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A flame performer in front of a crowd with Carrie in the background.

Iron, Fire, and Creativity Collide at the Festival of Combustion 2025

By Blog, Programs

There’s nothing quite like standing in front of a furnace as molten iron pours out in a river of fire. The roar, the sparks, the heat—it’s a spectacle that you’ll feel in your bones. 

On Saturday, October 4, from 3:00 to 9:00 p.m., the Carrie Blast Furnaces will come alive with that unforgettable energy at the Festival of Combustion 2025, presented by United States Steel.

Now in its ninth year, the Festival of Combustion has become one of the region’s most exciting fall traditions—a daylong celebration of industrial arts, American craft, and the communities that keep those traditions alive.

Three workers tending to the fire for an Iron Pour at the the Festival of Combustion.

The Iron Pour: The Heart of the Festival

If you’ve never seen an iron pour before, this is the year. Rivers of Steel’s metal arts team will fire up the furnaces throughout the day, streaming molten iron into molds while festival-goers look on. Even better, you can carve your own scratch mold and watch as it transforms into a cast iron keepsake. As evening falls, the furnaces glow in a dramatic iron pour performance that lights up the site in flame, sound, and color.

The iron pour is both a nod to Pittsburgh’s past and a dramatic work of art in the present—an awe-inspiring experience that connects history, creativity, and community in a way that only Carrie can,” says Chris McGinnis, festival producer and Rivers of Steel’s director of arts.

Workers at Carrie Furnaces prepare for the Iron Pour at the Festival of Combustion.What You’ll Find Beyond the Flames

The festival is about the creativity that thrives in southwestern Pennsylvania today. Throughout the day you can:

  • Try hands-on workshops like raku ceramics, mosaics, “Space Metal” aluminum scratch molds, penny pendants, graffiti art, and more.
  • Watch live industrial arts demonstrations, including hot riveting (new this year!), power hammer forging, blacksmithing, welding, and glassblowing.
  • Explore the Heritage Craft Tent, where you’ll find blacksmiths at work, rye whiskey tastings, historic games for kids, and cultural heritage organizations sharing their stories.
  • Catch live performances all day long: The Polkamaniacs, Erika June and the Tunes, DJ Zombo’s Record Party, flame dancers, and graffiti and tattoo artists.
  • Refuel with craft beer from Oskar Blues, Straub, and Cigar City, plus some of Pittsburgh’s best food trucks.

And of course, the night ends with a bang—a fireworks finale over the Carrie Furnaces, thanks to B&D Fireworks.

A blacksmithing demonstration taking place at the Festival of Combustion. A First Festival for Rivers of Steel’s New CEO

For Rivers of Steel’s new president and CEO, Mary Murrin, this will be her first Festival of Combustion.

I’m excited to see firsthand how this festival brings people together around Pittsburgh’s heritage and creative spirit,” she says. “Events like this showcase the value these historic sites bring to our region—not only as touchstones of the past, but as vital spaces for culture, innovation, and community today.

Plan Your Visit

  • Date: Saturday, October 4, 2025
  • Time: 3:00–9:00 p.m.
  • Location: Carrie Furnaces, 801 Carrie Furnace Blvd., Pittsburgh, PA 15218
  • Tickets: $25 in advance; free for ages under 18 at FestivalOfCombustion.com
  • Parking: Free, on-site

Admission includes all workshops, demos, and marketplace access. Mini Blast Furnace Tours are also available with advance reservations.

A woman dressed in an orange phoenix costume stands in the foreground of the Festival of Combustion at Carrie Furnaces.The Festival of Combustion 2025 is made possible thanks to our sponsors: United States Steel, Peoples Natural Gas, NEXTpittsburgh, Butler Gas Products, Chiz Bros, Jackson Welding Supply, and UPMC Health Plan.

wa Young and Sons Machine Shop

Step Back in Time: Celebrating 125 Years of the W.A. Young & Son’s Machine Shop

By Historic Preservation, Newsletters

Step inside the W.A. Young & Son’s Machine Shop in Rice’s Landing, Pennsylvania, and it feels as if the machinists just set down their tools for lunch.

