substances and to prevent damage to buildings from methods and solvents. (Moss, 3)

The Downtown Development District of New Orleans, an assessment-based

business improvement district, not long ago created a Graffiti Removal Program to fight

graffiti on private and public property in the area bounded by Iberville Street, the

Pontchartrain Expressway, Claiborne Avenue and the Mississippi River. To combat

graffiti on public property, “Block-by-Block Cleaning Ambassadors identify and remove

all graffiti, decals, flyers, paint, posters, and stickers from public surfaces” such as

“sidewalk surfaces, light poles, traffic signals and electrical boxes, news box corrals,

trash receptacles, planters, phone booths, benches and art pieces.” (DDD) To combat

graffiti on private property, the Downtown Development District “has instituted a Graffiti

Removal Program where private property owners can receive 50% with a maximum of



$1,000 to offset the expense of graffiti removal from their property, including repainting

costs.” (DDD)

A community group in New Orleans, the French Quarter Business Association,

has recently started a graffiti program because “graffiti adversely affects public

perception, architectural significance and the general quality of life in the French

Quarter.” (FQBA) According to CityBusiness, the effort known as the Vieux Carré

Graffiti Abatement Program is a collaboration between the French Quarter Business

Association, the Vieux Carré Property Owners and Residents Association, French

Quarter Citizens and the French Market Corp and is “taking steps to remove graffiti, and

not just paint over it, using products that are safe for the district’s historic buildings.”

“French Quarter Resident Chad Boutte caught the Business Association's attention with

products that would remove graffiti, and be acceptable for use even in historic areas.”

(Capo) “Dubbed the ‘World's Best Graffiti Removal System,’ the cleaners were all-

natural and meant to preserve the historical integrity of buildings.” (Hirsch) As a result,

Boutte has formed his own company Eraser Man Graffiti Removal Services (Figure 2)

as “the French Quarter’s first completely mobile Graffiti Removal Company working

passionately toward removing graffiti and blight in our community.” (Boutte) Removal

methods have been approved by the Vieux Carré Architectural Commission for use on

historical surfaces according to Boutte. On their website, the French Quarter Business

Association suggests first using soap and water to remove graffiti then move on to

Vieux Carré Commission approved removal products such as World's Best Graffiti

Removal System and to acquire a permit from the Vieux Carré Commission to use

chemicals or paint as last option to remove graffiti.



Figure 2: Eraser Man Graffiti Removal Services logo

Since the summer, the French Quarter Business Association has hosted two

Vieux Carré Graffiti Abatement Program graffiti cleanup events. During the first event in

mid-July, volunteers photographed and removed graffiti from city-owned metal

structures such as street signs, parking meters and trash receptacles. “Other structures

would require permission to clean, so organizers targeted only publicly owned

structures.” (Hirsch)

Color Guidelines

Historic district commissions across the country have various levels of

regulations regarding exterior paint colors. In an email, Debbi Rhoad Hopkins, Senior

Preservation Planner in the Department of Design, Development and Preservation of

Charleston, South Carolina, states that “we review colors on buildings in the historic

district here; however, with few exceptions, it’s not a big deal to change a color. We’re

more concerned about what color is proposed and the placement if there are multiple

colors, than whether it’s the same one as existing.” Also, the General Guidelines for

Rehabilitation and New Construction within the Jurisdiction of the Board of Architectural

Review for Charleston states:



There is no specific palette of “approved colors.” Paint color approval is

given on a case-by-case basis depending upon the style of architecture, the

character of the adjacent buildings, and the neighborhood. Garish colors in

general are to be avoided. A paint sample on the building may be required prior

to final approval being granted.

According to an email from Dan Riccio, the Director of Livability in the Department of

Design, Development and Preservation, “the Livability Division is responsible for graffiti

removal and we make every attempt to match the existing paint color throughout all

parts of the city.”

