As Pennsylvania recycling mandate nears expiration

As Pennsylvania recycling mandate nears expiration

In coming up with a plan to save polar bears from climate change, students at Colfax Upper Elementary School decided to encourage recycling.

But Springdale, where their school is located, doesn provide recycling to residents at their homes nor does any municipality within the Allegheny Valley School District because the state 30 year old recycling law says they don have to.

The law “as it exists today sets a very low bar, because that bar was a very high bar in 1988,” said Justin Stockdale, regional director of the Pennsylvania Resources Council, a grass roots environmental organization.

“That the nature of public policy. It was a very progressive, cutting edge piece of legislation back then, the first of its kind in the nation.”

Under the state recycling law, Act 101 of 1988, municipalities with fewer than 5,000 residents are not required to provide at home, curb side pickup of recyclables.

As a result, only 18 percent of the state more than 2,500 municipalities are mandated to provide recycling, according to the state Department of Environmental Protection.

At home recycling is popular, state officials say, especially in larger communities such as Hempfield Township, which in 2016 began picking up recyclable trash every week instead of every other week.

“That seems to have gone over very well,” township Manager Andrew Walz said. “This is a lot better. We can recycle more.”

The looming expiration of a $2 per ton fee on waste to support recycling programs could provide an opportunity to modernize the act. The fee is scheduled to sunset on Jan. 1, 2020, and advocates such as the Professional Recyclers of Pennsylvania are calling for its renewal before the end of 2017 so applications for future grants aren affected.

The fee raises more than $36 million each year to promote waste reduction and recycling.

“Should the funding sunset, grant programs will be discontinued, yet the requirements set forth in Act 101 will continue,” the recyclers association says.

Leaders of the legislative committees that would tackle the issue have differing views.

Adam Pankake, executive director of the Senate Environmental Resources and Energy Committee,
As Pennsylvania recycling mandate nears expiration
wants to focus only on renewing the fee.

“Generally, people are supportive of Act 101. It done a lot of great things across the state for recycling and seems to be working,” he said. John Maher, R Upper St. Clair, chairman of the House committee, said the fee expiration offers an opportunity to open the act to updates.

“Sometimes you need an element within the greater subject that creates a sense of urgency,” Maher said. “It time for us to revisit and update this law. If we going to have the fee, it becomes a question of, ‘What the fee for? What are we trying to accomplish? ”

State Rep. Frank Dermody, D Oakmont, supports the existing fee and thinks lowering the population threshold is something to consider, but he feels the state needs to provide more grants to help smaller towns get recycling programs going.

“Having this law in place really changed the way that people think about recycling in Pennsylvania. There a common expectation of it now that didn exist 30 years ago,” he said. “There has been no new goal in over a decade.”

Dernbach said the per ton fee should be made permanent, and increased to account for inflation.

“The program comes apart if you don have the fee,” he said.

Associations representing waste haulers agree with continuing the fee but disagree on revisiting the entire law.

“Our fear is, if they open it up, it going to be a nightmare. So many people will want to do so many different things,” said Gary Roberts, executive director of the Pennsylvania Independent Waste Haulers Association, which represents smaller companies. “There many things that could be changed. We know for a fact there are things that should be changed in there, but we know how things go in government. God knows what will happen if they do open it up.”

The Pennsylvania Waste Industries Association, representing larger companies, favors modernizing the act and is working on potential updates, Executive Director Mary Webber said.

One change would be to measure recyclables by volume instead of weight, to account for most recyclables today being plastic water bottles instead of heavier newspaper and glass.

Lowering the population threshold also is on the association wish list. “If it makes economic sense to drive a truck down the street to pick up the garbage, then we think recycling should be offered,” she said.
As Pennsylvania recycling mandate nears expiration

As far as the eye can see

As far as the eye can see

WESTVILLE Whenever Anthony LaGrand jogs at Forest Glen Preserve, he makes the observation tower part of his workout.

The Georgetown resident runs quickly up and down the 100 steps of the tower. And sometimes he doesn’t even use the stairs as he descends he instead swings over the sides and climbs down the girders.

“It’s pretty awesome,” he said of the 73 foot tall structure, one of only four of its kind in Illinois. “I enjoy getting up on top of the roof. I get up on the roof and just chill.”

Well, most people wouldn’t do that. But if LaGrand, who will join the Marines in July, fell he’d land on the deck of the tower, from which the view is quite grand.

The 360 degree vista is one of trees as far as you can see. You sort of feel you’re in Tennessee, not Illinois.

The Vermilion County Conservation District, which officially formed June 17, 1966, built the tower a few years later just for people to climb and enjoy the view.

