New Regs for Old Homes

  • The rules the EPA is proposing would apply to homes built before 1978. (Photo source: Daniel Schwen at Wikimedia Commons)

Renovating old homes or apartments can
mean scraping or sanding lead paint.
That lead paint dust can settle where
children play. That can put them at risk
for learning disabilities. Shawn Allee reports why the government’s
tightening rules on home renovation:

Transcript

Renovating old homes or apartments can
mean scraping or sanding lead paint.
That lead paint dust can settle where
children play. That can put them at risk
for learning disabilities. Shawn Allee reports why the government’s
tightening rules on home renovation:

The Environmental Protection Agency just finished rules about home renovation and lead paint, but children’s advocacy groups said they weren’t strong enough.

Anita Weinberg is with Lead-Safe Illinois. She says some rehab contractors are trained on how to handle lead paint safely, but only some property owners are required to hire them. Weinberg says the rules didn’t apply if there were no kids in that unit at the time.


“That’s perfectly fine, but tomorrow you turn around and sell your home to a family with children. And the work that was done, if it wasn’t done safely, there’s certainly the possibility there’s still going to be a lead hazards in that home.”

So, now the EPA’s proposing, if you hire a rehab contractor at all, that contractor must be trained to handle lead paint – regardless of whether children live there now or not.

The rules would apply to homes built before 1978.

For The Environment Report, I’m Shawn Allee.

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Protecting Art From Climate Change

  • Climate change can affect temperature and humidity. And those changes can damage art. (Photo source: Aude at Wikimedia Commons)

Preservationists are worried climate
change could destroy valuable art
and cultural artifacts. Kyle Norris
reports thay are looking at ways to
protect these valuables:

Transcript

Preservationists are worried climate
change could destroy valuable art
and cultural artifacts. Kyle Norris
reports thay are looking at ways to
protect these valuables:

Climate change can affect temperature and humidity. And those changes can
damage art. Debbie Norris is the chair of the art conservation department
at the University of Delaware.

“Fluctuations in temperature and relative humidity can cause art
materials to crack and craze and deteriorate over time.”

Changes in the weather can also cause biological growth on artifacts. So,
for example, mold can grow on old photos or damage historic documents.

Some buildings that house art are very old and made of stone or wood.
Those building materials are deteriorating faster than they have in the
past. And many of those buildings are not equipped with heating and
cooling equipment advanced enough to control the climate inside the
buildings. That puts the collections they house at risk.

For The Environment Report, I’m Kyle Norris.

Related Links

Dreaming Big, Despite Bankruptcy

  • One paint technology that GM is developing uses quantum dots - shown here irradiated with ultraviolet light (Source: Walkman16 at Wikimedia Commons)

Even though General Motors has filed for bankruptcy, Rebecca Williams reports the company is still dreaming big:

Transcript

Even though General Motors has filed for bankruptcy, Rebecca Williams reports the company is still dreaming big:

Someday you might be able to power your radio through your car’s paint.

Christopher Webb is GM’s senior creative designer.

He says GM’s research teams are giving some thought to solar powered paint. He says it might start with tiny solar cells called quantum dots.

“You could suspend these solar cells in a resin system or a waterborne or solvent carrier and spray it over the surface of the vehicle. Technically the entire surface of the vehicle could become almost a solar conductor.”

Webb says nobody knows exactly how this might work yet. But he says he’s confident that GM will continue their research into new technologies like this even with the bankruptcy announcement.

Something else that’s being talked about is using volcanic rock in paint. It could be a coating that would reduce a car’s interior temperature by reflecting heat – so you could use the air conditioning less often.

For The Environment Report, I’m Rebecca Williams.

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Wanted: Affordable Art Space

  • Back in 2000, Laura Weathered and fellow artists were drafting what their artist community would look like. (Photo by Lester Graham)

When artists make a check-list for the ideal place to live – they add things the average family
might not, like plenty of work space and being close to other artists and galleries. Big cities
usually offer all the things on that list – but there’s a problem. Big-city real estate prices have a
habit of rising quickly – and pricing artists out. Shawn Allee found artists who’ve tried to stay
put:

Transcript

When artists make a check-list for the ideal place to live – they add things the average family
might not, like plenty of work space and being close to other artists and galleries. Big cities
usually offer all the things on that list – but there’s a problem. Big-city real estate prices have a
habit of rising quickly – and pricing artists out. Shawn Allee found artists who’ve tried to stay
put:

Laura Weathered began her career in painting in Los Angeles.

