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His sensitive and poetic work focuses on people and the places in which we live. Marja Saleva from Helsinki, Finland, our special visiting artist, will talk about her Alfredo escondon twin falls idaho. We seldom think about why we take photographs. It was like the Mexicans were invisible. Fwlls Rose. The gallery specializes in intriguing conceptual exhibits, hosts first and third Friday events, monthly salons, private concerts and guest speakers.

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Jump to navigation. The stone-pile graves bear testament to the history of this place called Smeltertown. Many still live in El Paso, in neighborhoods that cropped up as Smeltertown was torn down. Others travel from California, the East Coast, and abroad. They come together to reweave the social fabric of Smeltertown by sharing memories and retelling stories they all know by heart. They celebrate their old hometown despite the dangers it posed to their families. But the CDC estimates that at least half a million children in the United States have elevated blood lead levels—and many of them may not even know it.

The American Smelting and Refining Company owned a smelter in El Paso that, starting in , refined hundreds of thousands of tons of lead and copper harvested from its mines in Mexico.

Mexican workers who labored in Asarco mines began migrating north, lured by that new operation on the U. Many settled on company land below the foothills of Mt. Cristo Rey. Smeltertown was a quintessential company town, in which the company could be both benefactor and tyrant. Former residents say Asarco paid well, better than many other employers of the working class. And yet poverty in Smeltertown could be extreme.

Residents built and invested in their homes, but the company owned the land; few families could afford cars; many relied on outhouses into the s. Bernard Rosenblum, the El Paso City—County health commissioner, had called the CDC after his department discovered that Asarco was discharging large quantities of lead and other metallic wastes into the air. Soil studies showed the highest concentrations of lead and other metals in surface soil closest to the smelter—essentially, in Smeltertown.

He was worried about the health of the kids. OnEarth made several attempts to reach Asarco and its parent company, Grupo Mexico, for comment without success. The CDC team, led by a year-old pediatrician named Philip Landrigan, began to explore a subject about which precious little was known: lead toxicity, especially its effects on children.

The whole idea that lead in the body could be a silent poison was a new concept. Landrigan and the CDC team first looked at whether environmental contamination would be reflected in human blood lead levels over three months. Landrigan quickly followed up with a second study in Smeltertown in , examining the health consequences of lead exposure in children.

The CDC team administered IQ tests and a finger-tapping test of physical reflexes to the Smeltertown kids with elevated blood levels; a control group of children with blood lead levels below 40 micrograms per deciliter was also tested. The study found that children with elevated blood lead levels tested as many as seven points lower on the IQ test than the control group; they also showed much slower reaction times on the physical reflexes test.

I remember that the city started having meetings with the people around there and they wanted us to go and check the kids because of lead. The city knew something was wrong.

But they should have done that a long time before. This is what scientists now know: Lead in the air or in dust, paint, or fumes can work its way into the human body. In children, lead can permanently damage the brain and nervous system. It can cause learning, hearing, speech, and behavior problems. Landrigan notes that the consequences of early-childhood lead exposure can be moderated by educational enrichment, something that may not be readily available in poor communities with fewer opportunities and resources.

The company claimed that elevated blood lead levels were caused by lead paint and gasoline emissions. It commissioned its own parallel study of the health effects in children and found no evidence of IQ loss. The closer to the smelter the sample, the higher the concentrations of lead in the air, dust, and soil; human blood levels mimicked that pattern.

So Asarco decided to settle the litigation with the city. The company agreed to pay all medical expenses for the children being treated for lead exposure—some with chelation therapy, which rids the body of toxins in the bloodstream—for at least 30 months, according to a report by the New York Times in It is worth noting that despite their groundbreaking nature, the study findings received little national attention at the time; that Times story was the lone article that the newspaper wrote about Smeltertown.

As part of the settlement, the city and Asarco decided Smeltertown would be demolished, its residents forced to relocate. In October , according to Perales—not two years after the lead studies began—eviction notices went out to all Smeltertown residents ordering them to clear out of their homes by January 1. Everything that made up Smeltertown—every home and shop—would be bulldozed.