“It’s not for patrol or any other use,” said longtime park superintendent Charles Rhoden. “It’s to look over the river valley.

“When the tower was built the fields were farmland and you could see the river in both directions. It’s all grown back up into woods. You can’t see the river (except in winter) but you can still get a good view.”

While most people climb to take in the bird’s eye view of nature, some ascend to enjoy the 4th of July fireworks in Danville, Westville and Perrysville, Ind., Rhoden said.

Despite its relative rarity, the observation tower is not the biggest draw at Forest Glen Preserve, seven miles southeast of Westville.

“It’s one of the things we have and people do go up it,” Rhoden said.

He views the entire 1,900 acre preserve, which has many other nice features, as a hidden gem though it’s the Conservation District’s first park, formally dedicated Oct. 12, 1968. woodlands.

It’s also noted for ranking third in Illinois for botanical biodiversity; in it grow several threatened and endangered species.

Some are found in some of Forest Glen’s four dedicated nature preserves:

The Seep Nature Preserve, an 8 acre floodplain forest with marsh and seep spring communities.

Howard’s Hollow Seep Nature Preserve, 1 acre of wetland seep surrounded by mesic and dry mesic upland forest. Skunk cabbage can be found here and in the Horseshoe Bottoms and Seep Nature Preserve.

The Russell M. Duffin Nature Preserve, a 160 acre area that takes in steep ravines and the beech maple forest.

The Doris L. Westfall Nature Preserve, 40 acres of 100 species of mixed prairie, seeded from Vermilion County sources. It was a project of the late Doris Westfall of Danville, who planted the prairie with help from park staff and volunteers from the local Audubon Society.

Another unusual, human made feature at Forest Glen is the Pioneer Homestead, used for historical interpretation and special events.

Its centerpiece is the replica of an Illinois frontier log cabin, built in the early 1980s by park staff, of yellow poplar logs.

Once a month except in winter, living history interpreters Michael and Diana Stevens of Danville, Ind., travel to Forest Glen to set up home in the cabin.

“We just move in for the weekend,” Diana said last week.

She was wearing a long white gown that a Frenchwoman would have worn in the 1750s. Her husband, “Col. Stevens,” wore the uniform of a Scotsman serving as a British battlefield commander in the French Indian War.

The couple love the cabin so much so that Michael, a union carpenter, fixed its roof last year, donating his labor and using materials provided by the Conservation District.

At the Pioneer Homestead, the couple chats with park visitors, explaining their 1750s furnishings and lifestyle, and serving food from the era as well as contemporary times.
As far as the eye can see

Arundel judge takes on trials of administration Greene to oversee courts in 3 counties

Arundel judge takes on trials of administration Greene to oversee courts in 3 counties

November 10, 1996By Dennis O’Brien Dennis O’Brien,SUN STAFF

Anne Arundel Circuit Judge Clayton Greene Jr., appointed last week as the county’s new administrative judge, keeps a plastic replica of a hand grenade on a corner of his desk with “Complaint Department” inscribed on its pedestal.

A visitor might think the gift from a retired police officer is a not too subtle warning to combative lawyers, but it contrasts sharply with Greene’s approachable, conciliatory style, according to those who know him.

“He’s a real leader in a quiet, effective way. He doesn’t coerce people, he just works really well with getting people to work with him,” said Judge Joseph P. Manck, who served with Greene for six years as a District Court judge and now holds Greene’s old job as administrative judge of Anne Arundel’s District Court.

Greene, 45, of Severna Park was appointed last week by Court of Appeals Chief Judge Robert M. Bell to serve as county administrative judge and as administrative judge of the 5th Judicial Circuit, which includes Howard and Carroll counties, along with Anne Arundel.

Greene replaces Judge Raymond G. Thieme Jr., who was appointed to the Court of Special Appeals two weeks ago, as administrative judge of the 5th Circuit.

In his new position, Greene will have a hand in supervising operations in all three courthouses.

He also replaces County Administrative Judge Robert H. Heller Jr., who has been supervising the Anne Arundel Courthouse.

Heller, who will remain on the Circuit Court bench, said that Bell told him late Wednesday that, after consulting with Court of Appeals Judge John Eldridge, he decided to have just one supervisory judge in each county courthouse.

Greene said that when Bell offered him the position in a telephone call last week, the same question ran through his mind as when he was asked to serve as administrative judge of the Anne Arundel County District Court in 1990.

“Can I do this job?” he said he wondered. “And then I thought, all it takes is doing what I’ve been doing all my life, dealing with people,” Greene said in an interview Friday. “The answer was yes, I can do it.”

Greene said that one of his top priorities will be to make the court system as efficient as possible and to push for state money for more circuit judges.