The Chatham County Historic Preservation Commission in Savannah, Georgia

has similar regulations as Charleston, South Carolina. Their manual, Material

Treatment Guidelines for Rehabilitation in Savannah’s Historic District, states:

Color is a very personal statement. It is not the intent of the guidelines to

dictate personal taste through a set palette of colors. Furthermore, incompatible

choices and combinations can be made even from an “approved” historic color

charts. The intent of this chapter is to provide guidance as to the traditional

placement of color in the Historic District based on local historical descriptions,

views and photographs. A primary concern is that 1) the painted structure read

as a cohesive whole and that 2) the structure blend with and complement

surrounding structures.

The Historic Preservation Officer of the Chatham County Historic Preservation

Commission did not respond to email inquiries regarding graffiti and color matching in

Savannah.



In New Orleans, the Vieux Carré Commission has much stricter regulations

regarding colors than the commissions in Charleston and Savannah. Vieux Carré

Commission Design Guidelines Policy of Historic Paint Colors (1820-1920) states:

One of the most exciting aspects of renovation/restoration is the choice

and placement of exterior paint colors. These colors and their placement should

parallel the different tastes associated with the period of a particular building.

Basically, there are four major color phases for buildings from 1820 to 1920 in

the Vieux Carré: c.1820-1840, c.1840-1870, c.1870-1900, and c.1900-1920. In

general, these four periods have fairly definable colors and placements of colors

- from the early use of pastels and white, then in the Victorian period a darkening

and broadening of not only color ranges but color placements and, finally, a

return to pastels and white after 1900. The fascination with rich colors and

emphasis on architectural details begins in the 1840's and increases toward the

end of the century. After 1900, one finds a gradual return to the pastels and

white of the Colonial period, there being no coincidence that this period is often

called Colonial Revival.

The guidelines provide a detailed breakdown of what colors can be used on what

architectural elements from what period. The guidelines go on to say:

Color can enhance or mutilate form and detail. Careful color selection and

coordination are essential to the architectural integrity of a building. Garish color

schemes are inappropriate to the character of the Vieux Carré. Colors shall be

toned-down hues that harmonize with each other and unify architectural features.

Colors may highlight important features, not unimportant ones, and should not

fragment facade elements or create a spotty effect.

According to the Vieux Carré Commission website, these guidelines were formulated in

1984, nearly fifty years after the creation of the Vieux Carré Commission, to “propose

specific guidelines for preservation, restoration and development” and to “not only relate



to standards for insuring the historic and architectural integrity of buildings, but also for

protecting the aesthetic quality of the district as a whole.”

In the early 1970s the Sherwin-Williams Paint Company created a color chart

representing the palette of the French Quarter. According to an article in CityBusiness,

Sherwin Williams reintroduced the 30-year-old New Orleans color chart in 2003 “to give

names to the historic colors of the French Quarter.” Mike Harville, district manager for

the New Orleans region at the time, said that “reintroducing the chart is an effort to give

everyone a common language when talking about New Orleans colors.” (Giusti)

The company currently promotes the selections as the Vieux Carré Exterior

Colors, Reflections of New Orleans’ Historic French Quarter with brochures (Figure 3)

that have been printed after the Sherwin-Williams French Quarter location opened in

2004. The brochure states:

The exterior colors elected to recapture the distinctive visual appeal that is

so much a part of this historic gem were developed with the assistance of the

Vieux Carré Commission many years ago. That body has been chartered by the

State of Louisiana to preserve not only the physical appearance of the area, but

also the lifestyle it represents.

Vieux Carré Colors are not "historic" in the sense that they completely

repeat the colors of an earlier day. Rather, they interpret the past in terms of

today. This is in keeping with the Commission's avowed purpose of fostering

appreciation for the past while encouraging the full use of an area as an

interesting place to visit - and to live in - today.

The brochure has samples of 24 colors with interesting names: Pontalba Rose, Creole

Pink, Ursuline St. Rose, North Rampart St. Brown, St. Louis St. Peach, Toulouse St.

Cream, Pirates Gold, Dumaine St. Ivory, Royalle Orleans Gold, St. Ann St. Yellow,



Esplanade St Gold, Barracks St. Gray, Dauphine St. Beige, Conti St. Antique, Chartres

Green, New Orleans Olive, Cabildo Olive, St. Phillip St. Green, Decatur St. Aqua,

Bienville Green, Gov Nicholls St. Green, French Market Blue, Cathedral Gray, Bourbon

St. Blue.