Everything but the smelter itself, which would run for another 26 years. To truly understand how the discovery of lead, and the decision to demolish the town, affected the people of Smeltertown, one must first understand how much the place meant to them. For many generations, Smeltertown had provided all the charms of small-town life: a seemingly safe place to raise children, where everyone knew their neighbors, practically everything was within walking distance, and all the men could find a good-paying job at the smelter.

Cristo Rey and the giant white cross Smeltertown residents erected at its peak. When times were lean, Flores recalls, neighbors would borrow from each other: a little food, money, whatever was needed. Everybody was the same. Maybe they went through harder times and just realized they had to help each other.

The fact that we would help each other, it bonded us together. When the city and Asarco informed residents they had to go, the backlash was fierce. Though he was only a child, Escandon remembers the protests. Residents cared about the health of their children. Did they have health issues? But they are having issues now. There were no long-term studies of the former residents of Smeltertown to measure the health outcomes of their exposure to lead, Landrigan says.

Today former residents are left guessing whether this or that disability, defect, or illness could have been caused by lead. They have no way of knowing for sure. Veronica Flores Espalin wears her black hair straight to her waist, a tight leopard-print dress, and chunky emerald earrings. Families, old and young, file into the fluorescent-lit hall.

The Starline Band launches its set of oldies-but-goodies in Spanish and English with the slow-dance tune Sabor a Mi , and the floor fills with couples. The ticket shows you how they lived.

They feel sad that it got closed down. Ironically, Asarco would run its smelter for another quarter century after bulldozing Smeltertown. A multiyear, multimillion-dollar project to remediate the Asarco site is expected to wrap up this year. The land—now a prime location between the University of Texas at El Paso and downtown—will be sold to the highest bidder. At the gathering, which felt like a cross between a high-school and family reunion, families mingled around tables, grabbed drinks at the bar, lined up for beef tacos.

They may no longer live in the same place, but what they have in common is their connection to a community that exists in their collective memory: a place that nurtured generations, marred by poverty and contamination, where working-class families trace their humble roots with pride, a place that still defines them. The Rio Grande, where Smeltertown kids used to swim, bends around the mountain and over the Mexican border. A black iron rail bridge in the distance looks the same as it does in the black-and-white photo on the reunion ticket.

All opinions expressed are those of the authors and do not necessarily reflect the policies or positions of NRDC. The largely African-American community of Dobbins Heights hopes to protect its health—and its trees—from the biomass industry. We will keep you informed with the latest alerts and progress reports. The air was polluted for three miles in any direction from the Asarco smelter plant, which was near the U. Danny Lyon, May , U. National Archives. A home in Smeltertown, April 27, Smeltertown children on the way to school in a horse-drawn wagon, El Paso, ca.

El Paso Historical Society. Surface soil lead levels and survey areas in El Paso, Courtesy of Dr. Mechanical department workers at Asarco, November 16, George Gelbach preparing a blood test for one of children being tested for blood lead poisoning, March 30, Smeltertown after it closed down, January 5, Get the lead out!

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Alfredo escondon twin falls idaho. Beverly Cothrun Dilworth (Shook)

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Before Flint, Before East Chicago, There Was Smeltertown | NRDC

Free Registration required Clyfford Still Museum. Free and Opening to the Public Wine and Beer available for purchase This event is free and open to the public. Browse an incredible amount of photography on display and meet artists and reviewers in a casual setting.

For participating photographers, this is a great opportunity to share your work with a wide audience, meet collectors, and see what your fellow artists are working on. Inspiration Expression Philip V.

Presented by the Colorado Photographic Arts Center CPAC in collaboration with the Clyfford Still Museum, this exhibition explores how artists use photography in abstract art, from a source of inspiration to a means of expression. Double your exposure and explore the power of abstraction with these two-venue tours.

Free Registration required. The Colorado Photographic Arts Center presents Elemental Construction, an exhibition of works by 10 photographers who explore the medium of collage.

Materials can come from books, magazines, found imagery, the Internet, or virtually anywhere, creating limitless opportunities for artists. Increasingly, photographers are embracing digital software and source materials to create work that pushes the boundaries of the medium.