The belts still hang from the line shafts, ledgers rest on desks, and patterns line the shelves–just as they were when the shop closed in 1965. This September, this remarkable National Historic Landmark celebrates its 125th anniversary with a special event on Sunday, September 14. It’s a chance to experience one of America’s most complete and best-preserved machine shops, often described as an “industrial time capsule.”

Origins and Operations

Founded in 1900 by William A. Young, a Green County craftsman, the shop was built from lumber sourced partly from his family farm. Over time, it grew to include a foundry with a cupola furnace, a blacksmith area, and a pattern shop. 

Young equipped the shop with an array of machine tools—mostly purchased secondhand from Pittsburgh and beyond. A line-shaft system, first powered by steam and later by gas and electric motors, drove lathes, planers, grinders, and drill presses. This allowed the shop to serve as a “jobbing shop”, meaning no task was too small or too specialized. 

Customers included coal mines, riverboat operators, railroads, farmers, and individuals who needed parts repaired or fabricated. The shop’s adaptability kept it indispensable  for decades.

Shifts Through the 20th Century

The foundry closed in the 1930s under pressure from Pittsburgh’s larger operations, but the machine shop endured.

During World War II, the shop became part of the federal defense effort. It was adapted into a training center for men and women to learn machining skills essential to wartime production. This temporary transformation altered the rhythm of the shop, adding shifts, instructors, and even a secretary to handle reports. After the war, as coal production in Greene County declined, the shop shifted again—this time toward automobile repairs, even installing a grease pit in the former foundry.

But as industry consolidated and highways made it easier for businesses to bypass small towns, the shop’s customer base declined. When Carl Young, the last family operator, died in 1965, the shop closed its doors.

Preservation and Recognition

What sets W.A. Young & Son’s apart is its completeness. When the doors closed, everything–machines, tools, ledgers, even the hardware stock in the office–was left behind. The Greene County Historical Society acquired the building in 1985, later transferring it to Rivers of Steel, which cares for it today. Aside from a roof replacement in 2012, little has changed. Visitors see the shop much as it looked in both 1900 and 1965, offering a rare and authentic step back in time.

Legacy and Public Engagement

In a region known for industrial giants like Carnegie Steel, the W.A. Young shop tells a different story: One of small-town ingenuity, adaptability, and craftsmanship. The 125th anniversary celebration will bring that story to life with:

  • Demonstrations of the line-shaft system in action
  • Hands-on displays and talks that connect past and present
  • A chance to explore the shop as it was left, tools still on benches and patterns stacked on shelves.

Visit the Machine Shop

Today, the W.A. Young & Son’s Machine Shop stands as a living classroom. It reminds us of the artistry and adaptability of small industrial communities. And thanks to dedicated preservation efforts, you can experience firsthand  What work looked lie in an early 20th-century shop.

The 125th Anniversary Celebration will be at Rices Landing, Pennsylvania, Sunday, September 14 from 12 to4pm. Don’t miss the chance to walk through the time capsule and celebrate a story of resilience, craftsmanship, and community.

 

Traditional Trades Workforce Development Program

By Blog, Getting to Know, Historic Preservation, Partners for Creative Economy

Trainees Kiersten Lapen and Nathan Swiech pictured with Ron Baraff, Director of Historic Resources and Facilities

First Cohort in the Traditional Trades Workforce Development Program Begins

Rivers of Steel is proud to announce the launch of its first cohort in the Traditional Trades Workforce Development Program, designed to train and empower individuals seeking careers in fields such as welding, carpentry, and masonry. This program is the first of its kind to be launched as a paid training opportunity, set against the backdrop of the historic Carrie Furnaces. With a robust curriculum focusing on essential skills in welding, carpentry, and masonry—framed within the tenets of historic restoration and preservation—participants will attain industry-recognized certifications that uniquely position them for entry into the workforce, trade union membership, or continued education in the trades.

Last spring, we introduced this new vision for workforce development as a pillar of the Partners for Creative Economy initiative to unite, uplift, and empower communities throughout the Rivers of Steel National Heritage Area. Evolving out of a workforce training pilot that focused on the restoration of the 48-Inch Universal Plate Mill, Rivers of Steel welcomed its first official cohort at the start of May 2025.