Figure 3: Vieux Carré Exterior Colors from Sherwin-Williams

Hilary S. Irvin, Architectural Historian at the Vieux Carré Commission, related the

Commission’s opinion via email:

The Sherwin Williams brochure does not represent the VCC approved

colors. The color chart was used in the early 1970s but does not differentiate

what is correct for buildings with various construction dates. In addition, there is

not enough variety of colors; and the chart does not indicate what color is for

what portion of a building (walls. Trim, shutters). Therefore in the 1980s the

written guidelines were formulated after paint analysis studies had been made

and additional research done.

Unfortunately, Sherwin Williams decided to reprint the brochure without

our authorization. The colors are not necessarily inappropriate but many more

colors are also acceptable. And the dark greens are not wall colors, for example.



Graffiti Removal and Color Matching

In addition to using various solvents and removal methods, paint is another

option in countering graffiti. Painting is the easiest and quickest method to removing the

nuisance of graffiti. This method is commonly known as “bufffing” and usually involves

covering the graffiti with a neutral paint color such as tan or grey. For over a decade,

Fred Radtke and Operation Clean Sweep have used grey paint to buff graffiti which has

earned him the nickname, The Grey Ghost. According to Radtke in a 1997 Times-

Picayune article, the grey blotches tell the graffiti writers that "there's a force out here,

working against them.” The article goes on to say that “once the graffiti artist seems to

have left the area, Operation Clean Sweep works with the property owner to bring the

building back to its original color.” This process is one form of a method called color

matching.

Operation Clean Sweep may have claimed over ten years ago that color

matching was part of their graffiti removal process. In 2001, Fred Radtke said, “We

have a historic city and some of the most beautiful architecture in the country, but a lot

of these building are being ruined by graffiti." (Perlstein) However, in recent years

Radtke has not stayed true to the commitment of color matching. In addition to not

color matching, Radtke has also been known to paint over graffiti on private property.

Radtke is considered to be one that “slathers gray paint on whatever doodles or

obscenities vandals have scrawled on public or private property, including street signs.”

(Figure 4) (CityBusiness March 2008) City Councilwoman Jackie Clarkson said, "We

want graffiti removed but we want it authorized and controlled as to when, where and



how he can do it. I know the city would never give (Radtke) authorization to do any of

what he is doing including going on someone's private property.” (Webster)

Figure 4: buffed stop sign on Elysian Fields at Chartres

Figures 5 & 6: buffing in French Quarter



In 2008, Mark Wilson, president of the French Quarter Business Association,

said, "This is a world-class destination. Graffiti and gray paint over graffiti (Figures 5 &

6) are both blights on the French Quarter and its natural ambiance." (MacCash) So he

arranged for paint companies to provide Radtke with paint of Vieux Carré palette. Also

Radtke would still need the permission of property owners to alter their buildings and

work permit from the Vieux Carré Commission “to ensure that the alterations would be

in keeping with the colonial tout ensemble.” (MacCash)

"He may think what he's doing is a corrective measure, but it's unauthorized in

many cases and doesn't correct the graffiti, but just camouflages it with another color of

paint. That's the same thing," said Larry Hesdorffer, Vieux Carré Commission director.

"It may be with better intent but that doesn't make it right." (CityBusiness March 2008)

Hilary S. Irvin, Architectural Historian at the Vieux Carré Commission, states the

commission’s current opinion of Radtke:

The VCC does not participate in Fred Radtke’s program & in fact does not

condone covering graffiti with a non-matching color and the painting of a property

without the property owner’s consent. The VCC, however, does issue permits to

cover graffiti, who ever the applicant is, if the owner consents to the work.

