In the mid-1970s, New York City’s art deco scene was a thriving one, with some of the city’s most celebrated artists creating elaborate murals.

They even produced some of its most acclaimed pieces, such as the monumental mural “My God Is a Beautiful Woman” on the top floor of the Empire State Building.

And, in 1976, the city commissioned a large mural by renowned New York muralist Norman Foster called “The Red Door,” which inspired a number of murals throughout the city.

That mural was later turned into a movie called The Great Train Robbery, which also featured Foster.

But it was Foster who introduced the art decos to a new generation of artists.

“My hope is that art deca­tions will be embraced, as they were by the people who were creating it before Foster,” said Art Director and Art History Professor Jonathan Shackelford.

“He created a medium that was both powerful and accessible to a broader audience.”

Today, New Yorkers are proud to call Foster’s work their favorite.

But they are also wary of the work, because of its potential to offend.

Foster was a man with an agenda, but Shackel­ton said that he wasn’t just concerned with art and culture.

He was interested in the art he created, and that he was the one who would make art.

In the film, Foster is a “loner,” a “dumbass” who only paints his murals in the privacy of his apartment.

The artist’s work also reflects a larger problem with art in the 20th century, Shackey said.

The art world was in a crisis.

In 1960, the U.S. government began cracking down on the art world.

Many artists, like Foster, were imprisoned for their work.

And the art establishment was looking to find a new way to get rich, which meant the art of the past would soon be obsolete.

“The artist has a lot to lose if they paint a house or an apartment,” Shackee said.

“That’s why artists are in the studio.”

It’s also a time of reckoning for art, which was at a tipping point in terms of its artistic direction.

Shackington said his hope is to “show that art can be creative and accessible,” but that he hopes to be a bridge for those artists to find their voices again.

“In a world where art is a commodity and we’re selling art at auction, we have to be careful to make sure that we’re making the right choice,” he said.

Shaking Up the Art Decou­ble While Shacken­s office was busy painting Foster’s masterpiece, Shacklin­son was busy designing and designing.

He wanted to create something that would be accessible for everyone.

He had an idea for a wall mural that would create a sense of community.

The walls of the office would be painted with a different color, so that the murals could be seen from different angles.

“There was a lot of conversation about how this might be a political statement,” Shacklinson said.

He and his team began the process of figuring out the colors.

The murals were designed by a graphic designer who worked for an art gallery in New York.

He came up with the idea to have the mura­bles painted by a painter who was known for his “blending” of styles.

“I thought, what if there were more people who could blend into the background,” Shackle­son said.

His team chose a vibrant blue and red, and used a combination of spray paint and watercolor to create the walls.

The colors were inspired by Foster’s painting “The Great Train Roaches,” and Shacklin­s team painted the wall murals with the same colors.

“It’s kind of like painting a book with color,” Shachlin said.

 The first two wall mur­als are now part of the building, but the team is still experimenting with the technique.

The mural team plans to work on more murals over the coming months.

Shacklyn­son, who lives in New Jersey, is also working on a project that will be part of a new museum called the Museum of Art.

The museum will feature the works of artists who influenced him and the city of New York, as well as some artists who are not associated with art.

“This is going to be an experiment, but I think it will be a success,” Shocke­lon said.