The inaugural cohort welcomes two enthusiastic trainees, Kiersten Lapen and Nathan Swiech. Lapen came to the cohort after graduating from the Introduction to Construction Trades Program at the Pittsburgh Gateways Corporation. Following that program, she worked in the plasterers union but wanted to pursue additional training in a variety of trades. The opportunity to gain experience across multiple trades made the program particularly appealing. When asked about her involvement in the program, Lapen said, “I’m so excited to be involved in a piece of history as impactful as Carrie Furnaces. To have the opportunity to learn the trades, be exposed to labor history, to connect with individuals with diverse backgrounds—from metalworking to machinery to the archives at Rivers of Steel—it all amounts to a uniquely well-rounded and fascinating program. I’m proud to be a part of it!“

Nathan Swiech comes to the program after working for over thirteen years in the culinary industry as a cook. While he enjoyed his time in the kitchen, he was eager to find another career path. His love of history, particularly local history, made this opportunity even more exciting for him. When asked what he likes most about the program, Nathan said, “Growing up I was always told, remember where you come from, and this program gives me the opportunity to preserve where I come from—I’m not going to lie, it’s kind of magical! The second you step onto the grounds at Carrie Furnaces, you can feel the souls of the people who were there and the legacy they left.”

Trainees Lapen and Swiech begin shop preparations ahead of their work on 48 inch Universal Plate Mill and technical skills modules.

Over the coming months, participants in the program will work alongside Rivers of Steel staff to execute projects in multiple trades, positioning them for work as millwrights, welders, masons, and carpenters. Participants will have the opportunity to complete NIMS certifications, welding D1.1 certification, OSHA safety certifications, and NCCER certifications in carpentry. Additionally, they will participate in concrete projects, machining projects, and small motor repair to aid in artifact restoration and preservation. Skillset development and related certifications create opportunities for work in historic restoration and regional industry.

In a time of computers, robotics, and technology, it may be pondered: why historic trades? Historic trades education covers a vast array of skills including those broadly recognized as essential to the field such as tool mastery, measuring systems, craftsmanship techniques, and material knowledge. However, a career in the historic trades also requires ingenuity, problem solving, and adaptability. Working with irregular materials or creating parts that are no longer manufactured requires professional agility—a skill transferable to any industry. Understanding the roots of how things were made previously often inspires innovation, such as historic joinery techniques that influence modern design and sustainable architecture.

Progress continues on the restoration of the 48 inch Universal Plate Mill following completion of the concrete footers during the winter of 2025. Workforce trainees will support the project team during final assembly and fabrication of the mill’s components.

A pilot program in the summer of 2023, funded by the Department of Conservation and Natural Resources, allowed Rivers of Steel to train two apprentices, Malayna Arambula and Derek Stein, to begin learning about the work of historic preservation from the ground up. This pilot laid the initial groundwork for the workforce development program that exists today and offered these trainees the chance to get their hands dirty helping to restore the 48-Inch Universal Plate Mill, identified by the Smithsonian Institution as the last mill of its kind in the world. Arambula and Stein developed an array of new skills in the trades while preparing the mill for reassembly as the centerpiece for the Rivers of Steel Visitors Center at Carrie Furnaces. Coming full circle, both Arambula and Stein have since joined Rivers of Steel as full-time staff, bringing the experience learned during the pilot phase of the workforce program to support the future of the organization.

Derek Stein is now one of Rivers of Steel’s newest employees, joining the organization in April 2024 as the organization’s first Workforce Instructor. Beginning his career as a welder, Derek started work in custom fabrication and historic restoration before becoming an instructor in multiple subject areas including mathematics, English, and, of course, historic trades. Additionally, he is currently completing a four-year machining apprenticeship through the National Tooling and Machining Association. Beyond his breadth of experience, Derek brings a sincere enthusiasm and passion for the historic trades to the program every day.

Derek Stein, Workforce Instructor at Rivers of Steel

When asked what excited him most about being the instructor, he said, “I’m so excited to be working with people who are new to the trades, people who have an interest in getting exposed to these skills that are so integral to what we experience around us. So many times, people are just mystified by how things get done, but I love when people have the same urge I did—to learn how things work. So to help bridge the gap from mystification to understanding, that’s what I’m most excited about.”