Graffiti as Art, Buffing as Art

2007 and 2008 were years with local news filled with stories of graffiti and the

Gray Ghost. In 2007, Fred Radtke and local artist Michael Dingler of NOLA Rising, both

former Marines, clashed in a much-publicized battle. Dingler had installed hand-painted

signs with positive messages on utility poles around town and Radtke made a point to

buff these small pieces of street art. The confrontation escalated to the point that



Radtke made a personal mission of trying to have Dingler fined hundreds of dollars for

every instance of his signs on a pole. A court hearing in 2008 led to only a fine of $200

for Dingler. (MacCash)

In May 2008, a reader of nola.com, with tongue firmly in cheek, posted a story

entitled “Radtke Reconsidered: Artistic legitimacy.” He writes:

The grey overlapping squares which Radtke paints on every available

surface are not as obvious or eye-catching as the candy-colored nonsense and

fanciful lettering most of us think of when we think "graffiti artist." Radtke is an

artist in a different league, and the furor his work has generated is proof enough

of its power. When is the last time an argument over a painter has lasted this

long and involved as many members of the New Orleans public? (Weaver)

The writer categorizes Radtke as Abstract Expressionism and compares his work

(Figure 8) to artists such as Mark Rothko (Figure 7). He goes on to say:

That he is a driven, emotionally intense man none can deny, and as for

self-denial, he is an artist against art, an artist whose very creations are both

canvas (for subsequent artists) and denials of art-as-aim: his work perpetuates,

on many levels, that which it seeks to destroy. (Weaver)

Figure 7: Untitled, Mark Rothko Figure 8: Untitled, Fred Radtke



In August 2008, world-famous graffiti artist Banksy stenciled several pieces of

street art around the city as a tribute to the third anniversary of Hurricane Katrina.

Several pieces featured a man in a white suit buffing something (Figures 9, 11 & 12), a

stab at Radtke “The Gray Ghost.” On one piece, Banksy even came back a couple of

days later to add a realistic buffing to part of the piece (Figure 10). Radkte buffed one

of the stencils (Figures 13 & 14).

Figures 9 & 10: Bansky stencil of Gray Ghost before and after

Figures 11 & 12: Bansky stencils of Gray Ghost



Figures 13 & 14: Bansky stencil before and after

In October 2008, Radtke was stopped and cited by National Guardsmen when he

was buffing a mural on Press Street without the owner’s consent. In March 2009,

municipal Judge Paul Sens ordered Radtke to cease buffing graffiti without permission

from the property owner. As a result, fewer gray blotches dot the landscape including

the French Quarter.

Laws

In 2010 the Legislature of Louisiana passed House Bill No. 1264 to create Act

No. 990 to enact R.S. 14:56.5 which defines “criminal damage to historic buildings or

landmarks by defacing with graffiti” as a crime with penalties of up to $1000 in fines, up

to 64 hours of community service, and up to two years in prison. The act defines

“historic building or landmark” as:

(a) Any building or landmark specifically designated as historically

significant by the state historic preservation office, historic preservation district

commission, landmarks commission, the planning or zoning commission of a

governing authority, or by official action of a local political subdivision.



(b) Any structure located within a National Register Historic District, a local

historic district, a Main Street District, a cultural products district, or a downtown

development district.

Conclusion

Graffiti will continue to be a problem on the visual landscape. Proper methods of

graffiti removal should always be exercised especially in architecturally sensitive areas

such as historic districts. Following guidelines of the historic districts commissions will

help keep the integrity of these unique neighborhoods.

i 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010


Sources

Board of Architectural Review. General Guidelines for Rehabilitation and New

Construction within the Jurisdiction of the Board of Architectural Review.

Department of Design, Development and Preservation, City of Charleston.

<http://charleston-

sc.gov/shared/docs/0/general%20guidelines%20for%20historic%20properties.pdf>

Boutte, Chad. email. Eraser Man Graffiti Removal Services. October 2010.

Capo, Bill. “Group Launches Anti-graffiti Campaign in French Quarter.” wwltv.com July

6, 2010. <http://www.wwltv.com/news/Anti-Graffiti-Campaign-In-French-Quarter-

97886629.html>.

Coley, Jill. “Graffiti Mars Historic Building.” The Post and Courier July 31, 2008.

<http://archives.postandcourier.com/archive/arch08/0708/arc07316618485.shtml>.

Downtown Development District. <http://www.neworleansdowntown.com>.

French Quarter Business Association. <http://www.fqba.org>.