The county has had nine judges for 20 years, but as quickly as it is growing, more are needed, Greene said. “We need at least 10 judges. I’d love to have 12, but I know I can make a good case for 10.”

The number of judges in Anne Arundel’s Circuit Court had been limited somewhat by the size of the 19th century courthouse, which has eight courtrooms. The new courthouse, expected to open early next year, will have 10, according to county plans.

The appointments bring no additional salary, but carry with them the prestige and responsibility of overseeing operations in the state’s fifth largest courthouse.

Greene, who was appointed to the District Court in 1988, is highly respected for his fairness, intellect and ability to move cases through a clogged court system.

“He doesn’t get bogged down in minutiae, his knowledge of the law is first rate, and he’s highly regarded by the prosecution and defense bar,” said John H. Robinson III, a former prosecutor who now does criminal defense work.

Greene is a graduate of Northeast High School. He worked his way through the University of Maryland as a clothing store salesman, iron worker and member of the university kitchen staff.

A graduate of the University of Maryland Law School, he was an assistant Anne Arundel County attorney from 1977 to 1978 and an assistant public defender from 1978 to 1985. He was a deputy public defender from 1985 until his appointment to the District Court bench in 1988.
Arundel judge takes on trials of administration Greene to oversee courts in 3 counties

ArtPrize 2017 voters pick Lincoln penny portrait for

ArtPrize 2017 voters pick Lincoln penny portrait for

GRAND RAPIDS, MI ArtPrize Nine voters gave Battle Creek graphic designer Richard Schlatter the $200,000 Grand Prize for his 12 foot portrait of Abraham Lincoln made from about 24,500 pennies that bear Lincoln’s image.

Located in the Pantlind lobby of the Amway Grand Hotel, the 400 lb portrait won in the same room as last year’s Grand Prize winner, “Wounded Warrior Dogs,” an collection of wooden dog sculptures created by Ohio craftsman James Mellick.

The 73 year old Schlatter said he believes his work resonated with the public because of the current political controversy over the presidency. Although the portrait was not intended to be political, Lincoln is revered as the nation’s best president, he said.

“Everybody loves Lincoln,” he said. “I had people coming back two or three times to look at it.”

Schlatter said he decided to create the portrait after he was mesmerized by the various shades of pennies he had accumulated.

He began working on his portrait on Feb. 12 Lincoln’s birthday and said it took 465 hours to complete. It was completed on April 15, the anniversary of Lincoln’s death.

The portrait, which involved using about 5 pounds of glue, includes pennies from each year they have been produced, from 1909 through 2017. Lincoln’s shirt was made with 1,681 steel pennies that were produced during World War II as the nation preserved copper for ammunition.

Once he finished the work, Schlatter said he committed to using it as an educational tool to teach students about Lincoln and his legacy. That included creating a four color brochure explaining the project and Lincoln’s legacy.

Part of the $200,000 grand prize will be donated to a Battle Creek shelter for battered women,
ArtPrize 2017 voters pick Lincoln penny portrait for
Schlatter said.

Schlatter, who is semi retired from the Battle Creek advertising agency he founded in 1972, has won more than 75 awards in the field of graphic design, according to his biography.

His previous achievements include designing fonts and illustrating children’s books. Early in his career, he designed several fonts, including “Wexford,” which became popular and inspired similar fonts.

Meet the artists: ArtPrize 2017 public vote Final 20

In 2011, Schlatter wrote and illustrated a children’s book, “The Old Man and The Tree,” a story that teaches children the lessons of loyalty and respect as they apply to friends, nature and oneself.

Schlatter’s award winning portrait is not the first time ArtPrize voters liked an entry made with pennies.

In 2010, Kentwood resident Wander Martich created a 10 foot replica of a Lincoln penny using 84,000 pennies. Her creation took a 6th place in voting and was acquired by the Ripley’s Believe It Or Not Museum.

Although many visitors asked him about Martich’s penny, Schlatter said he was not familiar with her entry. He said he also has been approached by Ripley’s but could not comment on whether the museum would purchase his portrait.

In 2009, an ArtPrize artist created “$9.11,” a sculpture made of 911 pennies to commemorate the 9/11 attack. Pushpins and corks also have been popular mediums for portrait artists, but none have scored like the pennies.
ArtPrize 2017 voters pick Lincoln penny portrait for

Artists of the Year

Artists of the Year

Having failed to assassinate Henry Clay Frick with two gunshots and a makeshift dagger, anarchist Alexander Berkman took his fight to the tycoon’s legacy. “Henry Clay Frick was a man of the passing hour,” Berkman’s companion Emma Goldman said, having learned of Frick’s natural death on the eve of their deportation. “Neither in life nor in death would he have been remembered long. It was Alexander Berkman who made him known, and Frick will live only in connection with Berkman’s name. His entire fortune could pay not for such glory.”