Derek is joined by Samantha Swartz, the first Director of Historic Preservation Workforce Development at Rivers of Steel, who has led curriculum development and implementation of the program. With over fifteen years of workforce development experience across various industries, Sam has been able to establish registered apprenticeships with the Department of Labor and envisions the same for the workforce program at Rivers of Steel. She is thrilled to be working in a trades program and contributing both to the storied history of the organization, as well as building a program that supports the region’s workforce ecosystem. She feels, “When you are training people in historic trades that are connected to the restoration and preservation projects like those with Rivers of Steel, these individuals become a part of that legacy. Contributing to that historic preservation and helping people find career pathways is an incredible intersection for workforce development.”

Under the supervision of Workforce Instructor Derek Stein, Director of Facilities Operations Adam Taylor, and Project Manager Rick Rowlands, the new trainees will continue work on the 48-Inch Universal Plate Mill started by the Carrie Furnaces Maintenance team as well as the participants of the original pilot program. After completing some initial welding instruction and assessment, the new cohort will be integrated into the full restoration of the mill, helping to reassemble and permanently preserve this incredibly unique piece of America’s industrial legacy for future generations.

A group in hard hat walk through the ore yard in front of the Carrie Blast Furnaces.

Metal Arts Team Hosts Second Intercollegiate Iron Pour at Carrie

By Blog, Heritage Highlights, Historic Preservation

Dr. Kirsten L. Paine

Metal Arts Team Hosts Second Intercollegiate Iron Pour at Carrie

While commercial iron production ceased at the Carrie Blast Furnaces in 1982 and operations shuttered entirely in 1984, there has always been a lingering hum of creative inspiration that draws people to the site. The Rivers of Steel Metal Arts team thrives at Carrie. They continuously make opportunities to teach people and show them what it is like to create with liquid metal.

Led by Ed Parrish Jr., the Metal Arts Coordinator and Furnace Master at Rivers of Steel, workshops like the recent Intercollegiate Iron Pour increase access to the site’s creative potential and welcome artists and craftspeople from all backgrounds to gather and tap into Carrie’s legacy of ironmaking. Last month students from Carnegie Mellon University, Alfred University, Seton Hill University, the University of North Carolina at Greensboro, and the University of Notre Dame gathered for an intensive workshop that culminated in an iron pour in front of the nearly 120 year-old Carrie #6.

Participants ranged from undergraduates learning to cast metal or refining their skills, to graduate students working on capstones and theses, professors, and artists.  Carnegie Mellon students were enrolled in a mold making class.  Some students brought molds with them for the pour.

Intercollegiate iron pours like the one at Carrie are invaluable hands on experiences for students.  Such programs can light a fire and stoke a passion for iron making, casting, and honing craftsmanship for an entire lifetime. Paige Henry, Metal Arts Technician at Rivers of Steel, remembers her first iron pour in 2007 at the Salem Art Works. She was a student at Alfred University at the time. She says, “I was 19. It was a pivotal moment for me that changed the trajectory of my undergraduate studies. It was not only a team effort to create art, but as soon as the bottom dropped we all became a sort of family. After many years of attending the Intercollegiate I later became the Foundry Director at S.A.W. when their Intercollegiate iron pour evolved into their inaugural Festival of Fire.”  Carrie could be life changing for someone in the same way Salem Art Works was for Paige Henry, and it starts with bringing people together.

Iron pours are collaborative by nature.  In addition to skillwork, participants hone in on critical teamwork.  Henry says, “we try to demystify the cast iron process and emphasize that there is a job for everyone. If someone wants to try pouring the bull ladle, we have a safe and controlled space to give them the guidance and opportunity to do so. If someone isn’t ready to get close to the fire and heat, and lift heavy things they can take photos, observe, and/or be the timekeeper; every person and every job is necessary for a safe and comprehensive iron pour. We always seek ways to be as accessible and safe to all sorts of people that want to participate.” 

