Claim: Photographs show a homeless shelter with painted social-distancing boxes in a Las Vegas parking lot.
Verdict: SUPPORTS

Retrieved passages:
title: I Have A Name Project
text: and written word. IHAN aimed to make a mural relating to homelessness. Linton believes that college students can help the homeless. Linton and the project have put on photo exhibits in Phoenix and Tucson, Arizona. In the exhibits, the photos were only accompanied by the names of the subjects. The photos have been described as having quiet solidity, an air of survived desertion, simple, and giving of an air of aloneness. IHAN displayed photos in conjunction with the Carlos G. Figueroa foundation. Figueroa was an Arizona homeless man who was murdered and robbed in 2003. One observer wrote: "the subject

title: Anthony Hernandez (photographer)
text: toward capturing scenes suggesting abandonment and desolation absent of human players yet charged with intrigue about their involvement. The pictures also reveal another signature tactic of his compositions, which is to offer visual allure that draws a viewer into troubling subject matter. The photographer likens this series with his earlier "Automobile Landscapes." His "Landscapes for the Homeless" series, which he produced from 1988–1991, captured images of homelessness sites located near and under Los Angeles freeways, focusing exclusively on the inhabitants' makeshift shelters and discarded refuse nearby. This suite of photographs was unique in their focus on the evidence of homelessness,

title: Jon Peterson (artist)
text: paper paintings (1976) and wall drawings (1978) at Newspace in Los Angeles. Peterson’s 1977 sculpture show at Newspace featured brightly-colored, geometric, cage-like structures alluding to those absent bodies that would later occupy his bum (bad) shelters. Inspired by neighboring artists’ anonymous interventions in the street, as well as skid row's homeless occupants, he constructed Masonite and Fiberglass single-body shelters in his studio, which he inserted amidst downtown’s craggy terrain. In 1979, he exhibited photomontages documenting each shelter's installation, occupation and use, in editions of 10, so as to finance their demand. Between 1979 and 1983, he was commissioned by the

title: Michael Leavitt (artist)
text: the homeless? It is an odd invention indeed. But it may also be a solutions of sorts for homelessness in Seattle."(Real Change) To improve on his first designs, Leavitt built a third unit in 2001 using vinyl siding scraps salvaged from construction debris. Though designed as a domestic dwelling, the unit was used for 7 years as secure storage and nighttime security posts in the tent cities until it was dismantled in 2008. With his "ArtCards" from 2001 to 2003 Leavitt painted small portraits of famous and lesser-known artists, re-printed like traditional baseball cards. "I had so many ideas- too

title: Girl (Beck song)
text: car that this fold makes. The next fold takes place on a sidewalk, where a little girl is doing a chalk drawing. She sets down the chalk and walks away, the side walk folds and it takes the form of human outline, with police and the yellow tape around it. The fold after this one is a homeless person begging on the corner when Beck is driving by. The man holds a sign in his hand which says "Loose Change OK Allan's Anyway". The man proceeds to fold the sign, which now reads "Look Away". Later in the video, a

title: Jon Peterson (artist)
text: Clothier observed: “Provided that he was prepared to allow his work this liberty, at large in the community, the artist could continue to work in the traditions of his artistic heritage, while at the same time make his ‘offering’ to a public that would otherwise have spurned the work as irrelevant to their world” Richard Ross (photographer) remarked, “Peterson offers these people physical security in exchange for making a basically closed society more public.” His bum (bad) shelters anticipated Krzysztof Wodiczko’s "Homeless Vehicle Project" (1987-1989) and Michael Rakowitz’s "ParaSITE homeless shelter"(1997). Regarding their longevity, Constance Mallinson recalls, “Aside from photo

title: Noam Braslavsky
text: usual white cubes). An especially well-known work, "Shelter" (concrete, steel, glass, Plexiglas and sea-shells) from 1992, came to a legendary end when it was set on fire in an act of sabotage years later at his major solo exhibition "Magic as Existential Need" in Tel Aviv; only the steel frame and the concrete pedestals survived. Braslavsky’s works are traps that take their cues from sacred architecture, nature and society. He analyzes manipulative mechanisms that influence and control the human psyche, translating them in simplified form into rooms. Some examples are artificial wombs, purring machines, compulsive hats, labyrinths and enormous cocoons.

title: Milovan Destil Marković
text: setting: unemployment, homelessness and social – that is: public – invisibility. In contrast to the women’s portraits in which, by looking at the figure-less images, we rely on our memorized images to try to recall the women’s “real” faces as we know them from the media, in Marković’s portraits of homeless men, we are facing pictures of individuals who are anonymous to us, as they belong to a social group that each society in which they live tends to make invisible. These text portraits are based upon interviews Marković performed with homeless men in various world capitals. They represent the

title: Beneath the Neon
text: black-and-gray underworld of the Las Vegas flood-control system. In 2008, National Public Radio reporter Adam Burke accompanied the author into the tunnels to meet and interview some of the homeless people documented in the book. In September 2009, an ABC "Nightline" news team went into the tunnels with O'Brien as well to illustrate for viewers the stories of homeless people included in "Beneath the Neon". In June 2008, an exhibit based on the book was built and displayed for two months at the Contemporary Arts Collective in the Arts Factory in downtown Las Vegas. To recreate the feeling of life