Hey, some people don’t just forgive and forget. Berkman’s curse aside, the steel magnate had an awful lot of fortune. He devoted a goodly chunk of it to a peerless collection of masterpieces by the likes of Titian, El Greco, Rembrandt, Vermeer. In 1912, Frick built a gilded Fifth Avenue mansion to house it all. The museum, which bears Frick’s name, remains one of New York’s great cultural attractions, drawing a quarter of a million visitors each year. Surely, almost no one gazing at the placid sailing scenes of Aelbert Cuyp is thinking of the barges Frick hired on the Ohio River to deliver 300 Pinkertons to the city of Pittsburgh. There, in 1892, the rifle bearing strikebreakers confronted a crowd of protesting Homestead steel workers, killing 10 of them. Some 8,000 state militia would be needed to still the violence.

One of Minnesota’s modern day moguls found his name on the front pages this year, and not to his pleasure. Dr. William McGuire left his megalithic HMO, UnitedHealth, after the outbreak of a stock option scandal. The man who Forbes identified in 2005 as the third best paid executive in America stands accused of having fudged a few dates to augment the value of his holdings.

McGuire’s pillorying by the press is no match for Berkman’s point blank fusillade although it’s worth noting that Frick returned to his desk within a week and McGuire seems unlikely ever to return. (On a real tangent: A former UnitedHealth janitor once claimed to City Pages that McGuire kept a Kevlar lined bathroom at corporate headquarters, lest the spirit of Berkman seize an enraged employee. Crazy enough to be true?) Though the executive has forfeited some $200 million in stock options, more than a $1 billion more remains in dispute. And McGuire could still face criminal charges. With an estimated net worth of $1.2 billion, he should be able to scrape up a decent attorney.

In time, of course, these front page stories will sink into the musty recesses of the business section. And then they’ll disappear altogether. But McGuire, like Frick, won’t be forgotten. There’s a new 385 seat theater with his name on it in Walker Art Center and a $2 million commissioning fund for groundbreaking new performance pieces. Those whose dramatic tastes run toward the traditional can see the classics on the McGuire Proscenium Stage in the new Guthrie Theater. Groundlings and other plebes will be able to linger outside the riverfront building in the newly developed McGuire Park. Call it a meet and greet with mortality. So far, I’m not terribly proud of how I’m handling it. I tend to cover my ears and look the other way when the C word is mentioned. A certain epidemiologist’s gleefully dire warnings about tomorrow’s pandemic make me nauseous with fear. I don’t listen to KQ anymore. You never know when “Dust in the Wind” might take its turn in the rotation.

On one level, it’s ridiculous, given all I’ve been blessed with. And yet, at this stage, I can feel the full existential weight of Peggy Lee’s “Is That All There Is” bearing down. It might be some kind of genetic inheritance. For a brief period in the late ’60s, that song was a radio staple. We’d be driving back from my grandparents’ at night and I couldn’t tell whether it was my mom, Mary Lee, or Ms. Lee chatting nonchalantly about the emptiness of life. The chorus would start, and the two would croon in unison. I was startled to hear Mary Lee and Peggy Lee deliver a song of deep resignation with such conviction.

They’re topics to explore in a journal the personal melodrama lingering in a ’70s prog rock band; and the instant when it seemed like my mother and Peggy Lee were interchangeable but, alas, I don’t keep one. Yet in Agnes Smuda’s writing circle, I might have the makings of an audio autobiography. She and her artistic cohorts, 78 year old Joan Calof and Nancy Cox, who’s 68, released a CD this year that demonstrates how our lives are stitched together by songs.

On Songstories, the three recount some of their formative experiences and sing the songs that have become attached to them. It’s part scrapbook and part testimonial, presented like a homespun cabaret. Calof tells of growing up Jewish in Winnipeg in the ’30s and ’40s. Cox pays a loving tribute to her musician father. Smuda poetically recollects how the WWI era anthem “The Long Long Trail” became embedded in her family history.

By taking it off the page and into the studio, Smuda and her fellow performers have created a new, more economical model for the memoir. These three women have somehow managed to create an intimate portrait of their lives on a CD that contains only nine tracks. They’ve made the idea of passing on your life story more manageable, even for those of us still struggling to come to terms with the fact or is it just a vicious rumor? that our lives will end some day.

Even as a part time teacher who is well versed in the ways that fatuous notions sometimes hold sway in academic criticism, I was a bit shocked that David Treuer had to write Native American Fiction: A User’s Manual. But he did. Though he convinced me early in the intro, I read on, largely for the pleasure of seeing him demolish the false metric.

But this City Pages package celebrates artists, not scholars, and it’s The Translation of Dr. Apelles that proves Treuer’s mettle. His third novel published, like NAF, by Graywolf in September is an intoxicating confection, grounded in Treuer’s extensive knowledge of Native lore and customs. Just as central to its appeal, though, is a narrative complexity that recalls the likes of Jorge Luis Borges and Vladimir Nabakov. The second recounts the adventures of the manuscript’s subject: two extraordinarily gifted Indian kids who have a knack for getting out of jams that become more gloriously harrowing as the narrative progresses and less likely. While he’s great at complexity, characterization, and charm, nobody tells a better American tall tale than David Treuer. And he’s full of ’em.

“Dessert” may be the last label you’d give to the rough hewn carpentry of St. Paul artist Chris Larson (a termite might feel differently). Yet at the opening of his current Minneapolis Institute of Arts solo show, “Crush Collision,” exhibition coordinator Stewart Turnquist called Larson’s lumber constructions just that. Perhaps Turnquist was referring to Larson’s sweet countenance, because in truth this artist is best known for cooking up a formidable main course. With his penchant for cultural and physical collisions, Larson has brought forth such imagery as a wooden Dukes of Hazzard car careening into Ted Kaczynski’s hate shack, and a cardboard clad house buoyed for months on a Wisconsin lake.

“Crush Collision” includes the weather beaten house itself as well as a 10 minute film featuring Minnesota musicians Michael Bland, Grant Hart, and gospel group the Spiritual Knights, along with performance artist Britta Hallin. The film (originally shot on 16mm, shown on DVD) is a miracle of concision: How many performance art films beg to be longer? In it, we see Larson’s machine creaking and oozing at the hands of Hart and Hallin. The end product is a large, white ring of wet clay. On display in a nearby gallery, the now dry, hardened ring suggests a sort of visceral, primeval recording one that could possibly be remounted in the machine that created it and played back like a giant long playing record.

Showing across town at Northeast’s Creative Electric Studios is “Shotgun Shack,” another full scale Larson installation. “Shotgun Shack” is partly the aftermath of an opening night performance with Hallin and Hart, partly a photo and video exhibit. The performance the stuff of future Minneapolis lore is available from the gallery on DVD.

With both shows running through the first week in January (and “Shotgun Shack” heading to Milan, Italy) Larson has been busy of late. But he has already enjoyed concurrent shows on opposite sides of the Atlantic. Curiously, Larson’s drawing and photo show in Berlin sold out completely, while its New York counterpart lagged behind (until European collectors bought out that show, too).

Some viewers of Larson’s work describe references to torture, slavery, class, and race. Others see only raw materials, physical effort, and ambiguity.

February found Greenwald portraying Don Quixote in Nautilus Music Theatre’s Man of La Mancha, lending a booming voice and daft presence to a stripped down production. The next month he took the stage in Jeune Lune’s stylish opera Mefistofele, his hair dyed shield your eyes blond, swaggering in the title role with demonic magnetism.

While Greenwald has long established his credibility as a classical and early music vocalist, his appearance at the Jungle in I Am My Own Wife beginning in June was nothing less than a breakout acting performance. Here Greenwald took on the elderly Charlotte von Mahlsdorf, a survivor of both the Nazi and East German regimes, and a lifelong transvestite. He also tackled more than 30 other characters in the one man show, carrying the story with a mix of delicacy and power.

In the fall, Greenwald reprised a role in Minnesota Dance Theatre’s Carmina Burana, but it was December that put a bow on his gifts to Twin Cities audiences. Currently appearing as the Grinch in Children’s Theatre Company’s How the Grinch Stole Christmas, Greenwald slithers and snarls hilariously. And his operatic vocals fill up the big room nicely: I should know, having caught the show at the last minute and sat in the back row of the main floor, where none of Greenwald’s gestures were lost.

This year dancer Eddie Oroyan has found himself in a few hair raising situations, including dangling by a rope from the rafters of the State Theater in the Metropolitan Ballet’s Dracula: A Ballet of Passion, Life and Death. Fortunately, the 27 year old, who just as fearlessly works as a substitute teacher by day, has the ability to jump “like a flea,” according to the New York Times. This particular gift for Tigger style bounding has helped him spring in and out of many unexpected positions.

Since arriving in the Twin Cities in 2002, Oroyan has caught the attention of the dance community for his often playful, Labrador like approach to movement. He’s not a big guy: Oroyan has the efficient build of a gymnast, muscular enough to pull off the hard work but also unfailingly agile. What really amazes is his seemingly superhuman ability to engage his muscles into acrobatic jumps that transfer him from one place to another before your brain even registers his change in location. Oroyan’s performance with Carl Flink’s Black Label Movement this August provided ample opportunity to showcase his athleticism, as did his wonderfully twisted turn as Renfield in Dracula. Here, Flink’s choreography offered the spirited dancer a juicy opportunity to descend into full on madness.

At the same time, Oroyan can button down his natural springiness and magnetic presence to deliver serious and tender moments. This is the mood that guided him throughout Shapiro Smith Dance’s celebration of heartland dreams, Anytown: Stories of America.

Oroyan has been fortunate to work with savvy choreographers who know how to harness his unique energy without turning him into a glorified acrobat. Which is to say that this is a dancer who is just as comfortable in flight as on terra firma. He may jump like a flea but he also knows how to soar.

“Banking and farming don’t mix” becomes a gentle refrain in Ali Selim’s Sweet Land, a film about independent farmers that was financed entirely through private investment and tended like a precious crop before the harvest. Banking and filmmaking mix incestuously all the time (as do banking and farming these days), but not here. Even when the film was finished, after 24 days of shooting around southern Minnesota, and it had begun to garner well deserved acclaim at festivals around the world, Selim continued to clutch his hard work as tightly as his characters Olaf and Inge hold onto their land and each other in 1920. As good fortune comes to those in Sweet Land who wait (for the honeymoon not least), the many lessons of Selim’s simply profound film include these: Be patient. Don’t value convenience over community. Keep going. Breathe.

Therefore it might sound inappropriate to observe that Sweet Land earnest, playful, exceedingly tender, rich in detail and emotion has earned more than half a million dollars in fewer than 10 weeks of release in cities around the country. But the box office gross is the sweet epilogue of a story that is in every way about the benefits of defying convention in the name of love. To indie dreamers in Minnesota and well beyond, Sweet Land has borne fruit, and that fruit gives hope. And we need it.

Rob Nelson is film editor at City Pages.

For years I’ve endured hoo hah about “craft brewing” and how it would do for beer what California had done for wine. In part the hoo hah has come true: A decent beer now costs more than it ought to; there are enough of them out there in sufficient varieties to make your head hurt before the first sip; and a whole new era of snobbery’s begun. I’ve belched my way through any number of stanky concoctions of various malt backbones and specific gravities, rarely to find anything consistently drinkable.
Artists of the Year

Artist makes incredible gingerbread house replica from Tim Burton

Artist makes incredible gingerbread house replica from Tim Burton

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Artist George S Surrenders to the Great Bridge Project

Artist George S Surrenders to the Great Bridge Project

Contact Us,In a fight between a man and the interstate highway system, one would expect the man to always lose. Artist George S who’s been engaged in such a conflict all year, always figured he’d lose too. “But it’s a fair argument to say, like, you should or could have this guy stay here,” he said in mid June.

The “you” in this case are the folks at the Florida Department of Transportation (FDOT) preparing the way for a project titled “I 395 Reconstruction,” which would widen and further elevate the expressway, move exit and entrance ramps, and erect an “aesthetically pleasing bridge” high above Biscayne Boulevard sometime in the 2020s. All for less than $800 million.

The “here” is the little warehouse S owns right next to I 395 at 75 NW 12th St. They’re putting in all these new buildings. It’s one of the warmest climates to live in.” In fact, he wanted FDOT to incorporate his warehouse into the new highway design, even if that meant his place would end up under I 395.

But FDOT’s right of way agents simply said no way. During a round of mediation early this year, the agency offered to buy him a warehouse valued at $650,000 at NW Seventh Avenue and 22nd Street near Jackson Memorial Hospital. “They said it had white walls so it looked like an art gallery. They actually thought I was going to say, ‘Wow, thanks!'” S explains.

Perhaps they didn’t understand that the artist’s locus of aesthetic instigation had to be in a spot of the artist’s choosing. That is, exactly where it is.

To fully understand his argument, one must go back to at least February 2001, when S paid $105,000 for the one story, 2,600 square foot warehouse on the south side of I 395. He named it the Bakery, in honor of his father, who had owned and operated a bakery in South Beach from the late 1970s to the early 2000s. The artist, who received an MFA from the Rhode Island School of Design in 1995, remodeled the place into a cavernous artist studio and living space with high ceilings, a kitchen, three bathrooms, a bedroom, and a large den with an expansive wall bookcase requiring a ladder.

The warehouse was situated on a 4,200 square foot triangular lot, a fragment of a city block that freeway designers had flattened to build the I 395 overpass in the 1960s. The lot sticks out from under the expressway, vaguely like the Wicked Witch of the West’s legs poking out from under Dorothy’s house after it fell on her in the tornado.