As far as what sets an Intercollegiate Iron Pour apart from some other arts events at Carrie, Henry says that “an intercollegiate brings together many different colleges and universities to participate in an almost ritualistic practice to make art where everyone is an integral component in its success.”  Ritual is key. The practice taps into traditions that stretch millenia, bringing ancient artforms to life at the base of a monument to the creation of modernity.  The ritual–where attention to every detail of the process is critical and communication is vital–brings people close.  “This transfer of ideas and conversations strengthened bonds and created new friendships that otherwise may never have existed,” Henry remarks.

Looking ahead to another Intercollegiate Iron Pour in 2026 and beyond, the team responsible for its success will build on a decades-long foundation of metal arts experience and an approach that prioritizes collaboration. Henry stresses that Parrish’s vision ensures that collaboration is equitable.  She says, “I think the foundation that Ed has laid for his program, so to speak, is that everyone has a place at the table and is valued.”  Drawing a clear connection between opportunities to create art and opportunities to create community, Henry remarks, “Ed has created a safe space for all sorts of people with varied backgrounds to come together to make art.”  She continues, “Without his vision and devotion to the craft and the people, I don’t believe the Metal Arts program at the Carrie Furnaces would be where it is today.”

Henry considers even more potential for expansion. She points to Parrish’s sophisticated set up as an essential part of the future. “The biggest benefit to working out of the Carrie Furnaces is the facility that Ed Parrish has created and provided to the cast iron community. The sand molding set up is leaps and bounds more efficient and user friendly than some places that have had a metal casting program since the late ’80s,” she says. 

What does this mean going forward?  Henry offers seemingly endless possibilities. “I was in talks at the NCCCIAP at Sloss Furnaces this April with Bob Rogers from the Memphis Metal Museum about potentially offering a green sand workshop during next year’s Intercollegiate. We would like to pair that offered workshop with a blacksmithing workshop making green sand slicks — which are tools for making green sand molds. Strengthening our connections with other existing organizations has been a really positive move forward in connecting our students and participants in what we are doing outside of our region and academia. Camping at the Carrie Furnaces would also make our Intercollegiate more accessible as well as inviting guest furnaces to participate as we grow.” 

Programs like the Intercollegiate Iron Pour and the Iron Workshops also allow individual artists to grow, to experiment, and to practice their craft.  Detroit-based artist Jay Elias is relatively new to metal arts.  He started learning from Casey Westbrook in 2014 and quickly took to iron as an essential, visceral medium.  He has attended several iron pours at Carrie. One of his newest pieces, called “Unfinished Business” is an incredible reimagination of a jail cell.  The piece is now installed in Carrie’s Iron Garden and beckons visitors to interact with vestiges of incarceration.  Elias’ “Unfinished Business” is stunning, and every time he comes back to Carrie, he brings more of his vision to share with others.

While the “driving force of having an Intercollegiate iron pour at the Carrie Furnaces was bringing the cast iron movement back to its roots — to start the spark with students–” the driving force of the Metal Arts program is to bring even more people to a center of industrial arts.  Many programs are very beginner-friendly, and others are geared toward more experienced artists.  For newcomers interested in learning a new artform– foundry basics, pattern making, mold making, and casting–Intro to Iron Casting might be an exciting opportunity.  This three-day course will be offered from May 29th to May 31st, 2025.  For more experienced artists who require more shop time and personal instruction, the Weeklong Iron Intensive will be held from May 26th to May 31st, 2025.

**This article would not be possible without Paige Henry’s time and insight.  I am grateful for her thoughtful contributions.**

From the Archive: Women Going to Work in WWII

By Blog, Heritage Highlights

US Steel News Front Cover Girl -January 1945

From the Archive: Women Going to Work in WWII

Dr. Kirsten L. Paine

 

World War II profoundly reshaped the American labor force. With hundreds of thousands of men enlisting or drafted into military service, the threat of a substantial labor deficit loomed over wartime industrial manufacturing.  This afforded women an almost unprecedented opportunity to obtain work in the steel industry.  Many of the women entering steel mills possessed no prior experience in factory work. Prior to World War II, only lower working class women, poor women who made up the true laboring class in the United States, worked in factories. Most working class women were largely confined to domestic jobs like housekeeping, cooking, sewing, and laundry.  Middle class women who wanted to work outside the home found professions considered appropriately feminine, like teaching and nursing.