It was tough enough finding her muse – but it was also tough finding places to live that stayed
affordable.

“This kind of history of settling into a space and then the neighborhood going through
gentrification was chasing me all over L.A.”

Fed up, Weathered left for Chicago.

Before long, she found some Chicago artists had the same problem – rents and home prices just
weren’t stable.

Weathered and fellow artists got tired of toughing it – so about thirty of them put their heads
together and looked into buying property – to live in, to work – and maybe share with artist
groups, too.

“And someone’s comment was, You know, this is going to cost more than a million
dollars – who’s going to rent a bunch of flaky artists a million dollars?”

But then they did some back-of the napkin kinda math.

“We had a everyone go around the room and, What are you paying for rent? And that
was the Aha moment – collectively we could afford much more than a million dollars,
because that’s what we’d been paying all along.”

It took almost ten years to dig up funding and expertise, but eventually – they transformed a
former metal-stamping factory into artist housing, studio and office space.

People have been living in the artists’ community for five years now.

When you walk around, you see paintings in some loft windows and sculptures near the front
step.

Weathered shows off some shared gallery space.

“So, this is really important. You can bring test audiences in and see how it plays and get
feedback and the like without taking huge risks.”

All this is great – but the big idea was to make the space stay affordable for artists and artist
groups. So far, it’s worked.

“We can stay here a long time.”

This is Denise Zaccardi.

Zaccardi runs the Community TV Network. It has offices at the Bloomingdale Arts Building.

The network teaches low-income teens how to produce news, TV and documentaries. Zaccardi
says arts organizations like hers can benefit from this stability.

“Kids can tell their brothers and sisters down the line we’re here – we’re not moving
every three years, which is a common thing for people who rent, especially for artists.”

So, sounds like everything is an artist’ dream, right?

Well, like in other condo-associations, members have fought over repair costs. And artists who
own their units can only sell them to other artists. Plus, if they do sell … their profits are
capped. That’s made the units much lower in value compared to their neighbors’.

Laura Weathered says there’ve been second thoughts.

“I think some people are saying, ‘Did I agree to this too quickly?’ because it’s restrictive,
but the agreement originally was that we wanted an artist community and not just for one
generation for the future.”

Weathered says the idea was to keep units affordable for artists – and that’s been the case for
five years.

She says it’s not perfect, but if it works for a decade or two more, it might be a model for other
artists to follow.

For The Environment Report, I’m Shawn Allee.

Related Links

Paint Regs Better for Environment?

  • Most paints are still high in VOCs – volatile organic compounds (Source: DanielCase at Wikimedia Commons)

When it’s time for a new
coat of paint, you might want a paint
that doesn’t smell so bad that it
leaves your head spinning. More states
are shaking up paint laws – and forcing
companies to roll out paints that aren’t
as bad for the environment. But some
people question if they will work as well
as the old stuff. Julie Grant reports:

Transcript

When it’s time for a new
coat of paint, you might want a paint
that doesn’t smell so bad that it
leaves your head spinning. More states
are shaking up paint laws – and forcing
companies to roll out paints that aren’t
as bad for the environment. But some
people question if they will work as well
as the old stuff. Julie Grant reports:

Matt Testa started painting for his family’s real estate
business when he was a kid. He remembers his parents
worrying that all the chemicals in the paint would ignite a fire
– so they turned off appliance pilot lights before painting a
kitchen.

(sound of painting)

Today, as a builder and general contractor, Testa says most
paints are still high in VOCs – volatile organic compounds.
Even though a lot of people don’t like it.

“Well, when we’ve used some high VOC products, of course
there’s occasional dizziness on large commercial jobs.
We’ve had to clear buildings at times because of people
reporting headaches and other things with the fumes that
were being given off.”

Testa says you can almost taste those chemicals in your
nose and mouth hours after painting. But the VOCs don’t
just affect painters. When you open a can of paint, or
primer, or wood stain, the chemicals get into the air – and
cause ozone pollution, which contributes to smog.

“When you do the math, they’re talking about a quarter
pound per gallon. And you think of the millions and millions
of gallons of paints that are used, you’re talking about a
huge amount of VOCs.”

In recent years, states on the east and west coasts have
started cracking down on paint makers. Smoggy southern
California has the toughest laws against VOCs in paints.
The Northeast has also forced manufacturers to reduce their
chemical load.

And now tougher paint laws are spreading to states in the
middle of the country. Ohio, for instance, has had a tough
time meeting federal clean air standards. It’s hoping that
stirring up the paint laws will make a difference.

(sound of paint store)

That’ll mean changes at the store. When you buy paints,
primers, stains – they will be based less on oil – and more
on water.

Steve Revnew is marketing director for Sherwin Williams –
and its 3,300 stores nationwide. Walking around one of his
Ohio stores, he says they have to roll out a new line of
products.

“For example, some of the oil based stains, wiping stains
that you traditionally would use on your wood work and
those types of things, as they’re known today, that
technology will no longer be available.”

Companies such as Sherwin Williams have seen the
chemical limits coming for many years. Revnew says
they’ve developed new stains, paints and enamels with
fewer harsh chemicals – using new resin and polymer
technology.

He picks up a can of enamel – “In 2009, we’ll be introducing
a whole new product line that is VOC compliant. It will still
provide you the hard, durable finish for metal, wood,
concrete – those types of things. Only it will be VOC
compliant.”

The changes have some professional painters in the store
concerned. They worry that water-based paints and stains
won’t coat as well or last as long as the oil-based coatings.

Now that contractor Matt Testa has kids of his own, he’s glad
VOCs are being brushed aside. But if reducing the
chemicals means things need to be re-painted more often,
he says the changes won’t do anything to improve air
quality.

“Yeah, if you have to go back and repaint it, you’re really
going to leave a bigger footprint environmentally from the
truck trips, the amount of the paint you put back up, all the
delivery of that paint, etc.”

Testa says consumers will have to see for themselves if
these new, environmentally friendly products work as well as
the higher VOC paints.

For The Environment Report, I’m Julie Grant.

Related Links

Artist Carries Tribe’s Traditions Forward


Every artist depicts nature in a different way. In one artist’s world, nature is a place where people, animals and plant life are intertwined in vibrant color. Karen Kelly visited this new exhibit:

Transcript

Every artist depicts nature in a different way. In one artist’s world, nature is a place where people, animals and plant life are intertwined in vibrant color. Reporter Karen Kelly visited this new exhibit.


Six and seven year olds are pointing and chattering in front of a mural bursting with plant and animal life. One of them, Pierre Rousseau, describes his favorite parts of the painting.


“People, strawberries, some leaves, and fish, and kind of mister who has a bird on his head.”


The kids are at an exhibit of Norval Morrisseau’s work at the National Gallery of Art in Ottawa, Canada. Usually, you hear a lot of shushing when kids are in an art gallery.
Here, you can almost feel the energy between the kids and the paintings.


In one corner, Sadok Benmoussa and Amir Shallal are trying to figure out a mural that tells the story of creation.


“And what’s that big stuff? A flower? That big stuff… Oh, the big stuff, bears? A bear? A bear.”


Norval Morrisseau grew up on an Ojibway reservation on the north shore of Lake Superior, and that environment fills his paintings; the water, the animals, trees, berries.
But most important are the people, his own people interacting with that nature.


Gabe Vadas lived with Morrisseau for many years, and now that the artist has Parkinson’s disease, Vadas is his spokesman and guardian. He says when Morrisseau was growing up in the 50’s, his tribe began rejecting many of its traditions, and it’s connection to the natural world, so Morrisseau used his paintings to tell the stories he learned from his grandfather who was a shaman.


“And I think Norval just felt desperation as a young person to regain the identity that had been passed down to him. And of course Grandpa is only telling him, so there’s a desperation that ‘wait a minute, I’m the only one who’s learning these things and learning these legends.'”


One of these legends shows a man who changes into a thunderbird. It’s one of Morrisseau’s most famous works and it shows this transformation over six canvases. It begins with a man who has a bird perched on his head, as well as one in each arm. Slowly, his eyes get larger, his mouth forms a beak and his arms become wings. This is Morrisseau’s later style, and it resembles stained glass. He uses thick black lines to create an intricate design of colors and shapes.


Greg Hill curated the Morrisseau show for Canada’s national gallery. It’s now on display at the McMichael Gallery north of Toronto and it will be in New York City in January. Hill says the artist’s later works contain a message for everyone, not just members of his own community.


“He’s saying that we all exist here on mother earth and we need to respect that, those interrelationships.”


That message is something that visitor Yvette Debain says she could see in Morrisseau’s work.


“Very spiritual. That’s why it touches me because I believe also that we’re all part of a creation, and the spirit, you can say God, is in all the creation. It’s not separate.”


Morrisseau’s guardian, Gabe Vadas, says that when the artist returned to his hometown many years later, he was surprised to find many people who had gone back to the native traditions, and many told him that his paintings had inspired them to do so. Now, he hopes that with this major exhibit, more folks will be touched by his message.


For the Environment Report, I’m Karen Kelly.

Related Links

Urban Artists Fight for Graffiti

  • Graffiti artist Juan Carlos Noria imagines his artwork as a gift to the community. Artwork provided courtesy of JCN at them-art.com

Graffiti has been a part of urban life since ancient times. There’s also a long history of trying to get rid of it. In many North American cities, civic leaders are experimenting with new ways to eradicate graffiti. But as the Great Lakes Radio Consortium’s Karen Kelly reports, urban artists are determined to keep it alive:

Transcript

Graffiti has been a part of urban life since ancient times. There’s also a long history of
trying to get rid of it. In many North American cities, civic leaders are experimenting
with new ways to eradicate graffiti. But as the Great Lakes Radio Consortium’s Karen
Kelly reports, urban artists are determined to keep it alive:


About twenty artists, most of them men, spread out on either side of a canvas wall set up
in the middle of a parking lot. They wear baggy jeans, baseball caps and gas masks. The
ground is littered with spray paint cans as they splatter color across the canvas.


(sound up)


The artists build on each other’s ideas. Horizontal purple stripes are transformed into an
exotic bird. Pen and ink drawings peek out beneath layers of orange and brown, slowly
disappearing under the paint. This is Ottawa’s first graffiti fest, organized by
local artist Juan Carlos Noria. He arrives by bicycle, wearing splattered jeans and
carrying two backpacks stuffed with spray paint.


“This is our way of giving back to the city true expression and unfortunately I do agree that some of it
is ugly but it’s like a hammer, you know? It’s a tool for building or destroying.”


Noria is a full-time artist who sells oil paintings and sculptures. But his best known work
might be his graffiti. He creates detailed pen and ink drawings on white paper. Then,
late at night, he glues them to downtown buildings.


His drawings depict the plight of humans in the modern world. One shows a man using
one hand to pour coffee into his mouth, as he pounds a hammer with the other.
Another depicts a person surrounded by bubbles representing thought – about money,
heartbreak, and the passage of time.


For Noria, this sort of unexpected art is comforting in a city that prides itself on
cleanliness.


“My living room isn’t this clean, you know? And a lot of these Ottawa streets are super
clean. In an alley that is vacant, it’s almost like a mark that a human being has been there
and I think that’s important, you know?”


But to many other people, graffiti is a sign of crime, decay and danger. That’s prompted
Ottawa to join other North American cities in introducing a graffiti management policy.
The plan includes a special phone line to report graffiti and tougher fines for those who
are caught.


The city estimates it spends about 250 thousand U.S. dollars cleaning up graffiti on city
property every year.


Paul McCann is head of Ottawa’s surface operations office. He says the biggest problem
is tags – initials or names scrawled in marker.


“I’m not talking about the nice graffiti art that a lot of people appreciate but the problem
is the tagging. Some of it is gang related. It’s not in the right place, it is considered
vandalism if you don’t have permission.”


McCann says there’s been a sharp increase in tagging. And it can make residents, and
tourists, feel unsafe. But he draws a distinction between the taggers and the so-called
serious artists.


While graffiti will never be tolerated in places like the parliament buildings, McCann is
looking for areas where graffiti can flourish, such as skateboard parks. It’s a strategy
that’s been used in other cities, including Toronto and Montreal. And it’s something Juan
Carlos Noria is eager to support.


“Graffiti is a movement of the youth. We must embrace it, say it’s not going to go away
so let’s give them spaces to work in and I think that by offering them these spaces, the
older artists will realize these are gifts, so they will in turn speak to the younger artists and
educate them and that’s what it’s all about.”


For Noria, graffiti offers a public venue to vent his frustration about pollution, capitalism,
and the ubiquity of advertising. Not long after the graffiti fest, one of his works
appeared on the wall of an abandoned theatre. It depicts an angel imagining a beautiful
gift as it sends a spray of paint onto the building.


For the Great Lakes Radio Consortium, I’m Karen Kelly in Ottawa.