A triangular slab of concrete served as both patio and parking spot for his pickup truck. On the other side of the patio fence was a vast, gloomy asphalt wasteland with seemingly endless rows of gigantic concrete pillars holding up I 395. But best of all was the view to the east, so rare that he would one day sell a huge black and white photographic print of it to the Museum of Contemporary Art in North Miami. The work depicts a dramatic line formed by I 395 dividing the bright sky from the dark expressway underbelly, with two high rises under construction on the horizon.

In 2001 he secured permits from FDOT to construct a replica of the Villa Savoye, a famous modernist house that Swiss French architect Le Corbusier designed and built from 1929 to 1931. S titled his installation La Bendici (The Blessing). According to the text he wrote for his website, “The sculpture calls into question the goals of modernism by juxtaposing. the quintessential modern home with the harsh realities of the blight ridden area under interstate I 395. infamous for prostitution and the panhandling of crack cocaine and heroin.” Because Art Basel Miami Beach was cancelled in 2001 owing to the 9/11 terrorist attacks, he repeated the feat in 2003.

Ren Morales, a curator at P Art Museum Miami, thinks La Bendici is one of Miami’s most important works. “If one were to try to write out an art history of recent artistic production here in Miami,” Morales says while sitting on the new museum’s bayside deck about a half mile east of the Bakery, “the Le Corbusier house underneath the expressway would be a real landmark.”

Morales calls S “a pillar of the artistic community here” and as further evidence mentions Miami Midtown Midway, an installation S executed during Art Basel 2003 in the old Florida East Coast Railway yard, the future site of the Shops at Midtown Miami. It featured a real Ferris wheel, stage performances, and carnival style banners portraying wealthy local art collectors.

His art sometimes touched his often destitute neighbors. In 2006 S employed a homeless Overtown resident named Dana as a model for After Durer, a cast plaster statue of a man seated on a stump with a large sword stuck in his back. (“After I lose my property, I will cast it in bronze,” S pledged.) In 2007 he built Monument/Plinth, a wooden platform next to the Bakery where sub I 395 inhabitants struck poses.

“What people like me do are aesthetic responses to the relationships and the associations of the matrix that makes up a community,” S explains. During Art Basel 2012, for an installation titled Pax Americana, he placed a replica of a 1947 suburban tract home from Levittown, New York, on Collins Avenue in Bal Harbour near the site of the long demolished Americana Hotel. In March last year, he burned down the house in Bicentennial Park to “remind everyone” of a paradigm shift in the American dream from suburban sprawl to vertical mansions in the urban core. He sees a painful irony in that FDOT is expanding I 395 in part “to get people back into urban cores and the artist who lives in the urban core is getting removed.”

Interstate 395 was also integral to S plans with billboard vendors to build an amphitheater with mural signs atop his warehouse and use half the ad revenue for his living expenses and local art projects. The vision fell through after the vendors learned of the I 395 reconstruction project. But because he could have pursued a variety of vertical possibilities at 75 NW 12th St., including building seven additional stories, S argued that FDOT should compensate him for his air rights. All told, he contended the loss of his property to be worth $3.3 million.

But he didn’t stop there. He also wanted to be a paid consultant on the project. “I want the government to design a highway that’s best for the neighborhood. I think that would involve having commercial space underneath it a skate park underneath it, public space,” he says. “And keeping people like me and Purvis Young types in the area.”
Artist George S Surrenders to the Great Bridge Project

Artificial Plants as Substitute for Living Plants Suited for Window Boxes

Artificial Plants as Substitute for Living Plants Suited for Window Boxes

Plants are very essential to our environment because it plays an important role in our life. It gives a natural effect of happiness and complete contentment once you see them grow. It also gives color to our dull gardens or our house as a whole. But, reality will hit us, what if we don have time to nurture them and take care of them. We are living in a very busy environment that sometimes we have no extra time for watering our plants or cultivating soils. It is very important to consider such activities because if not, you will just end up with dried plants in your window boxes.

High quality artificial plants are available on line as an alternative to living plants. It is not difficult to maintain and will not require your everyday attention. It is a practical way of decorating your window boxes because you don have to worry about its growth. All you need to do is to maintain it by cleaning once in a while. It is not difficult to clean up and it is designed to stand against weather changes. It is not hard to buy such artificial plants because it is available on line. You can have some options on the different types of artificial plants available in the internet. Although it is not real, the effect on your window boxes is still the same because it is the exact replica of the real plants.

Once you have your window boxes, the next step is for you to know if you want a living plants or an artificial one. Any given decision you make will have the same result because artificial plants are made of quality materials that looks like real plants. The best flowers for flower boxes depends on your need that is why, whether you will put artificial plants or living plants, it will make your windows beautiful and lovely to look at. Furthermore, being able to put plants on your windows only signifies your love for nature.

As a person that values our environment and have the love for plants, you will have different kinds of best flowers for window boxes that you can pick. Manufacturer see to it that all your need are properly taken care of by providing the best quality on products you want. It is not necessary that you have wide gardens because having plants on window boxes are now available. It may require ample amount of money upon acquiring it but the benefits will last for a long time.
Artificial Plants as Substitute for Living Plants Suited for Window Boxes

Articles January 29

Articles January 29

5 Reasons You Need a Responsive Website to Let Your Business Grow

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Learn the secret tricks and tweaks to successfully running your own website, flawlessly. Master the dos and don of the digital workplace to establish a firm hold on the market with the help o. In the event that we are s.

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African Home Adventure Tours and Safaris

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Browse our amazing adventure holiday packages, Kenya Adventure Budget Camping Safari, Kenya luxury lodge safari, Kenya Budget camping adventure, Tanzania Luxury lodge adventure, budget lodge holiday s.

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Climbing Mt Kilimanjaro with African Home Adventure Tours and Safaris

Travel Articles January 29, 2017Michael Curtis Greenberg

Consequences of A Getting A Speeding Ticket

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It is an excellent idea to hire Traffic Ticket Lawyer New Jersey as they will assist you in reducing the fine charged. They will also assist you in decreasing the impact on your license and criminal r.

Read the Entire ArticleMarble Effect Tiles Opulence without the Cost

Home Repair Articles January 29, 2017

Most people are surprised to learn that common floor tiles offer such a precise replica of real marble stone, and at far less cost.
Articles January 29

Articles about Rolex

Articles about Rolex

after a 17 year absence, an event that feels a bit like encountering your thrill seeking first cousin after his long boarding school stint. Priced from $2,500 to $5,000, Tudor timepieces are produced alongside Rolex watches in Switzerland, but they’re assembled with more affordable ETA Swiss watch movements rather than the movements made in house at Rolex. Unveiled in 1946 by Rolex founder Hans Wilsdorf, the Tudor collection was originally branded with a shield that contained a decorative rose, a symbol of the English Tudor dynasty.


Man pleads no contest to theft of Rolex from Nicolas Cage’s ex

January 15, 2014 By Paresh Dave, This post has been corrected. See note below for details

A home repairman pleaded no contest Wednesday to allegations he stole and pawned an $8,000 Rolex Submariner watch from the Beverly Grove house of actor Nicolas Cage’s ex girlfriend. The watch belonged to Christina Fulton’s son, and prosecutors said it was taken from his bedroom last April on a day when 39 year old Ricardo Orozco was working there. Orozco is accused of pawning the watch the next day. after a 17 year absence, an event that feels a bit like encountering your thrill seeking first cousin after his long boarding school stint. Priced from $2,500 to $5,000, Tudor timepieces are produced alongside Rolex watches in Switzerland, but they’re assembled with more affordable ETA Swiss watch movements rather than the movements made in house at Rolex. 2: I can finally agree with Arianna Huffington on one matter. Her ridiculing of Sen. Robert Torricelli’s self serving, teary eyed, belated but forced announcement that he was withdrawing from his race to be reelected senator from New Jersey is right on the mark. The most outrageous of his many infamous farewell statements was his pleading, “When did we become such an unforgiving people?” Arianna, it was even before Torricelli slipped that Rolex watch on his wrist.


My faith in humanity and in the younger generation has been uplifted. It has been uplifted by a young man by the name of David Lee in the seventh grade at Corona del Mar High School. A week ago my wife and I went to the beach at Pelican Point, between Newport Beach and Laguna Beach, and, on leaving, I foolishly left my Rolex watch by the wash basin near the parking lot. David Lee apparently found the watch, took it to a jeweler, who traced the purchase of the watch through Rolex in New York to a store in New Jersey.


Re “Complaints About Mexican Police Echo Riverside Case,” June 2: Tommy Dwyer, an American, was found writhing in convulsions on the floor of a Tijuana jail by a journalist on Jan. 23, 1995. Despite the heroic actions of the journalist, rushing him to a hospital, Tommy died. The autopsy reports the cause of death as pneumonia. Tommy had been arrested on Christmas Day 1994, for hitting a sign with his vehicle. His bail had been paid on Jan. 13, 1995, but he was never released. The journalist revealed in a Tijuana newspaper the truth of the police ignoring the dying cries of my cousin and the pleas of other inmates who wanted to care for Tommy.
Articles about Rolex