This series was photographed throughout using Polaroid Type positive-negative film that expired in The visual implications of the expired film—its imperfections and truncated tonal range—juxtaposed with the unique Bristlecone Pine forms, underscores the steadfast value of the past, and a sense of unease as we move into a future where industry and technology supersede our adopting a balanced place in the natural world.

MoP Portfolio Reviews are an unparalleled opportunity for registered artists to spend dedicated time with 30 influential professionals in the local and national photography community. Gallery owners, museum curators, editors, publishers, and collectors from Colorado and all over the US will gather in Denver to review work.

Each review session lasts for 20 minutes, and artists may choose 8, 12, or 16 sessions over the two-day event. In previous years, numerous photographers have left with opportunities to exhibit, publish, and sell their work. The Curtis Hotel Curtis St. PhotoVox, a monthly event series designed to help you strengthen your artistic voice with the support of other artists in the Denver Metro community.

All events include time for networking. The overall theme of RedLine's calendar is D Vision, a series of exhibitions that will explore the relationship between social, cultural or political division and artistic vision.

Throughout the year, RedLine's exhibits, special events, and programs will seek to investigate the ways in which division opens space for new creation and perspectives or how culture makes vision out of division.

Featuring local and national art works by mentors, colleagues, disciples and new discoveries. Eschewing traditional notions of imagery, this exhibit aims to shake, disrupt, and dizzy our understanding of visual culture and modern society. Photography is both a broken concept and an ever expanding medium; fluctuating between complacent states of being and important diverse artistic models.

Delirium: Three Visions, is a photo-based exhibit highlighting critical contemporary voices and amplifying challenging artists working in and around modes of photography. Marja Saleva from Helsinki, Finland, our special visiting artist, will talk about her work.

Come have a beverage and have a last dance with one of the top exhibitions of the Month of Photography. Also a special bonus, see in action and learn what wheat pasting street art is all about. The public are largely unaware or naive to the fact that we are walking around inside the financial elites' program, which is many times void of any imaginative intention ; only driven by the desire to keep the few in control of all resources.

Creativity is the greatest rebellion " Colin Ward. Hosted by our heroes at RedLine, a major hub of the art community of Denver. Located in Denver, Colorado, RedLine Contemporary Art Center fosters education and engagement between artists and communities to create positive social change. Founded in , RedLine was created to support emerging artists and provide creative opportunities for local residents. RedLine serves as an incubator for a thriving group of resident artists through an in-depth, two-year residency program that includes free studio space, community engagement opportunities, and professional development.

The organization also offers a range of programming that responds to the needs of the varied communities that live in the surrounding neighborhoods. Viewing art and arts education through a lens of social issues, the organization ensures equitable access to the arts for under-resourced populations by working to fulfill a vision of empowering everyone to create social change through art.

Jurors selected pieces by Colorado artists to be presented at the Arvada Center. With three art galleries covering over 10, square feet, the Center looks forward to hosting this immense celebration of local art in Colorado. Arvada, CO VIP Preview at 5 pm. How can images influence our perception of things we have not experienced? The exhibition features the work of 7 photo-based artists — Krista Wortendyke, Lorenzo Triburgo, Xaviera Simmons, Zora Murff, Kris Graves, Marcella Ernest and Tya Anthony — all who reflect on the past by reclaiming and re-contextualizing visual archives, both appropriated and newly created archives.

These visual investigations confront themes of oppression and institutionalized discrimination, offering moments for reflection and space to envision a future where equality thrives. In Gravity of Perception, each artist has utilized archives in different ways.

Xaviera Simmons, Zora Murff, Marcella Ernest and Tya Anthony all incorporate archival images directly into their work to confront history and question what we have learned or have yet to learn from the past.

While Kris Graves and Lorenzo Triburgo create images to establish a record of our present time, creating new archives. Conceptual artist, Krista Wortendyke, creates data driven installations from appropriated, archival imagery to examine how oversaturation of imagery may blunt our ability to viscerally connect with what we are seeing. Visitors to Gravity of Perception will have ample opportunity to explore and react themselves.