Giusti, Michael. "Sherwin Williams to Reintroduce 30-Year-Old New Orleans Color

Chart for Homeowners." CityBusiness December 1, 2003

<http://www.allbusiness.com/north-america/united-states-louisiana/1121976-

1.html>.

ii 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010


Hirsch, Masako. "Volunteers Tackle Graffiti Marring French Quarter - Neighborhood

Groups Plan Ongoing Campaign." The Times-Picayune July 15, 2010.

<http://www.nola.com/business/index.ssf/2010/07/volunteers_tackle_graffiti_mar.ht

ml>.

Hopkins, Debbi Rhoad. email. Department of Design, Development and Preservation,

City of Charleston. September 2010.

Irvin, Hilary. email. Vieux Carré Commission. September 2010.

Keep Providence Beautiful. Graffiti Removal Manual. Rhode Island Historic

Preservation Commission 1986.

LOUISIANA REVISED STATUTES; TITLE 14.CRIMINAL LAW; CHAPTER 1.CRIMINAL

CODE. Trans. Chapter 1.Criminal Code. Vol. TITLE 14.CRIMINAL LAW., 2010.

MacCash, Doug. "Vandalism Or Art? - The Decades-Old Struggle Between Graffiti

Producers and Those Who Seek to Prevent It Has Flared Again." The Times-

Picayune July 13, 2008.

<http://blog.nola.com/dougmaccash/2008/07/vandalism_or_art.html>.

Moss, Elizabeth. "Graffiti: Neighborhoods Fight Urban Scrawl." Conserve

Neighborhoods Nov.-Dec., no.53 (1985).

Office of Historic Review Board. Material Treatment Guidelines for Rehabilitation in

Savannah’s Historic District. Chatham County-Savannah Metropolitan Planning

Commission 1990.

iii 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010


<http://www.thempc.org/documents/HistoricPreservation/DesignManuals/Historic%

20District%20Manual.pdf>.

Operation Clean Sweep. <http://www.operationcleansweepnola.com>.

Perlstein, Michael. "Prosecutors Turn Tough on City's Graffiti Offenders - Cases Now

Being Sent to Criminal Court." The Times-Picayune June 4, 2001.

Pompilio, Natalie. "Graffiti Volunteers Erase The Writing on the Wall - Paint Program

Spreads Into Jeff." The Times-Picayune April 30, 1997.

Riccio, Dan. email. Department of Design, Development and Preservation, City of

Charleston. September 2010.

Rossiter, Erin. “Savannah Aims to Erase Marks of Vandalism.” Morris News Service

June 14, 2000.

<http://www.onlineathens.com/stories/061400/new_0614000013.shtml>.

Sherwin-Williams Company, The. Vieux Carré Exterior Colors, Reflections of New

Orleans’ Historic French Quarter.

Staff. "Commentary: Gray Ghost Graffiti Solution Has Problems." CityBusiness March

11, 2008.

Staff. “Gutting Graffiti.” Savannah Morning News.

<http://savannahnow.com/stories/110602/LOCGRAFFITI.shtml>.

iv 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010


Vieux Carré Commission. <http://www.nola.gov/RESIDENTS/Vieux-Carre-

Commission>.

Vieux Carré Commission. Design Guidelines Policy of Historic Paint Colors (1820-

1920).

Weaver, D. “Radtke Reconsidered: Artistic Legitimacy.” nola.com May 26, 2008.

<http://blog.nola.com/vandalismtoday/2008/05/radtke_reconsidered_part_one_a.ht

ml>.

Webster, Richard A. "Founder of Operation Clean Sweet Launches Offensive at New

Orleans Cafe." CityBusiness April 28 2008.

v 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010


Image Credits

Figure 1 – Keep Providence Beautiful. Graffiti Removal Manual. Rhode Island Historic

Preservation Commission 1986.

Figure 2 – French Quarter Business Association. <http://www.fqba.org>.

Figure 3 – Sherwin-Williams Company, The. Vieux Carré Exterior Colors, Reflections of

New Orleans’ Historic French Quarter.

Figure 4 – photo by the author

Figure 5 – Michael “Rex” Dingler, <http://www.flickr.com/photos/nolarisingproject>


Figure 7 – Mark Rothko, Untitled, 1969








graffiti and color matching in historic districts

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