title: Sukkah City
text: without solid shelter over their heads. It goes up in the fall, just when it's no longer entirely comfortable to be outside. One of the winning entries, the Sukkah of the Signs designed by architects Ronald Rael and Virginia San Fratello, clad the sukkah structure with several hundred homeless signs collected from the homeless around the United States. Sukkah City Sukkah City was an Architectural design competition and work of installation art planned in partnership with the Union Square Partnership for New York City's Union Square Park in September 2010. A committee of art critics and architects selected 12 winners

title: I Have A Name Project
text: I Have A Name Project The I Have A Name Project, "IHAN," strives to raise awareness about homelessness and empathy for the homeless. The project has displayed photos of homeless people in exhibits and has been influential and popular on social media. In 2007, Jon Linton—a photographer based out of Phoenix, Arizona—began a project to document homelessness in Phoenix to create awareness and bring about change. While working on the project, Linton walked around Phoenix. He came across a man who was holding a sign that said he was Vietnam War Veteran, Chuck Ridgeway, and Linton asked him his name.

title: Rosewater Limited Liability Company
text: around the manholes can become quite warm. These areas are known colloquially as "steamers," and are popular places for the homeless to sleep when it is cold. As a result, many of the homeless refused shelter, and continued sleeping on the street. Furthermore, according to the homeless, the available shelters were subject to overcrowding, inadequate staffing, and a lack security, resulting in possible threats to property, health, or safety. In a show of support for the homeless, on December 22, 1999, Rosewater's Campbell enlisted the help of "Food not Bombs" to erect a tent city on public square to protest

title: Andrée Ruellan
text: 1941 and purchased by the Phillips Collection later that year. Showing a sandlot ball game near a gas storage tank and some low-income housing, it depicts players and spectators enjoying weekend downtime. The painting fulfills Ruellan's intention to make works that are both well executed in a technical sense and also have emotional content. In an interview conducted in 1943 she said, "People are never just spots of color. What moves me most is that in spite of poverty and the constant struggle for existence, so much kindness and sturdy courage remain. Naturally I want to paint well-designed pictures—but I

title: Homeless shelter
text: Road" cafe, which supports both homeless shelter residents and also some unsheltered persons. At the opposite end of the spectrum, jurisdictions such as Santa Barbara, California, feature ongoing disputes in an often highly adversarial mode. Disputes have even reached such schemes as re-arranging benches on city sidewalks to discourage panhandlers. In another 2011 incident, an eight unit supportive housing project which had been approved was called back onto city council agenda the following week in order to allow approximately 35 public comments pro and con, despite the fact that the measure had just been approved. There have at times been

title: Tent city
text: and homeless advocates against criminalizing "anti-social" legislation that was passed by the city in January 2007 - specifically referring to the ordinance restricting people from sitting on sidewalks. City officials ordered the camp to disband. The Olympia Unitarian Universalist Congregation offered the encampment sanctuary on its property, being familiar with the Seattle faith-based network of homeless encampments. What began as a protest surrounding homelessness quickly became a faith community protest. The church community protested the city's insistence of dismantling the community on the grounds that churches maintain a specific land use right that allows t hem to offer sanctuary to

title: The Human Condition (Magritte)
text: tower of a close building and a street below. In "The Fair Captive" (1947), there is a beach scene with an easel set up. As in the previous cases it holds a canvas depicting what the viewer might expect to be behind it. This time though, flames from a burning tuba in front of the frame are seen "reflected." "The Call of the Peaks" (1942) shows a mountain canvas in front of a mountain background which is buffeted on the right by a curtain. The list of similar works can easily be extended to include such paintings as "The Key

title: Andrea Bowers
text: negative space in her work in subtle and potent ways. A compelling instance of this is found in a growing body of drawings Bowers has made over the years, based on photos of women taken at immigrant rights marches, feminist rallies, gay rights protests and environmentalist actions. In these drawings, individual figures and the signs they carry are removed from their original contexts, leaving them isolated and vulnerable, while foregrounding their individual identity. In "Girlfriends (May Day March, Los Angeles," 2011")" this feeling is particularly strong, as each of two smiling women is segregated onto her own sheet of paper,

title: The Wall Live (2010–13)
text: who appears to be homeless pushes a shopping cart around the aisles around the floor seats. He wears a flannel jacket and a cowboy hat, and makes small talk with the fans as he makes his way around the floor. His cart is full of empty soda cans and rubbish and a sign that reads different sayings that vary from show to show, including, "No thought control" on one side and, "Homeless people need money for booze and hookers" on the other. His cart also contains the original stuffed "Pink" doll from 1979. The pre-show audio was 20 minutes of

title: Excited (M People song)
text: differently shaded red rectangles laid out in a 4 x 4 pattern but two of the yellow boxes are in a different arrangement and the black title banner across the top. The US artwork also has the same 16 differently shaded red rectangles laid out in a 4 x 4 pattern but two of the yellow boxes are in a different arrangement; one in the bottom right corner on the 12”/bottom centre right on the CD single) the other is mid-centre right above the centre banner and contains an image of the Elegant Slumming album cover sofa portrait featuring Mike,

title: John Divola
text: to the now, a presence. "It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise". In the "Dark Star" series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions