in the mountains sharing his birthday with friends
wandering the canyons
un amigo maravilloso
te amamos querido amigo
in the mountains sharing his birthday with friends
wandering the canyons
un amigo maravilloso
te amamos querido amigo
The spirit remains ~ Abuelo Wells
Due to COVID-19, and pursuant to the Town’s Electronic Participation Policy,
the meeting will be conducted both in person and via a virtual meeting portal. Members of the public may attend in person at the Community Center, located at 201 N. Railroad Street, Ridgway, Colorado 81432, or virtually using the meeting information below.
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ROLLCALL Councilors Adam Beck, Angela Ferrelli, Kevin Grambley, Beth Lakin, Terry
Schuyler, Mayor Pro Tem Russ Meyer and Mayor John Clark
Honorable Mayor Clark and Ridgway Town Council
Preston Neill, Town Manager
October 18, 2021
Presentation of preliminary design for Amelia Street Project
In the FY2021 Budget, the Town budgeted for a design of Amelia Street from the County Road 5 turn off on the south to the north end of Yates subdivision. At the April 14, 2021 Council meeting, the Town’s engineering consultant presented the project scope, existing conditions and typical sections in an effort to obtain collective input from Council to inform next steps on the design process. At that point, the scope for the design included as much curb, gutter, sidewalk, parking, and roadway as practical. The collective input from Council at that meeting was as follows:
September 20, 2021
RE: Amelia Street Preliminary Design
Dear Ridgway resident,
Next month, the Ridgway Town Council is expected to review a preliminary design for Amelia Street from Sabeta Dr. on the south to the north end of Yates Subdivision. The Town’s engineering consultant, Consolidated Consulting Services, Inc., has done a tremendous amount of work in producing the current design iteration. Work completed to date includes a topographic survey, ownership mapping, modeling of existing conditions and identification of encroachments. The design includes curb, gutter/valley pan, sidewalk, asphalt and ADA elements.
The Town would like to give you an opportunity to learn more about long-term impacts of this project and specific impacts to your property based on the current design. The Town Council is slated to review the design in a Workshop on Thursday, October 21st at 6:00 p.m. at Ridgway Town Hall. A virtual attendance option is available. Subsequent to that, they will discuss cost estimates for construction during the annual budget process. It remains to be seen when these improvements will take place.
If you have questions, concerns, or an interest in meeting with Town staff to discuss the design in advance of the Town Council workshop next month, please contact Preston Neill, Town Manager, at firstname.lastname@example.org or 970-626-5308, ext. 212.
Ridgway Town Manager
To: Mayor Clark and Ridgway Town CouncilFrom: Angela Hawse, 1029 Clinton StreetDate: October 19, 2021RE: Proposed Amelia Street Improvement Project
Thank you for your service to our community and stewardship of our Vision and Values as outlined in the recent Master Plan v.2019. I would like to comment on the Proposed Amelia Street Improvement Project (ASIP) and ask a few questions in advance of your workshop Thursday. I will present these at public comment period unless they are addressed during the preceding agenda topics.
I assume Town leadership uses the Master Plan (MP) to guide and inform decisions. I’m not familiar how you use it in your decision making framework. I have included references from our MP in this letter in italics that I will reference for my points regarding the proposed ASIP.
Quoted from our Vision in the MP: “We are committed to being economically and ecologically sustainable”.
Questions for Town Council on Economic Sustainability in regards to the ASIPI understand the cost of this project could exceed three million dollars. Taxpayers currently have 2 mill levies and a health care tax on the ballot.
Have business owners in Ridgway’s Core District had an opportunity to provide input on Town priorities for paving projects and sidewalk development? The following statement from the MP contradicts the ASIP being proposed as the next infrastructure improvement as Amelia Street is not in the Core Zone.
Key Objectives for the Growth Framework (Part IV of the Master Plan) are to: • Encourage infill and redevelopment within the Town’s existing limits and where infrastructure and services already exist; • Grow in an orderly, logical and sequential pattern outward from the existing Town core.
Questions for Town Council on Ecologic Sustainability regarding the ASIPIt is a fact, that asphalt and paving are significant contributors to climate change. It is also a fact that traditional asphalt absorbs heat, resulting in locally increased temperatures. It is a fact, that asphalt pollutes water and generates harmful emissions. Asphalt is made from fossil fuels.
Ridgway is home to native deer and other animals who roam our streets throughout the year. Amelia Street is a signicant wildlife corridor from natural areas surrounding it in every direction. The proposed ASIP cuts into a community member’s conservation easement to pave 100 feet of CR5 from the intersection of Amelia and proposes removing the stop sign which would increase speeding in an area with abundant wildlife.
We are a headwater community of the Colorado River. It is a fact, that asphalt emits toxins with runoff and high temperatures increase toxic emissions (ie. summer monsoons). These two factors are not supported by our Value statement #1 and Goals in the MP:
Community Value #1 Health Natural Environment
Protecting both the scenic values and ecological functions of natural areas in and surrounding Ridgway through responsible environmental practices is something the community values strongly. Ridgway must grow in a way that is attuned to its natural environment to protect these valuable resources. Ridgway residents must also be aware of the changes to our local environment that could arise as a result of climate change. Goals: ENV-1: Preserve, protect, and restore natural habitats, including for wildlife and ecosystems. ENV-2: Strengthen the Uncompahgre River corridor as a community asset and environmental resource. ENV-3: Proactively manage and protect Ridgway’s water resources. ENV-4: Advocate for the efficient use of resources and sustainable practices that work to eliminate harmful impacts to the health of the community or natural environment…
The Dust Problem
Ridgway is located on the eastern edge of the Colorado Plateau. The Colorado Plateau is a desert. Prevailing winds from the west and southwest transport dust. Dust caused by dirt roads in Ridgway is minor and possibly negliable compared to the dust to our region from the Colorado Plateau. The Center for Snow and Avalanche Studies (CSAS) located in Silverton is home to the Colorado Dust-On-Snow (CDOS) program where they study dust transport well away from the influence of unpaved roads. According to the CSAS CDOS findings “The movement of dust around the West has increased 300% in the last two decades alone with no signs of abating.”
Paving roads is not the solution to reducing dust in the Town of Ridgway and the fact that asphalt absorbs heat, further leading to desertification and climate change is an alarming prospect for a Town that relies on snowmelt and surface runoff for it’s water source.
Public SafetyI am in support of improving the safety of pedestrians in our Town with increased sidewalk projects that are built to ADA standards including crosswalks where needed. Sidewalks do not require paved roads. I am in favor of continual sidewalks (and crosswalks) on Amelia Street, specifically on North Amelia for pedestrian safety, walkability and access to the Ridgway Elementary School. I am in favor of increased signage and street design to slow traffic on Amelia Street and throughout Town. I am in favor of speed bumps in zones with greater pedestrian use if street design speed mitigation is not considered.
Speeding ConcernsDirt and gravel roads naturally curb driving speeds. They lend to the character and identity of rural communities which our community prioritized in the MP:
Community Value #3 – Small Town Character & Identity – Although they may differ on how to define “small town character,” residents feel strongly that it’s a key part of Ridgway’s identity. This small town character is evident in the size of the community, the slower and more laid back pace of life, the unpaved streets, the surrounding ranch land and associated activities, the ability of residents to easily walk from one end of town to the other, and the many activities and businesses that are geared toward locals. Although these characteristics are common among many small towns across Colorado, Ridgway stands out from other tourism-dependent communities as a town that relies on tourism to some degree—but retains its commitment to locals and still feels very much like a “real” community.
Paved roads enable speeding. I expressed concern to Town leadership recently regarding speeding traffic on the west end of Sherman/Hwy 62. For a short time a speed indicator was present, which slowed traffic significantly. Since it’s removal speeding is a regular occurrence on this end of Sherman/62. The 25 mph speed limit sign for inbound traffic, after the crosswalk at Amelia is often overgrown with vegetation and not visible. Few pedestrians use the sidewalks on this side of Town along Sherman. Possibly due to speeding traffic concerns? It remains an issue. Community members have suggestioned solutions to signage or law enforcement presence. Community members have also expressed the same concerns on North Amelia.
A 24’ wide street as I understand from the plan, may as well be a highway, as is Sherman Street, with little to no design factors to naturally slow traffic. Does the budget include more infrastructure to mitigate speeding traffic such as additional law enforcement and more signage?
In ClosingI understand on Sept. 8, 2021 the Town adopted an Emergency Ordinace based on the unprecedented growth and development over the past twelve months, with numerous subdivisions, sketch plans, preliminary pats and planned unit developments being submitted for review by the Town Staff, Planning Commission and Town Council.
Clearly these are unprecedented times that call for informed and dedicated leadership to maintain our Community Vision and Values. Our Town and community invested significant time and resources developing the current version of the Master Plan v.2019, which should guide development and decision making from Town leadership. I urge you to consider the above points in your decisions for the ASIP and future improvements to our Town’s character, economically and environmentally sustainable future in steering your discussions.
I applaud the Town’s adoption of Resolution No. 21-06 supporting the June 2021 updates to the Colorado Communities for Climate Action Policy Statement. I ask that you reference this commitment as well to inform and guide your decision making on future projects and now specifically the proposed Amelia Street Improvement project.
Thank you for your attention and stewardship of our unique, small rural community.
Resident of Ridgway for 20 years
A big solo exhibit brings O’Keeffe’s American sublime to European viewers.
October 11, 2021
Paris is still under the gloomy pall of the coronavirus, but the city carries this off with élan. Proof of vaccination is mandatory in most places, and masks are required indoors, but everyone is courteous and no one seems to mind. Cafés are full, and traffic surges through the streets. Trottinettes—those narrow, elegant scooters—glide among the lanes, their drivers perfectly erect, one foot behind the other, like hieroglyphic Egyptian figures. Culture is blossoming: “Georgia O’Keeffe” opened recently at the National Museum of Modern Art-Pompidou Center, the first solo show of the artist’s work ever shown in France.
The shade of Alfred Stieglitz, O’Keeffe’s dealer and husband, may disapprove of this. Stieglitz did not approve of museums in general. He thought art and commerce should be separate, and that ideally art should be owned by individuals who were personally engaged by the work, not by institutions who were dependent on wealthy donors. He was reluctant to send O’Keeffe’s work to Europe in part because he thought of her work as fragile and precious.
Stieglitz’s antagonism toward museums didn’t affect the prestige of his artists in America, because Stieglitz himself was such a powerful presence. His gallery, 291, founded in 1905, was the first to show many avant-garde artists, both American and European. His magazine, Camera Work, explored the burgeoning modernist movement. Critics paid attention to Stieglitz and his artists, and at the core of the Stieglitz stable were the American modernists: Marsden Hartley, John Marin, Arthur Dove, Charles Demuth, and Georgia O’Keeffe. Stieglitz presented them and made them famous. But, ultimately, his antagonistic feeling toward Europe did affect his artists. Their works are now in virtually every great American art museum, but they are virtually absent in European institutions. O’Keeffe, once voted one of the five most famous women in America, is mostly an unknown presence in Europe. Many French art scholars seemed to think that American modernism began in 1947, with Jackson Pollock.
Didier Ottinger, the curator of the O’Keeffe show, is the deputy director at the Pompidou. He has worked at New York’s moma, and so is more aware of American art than many of his French colleagues. When he first tried to interest other institutions in an O’Keeffe exhibition, he was met with shrugs. “O’Keeffe? No one knows who she is,” he was told. “She is no one here.” Misogyny also probably played a part in O’Keeffe’s absence from the cultural arena. One French art historian, hearing about the show, said, “Spare me. All that women stuff.” Male stuff is integral to Picasso’s work, but his work is not disdained by scholars because of it.
The exhibition is comprehensive; it’s also gorgeous. At the start, big photographs of O’Keeffe are projected on a wall. These serve as reminders that O’Keeffe herself is both art and artist, something that has always captivated and confused her audience. Next is a space based on 291 and includes pieces from several other artists from the Stieglitz stable, and also one of O’Keeffe’s great early works: “Special No. 9,” from 1915. It was part of a group of drawings that O’Keeffe mailed to her friend Anita Pollitzer, in New York, who showed them to Stieglitz. Pollitzer famously quoted Stieglitz as saying, “Finally a woman on paper.” The charcoal image is well known, but it’s impressive to see it in real life. It’s remarkable for its expressiveness and sinuous beauty, as well as the bold authority of its line.
The exhibition contains examples of all of O’Keeffe’s important works—the magnified flowers, the barns, the skyscrapers, the skulls and antlers, the dreamlike landscapes, the late abstract renderings of buildings and sky. In America, these paintings may be familiar, but here in Europe they seem to deliver a new message. “I wonder why I like this country so much—I don’t know unless it is because it is so big . . . it is so very big,” O’Keeffe wrote from Texas, in 1916. It was there that she first became engaged by open space, and the show contains works from this period, little watercolor miracles of meteorological studies—air and sky and color. O’Keeffe was a master of the medium, and in these she comes as close as possible to painting with light.
It was later, in New Mexico, that O’Keeffe began her extended exploration, now using oils, larger formats, and a new way of presenting space. The Southwestern landscapes are smooth, rich, and glowing, and in them O’Keeffe makes America into a mythic territory. These ringing blue skies, these wide roseate plains, these great, windy sweeps of land exist nowhere else. Hung in a museum in Paris, they stand out as utterly unique.
The works carry a metaphysical meaning, as well as a geographical one. With the skulls and antlers, bones and shells, O’Keeffe creates a secular iconography. For her, these subjects did not represent death but something vital and lasting. A bone found in the desert is like a shell found on the beach: both are forms defined by function, both are beautiful and enduring evidence of life. O’Keeffe’s images and juxtapositions are mysterious, but she wasn’t a member of the Surrealist movement, which deliberately juxtaposed objects without connections to one another. Her intention was quite different: these objects have a deep connection—one that we recognize on an intuitive level. “Pelvis with the Distance,” from 1943, shows a smooth, white bone, all curves and slopes and openings. It is suspended, high in the air, above a line of low, undulant blue hills. This physical juxtaposition—the celestial locus of the bone, the earth-hugging horizon below—creates a majestic sweep of space. O’Keeffe places the viewer aloft, level with the bone, high up in the empyrean. The supernatural height, the mystery, the hallucinatory beauty of the object—all combine to create a sense of the sublime.
The sublime was a subject of the nineteenth-century American landscape painters—Thomas Cole, Asher B. Durand, Thomas Moran, Albert Bierstadt, and others. They painted majestic views of mountains, canyons, plains, and icebergs from all over the world, to show the relationship between man and nature. Images of “the sublime” represent nature at her most powerful and mysterious; the art works pay homage to an ineffable presence that is greater than humankind. O’Keeffe also explored this notion, using modernist means to show the exhilarating breadth of her country. She showed the great skies, the color and light of the plains, and the silent and enigmatic presence of their denizens.
O’Keeffe’s calm authority of style, her innate connection to the natural world, and her commitment to beauty give power to these paintings. The images are at once abstract and realistic, familiar and mysterious, sumptuous and magisterial. With them, O’Keeffe takes command of the American landscape. The critical reviews of the show are glowing; the crowds are large and interested. A French artist told me that O’Keeffe’s work touches something within her. A French art historian—a woman—told me how strong the work is, and how American. No thanks to Stieglitz for all this—though, at this level of prominence and distinction, probably even he would be proud. But, thanks to the Pompidou, O’Keeffe has finally arrived in Paris.
Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at 8 million copies, outselling any other record in the same genre. The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Rubén González & Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go down as one of the landmark recordings of the 20th century. To celebrate the 25th Anniversary of the album’s recording, producer Ry Cooder and World Circuit’s Nick Gold have gone back to the original tapes and into the archive to produce this Deluxe Remaster package, featuring previously unheard tracks from the original 1996 recording sessions, previously unseen photos, and new liner notes.
A day spent without contemplating death is a day wasted