CVA will offer a variety of programming including artist talks, gallery tours and workshops throughout the exhibition where visitors will have the opportunity to ask questions and share their observations. Viewers will also be invited to reflect on and define the exhibition in their own words via interactive stations throughout the gallery. Gravity of Perception opens January 11 and continues through March 23, There will be an opening reception on January 11 from 6 - 8 pm.

Tya Anthony draws from nostalgia, photographs acquired online and images from her extensive archive of family photographs. Her work in this exhibition explores the intersections of past and contemporary culture while creating a space of autonomy and regard for bodies of color. Website mztya. Marcella Ernest is an Ojibwe artist who creates video using poetic imagery and abstract narratives.

Website marcellakwe. Kris Graves is a photographer who documents the landscapes where black Americans have died at the hands of police. The neighborhoods, streetscapes and parks look calm with the only indication of the past violence revealed through memorial elements such as stuffed animals and flowers.

Website kgprojects. Website zorajmurff. The work brings to light systemic prejudices and re-contextualizes archival photos from the past within contemporary photographs.

Simmons honors the resilience of black Americans who have suffered from discriminatory laws and policies, while drawing parallels to conditions today. Website xavierasimmons.

The work alludes to the specific and intensified discrimination faced by prisoners who identify as LGBTQ. Triburgo supports this artwork by hosting workshops to lead participants in the act of becoming pen pals to LGBTQ-identifying prisoners as a way to provide support and a measure of safety to those prisoners.

Website lorenzotriburgo. This collection of imagery creates an archive of sorts and asks the viewer to consider if there is another way to perceive these events. In this exhibition, MSU Denver photography students uncover narratives of lives that lie between categories; exposing the spaces between past and present, freedom and oppression, dreams and reality.

Olivia Garcia Escandon exemplifies the duality of being a Dreamer in America with dynamic portraits of Latinx students bisected by drastic shadows while posing in front of the United States flag. The Project Gallery is a student-led space that provides premiere professional development opportunities to students interested in fine art curation and arts administration.

CVA provides a year-round schedule of bold, contemporary exhibitions of both local significance and international reach, educational programming open to the community and immersive workforce development for students in creative fields. CVA is free and open to all. March 7 - April 21, Opening March 7, 5 - 8p.

Join us for a spooky chat in the gallery! The exhibition, which coincides with Denver's biannual Month of Photography, includes an international roster of artists who probe the medium's inherent tensions between presence and absence, recording and erasure, material and spirit. Dedicated to interdisciplinary visual arts programming and practice, the Gallery is integral to the educational mission of the School. A rotating calendar of exhibitions features local, national and global artists, both emerging and established.

The Gallery is named in honor of Victoria H. Open Tuesday - Sunday PM. Portrait of Clyfford Still against floral wallpaper, ca. Photograph by Sandra Still Campbell.

Courtesy the Clyfford Still Archives. Landscape view of a silhouetted plow, between — Photograph by Clyfford Still. This show of grand scale contemporary photography exposes the possibility of images as art via email instantly exchanged globally and blown up to large mural proportions.

Images gathered from photographers around the world will be blown up and displayed inside galleries as well as posted in approved outdoor locations throughout the city of Denver and sister cities around the globe. Interested in learning the art of wheat pasting and turning alleys into galleries? Become a Big Picture ambassador in your area. Let us know. Vanguard tattoo artist Amanda Wachob uses a tattoo machine and ink to create art on canvas, paper, silk, fruit, and leather, in addition to human bodies.

Wachob not only advances tattooing as an autonomous art form but also brings the medium into closer dialogue with the wider domain of art. The Museum of Contemporary Art Denve r MCA Denver explores the art and culture of our time through rotating exhibitions and public educational programs.

Featuring regional, national and international artists, MCA Denver offers a wide range of exhibitions promoting creative experimentation with art and ideas.

Through adult and youth education programs and other creative events, the museum serves as an innovative forum for a culturally engaged community. David B. Presented in the gallery's project room, Magic Circle taps into the lore of desert landscapes mingled with the art historical symbolism of the mirror.