Perhaps the most indelible image of women’s wartime work is the famous “We Can Do It!” poster, and it features the character now known as Rosie the Riveter.  She is a fixture of American pop-iconography.  The impossible-to-forget woman embodies brute strength, mental fortitude, and the commitment required to fulfill her patriotic obligation. She fills most of the frame with her flexed bicep in the foreground, emphasizing her physical fitness. Her gaze, direct and unblinking, dares the viewer to challenge her. Her face, pretty with full makeup and pinned hair, subtly eases hesitation with the concept of a woman working in a traditionally male profession. The message is clear: women, work harder. Pick up the tools and carry on.

The poster’s proclamation “We Can Do It!” resonates at a profoundly universal level. It speaks to the inherent human capacity for overcoming challenges and achieving goals through unwavering determination and perseverance. For some people, it represents commitment to a common cause and the necessary inclusion of everyone in order to succeed. For others, the poster is a testament to resilience.  For many, the poster’s imagery has become a visual shorthand for women’s empowerment, feminist ideals, and the transformative power of women’s collective action.  For Pittsburgh, this towering woman was born here in Allegheny County, along the banks of the Monongahela River Valley.

J. Howard Miller was a graphic artist who lived in Pittsburgh. The Westinghouse War Production Coordinating Committee within Westinghouse Company commissioned him to paint a series of posters aimed at boosting morale.  The Westinghouse employees, many of whom were women, were inspired to work harder, produce more, and buy war bonds.  Interestingly, the original “We Can Do It!” poster circulated only within Westinghouse for two weeks in February 1942 before being replaced with the next in the series.

 The “We Can Do It!” poster resurfaced after World War II and gained incredible visibility by the late 1980s. For decades, many women have claimed to be the inspiration for Miller’s character, but a United Press International photograph of a woman Naomi Parker Frayley, a Naval worker in California, seems to be the likeliest candidate. There were approximately six million Rosie the Riveters during World War II; thousands of them worked up and down the Monongahela River Valley.

Rivers of Steel has collected and preserved artifacts and stories about some of these women in the archives. Part of the collection includes a large print run of US Steel News magazine which is a fascinating industry publication designed to communicate cogent, cohesive company-wide messaging across all US facilities. The World War II era issues occasionally highlight women working in US Steel plants across the United States. 

A 1944 issue of US Steel News profiles a twenty-two year-old woman named Martha Hamilla.  She lived and worked on her family’s farm in Perryopolis. Nearly every day Hamilla walked from her house to the nearby road and waited for a share-a-ride to take her all the way to the National Tube Company Christy Park Works in McKeesport where she charged 105 millimeter shells in an annealing furnace.  The reporter followed Hamilla around the farm while she worked because she had no time to stop for a chat, even pushing a stubborn bull out of the way so they could walk through the field.  “I’ve felt my help in manufacturing shells is really important,” she says, but it is clear that working with her family to provide sustenance by way of the land is equally valuable.  The article stresses this dual importance and depicts Hamilla working in both capacities.

The January 1945 issue features a cover with two photographs of the same woman, Sophie Wolansky, as the “Steel Mill Worker,” and the “Pin up Girl,” over the subheading “US Steel Salutes the women who help make steel to win the war.” The “Front Cover Girl” article about Wolansky praises her work as a machine operator who can competently use a variety of tools, including a “universal grinder, a surface grinder, a drill press, a do-all saw, and bench work.” The praise for her work ethic is tempered by emphasis on Wolansky’s brothers– all in the military– and her own domestic pursuits away from the plant, like needlework, laundry, and letter writing. The article serves a dual purpose for readers. For women in Wolansky’s position, the feature boosts morale by recognizing factory work as their patriotic commitment.  For people who wonder if manual labor might change a woman, mentioning her craftwork and housekeeping assuage that fear.

Magazines, as examples of material culture, are tangible representations of historical trends, ideas, and interests. Oral histories are records of the intangible: memory.  Rivers of Steel collects oral histories, and some of the older interviews in the archive document the experiences of local women who worked in mills like Duquesne and Homestead.   

On September 4th, 2003, Susan Lineback and Julie Williams interviewed Marie Madar about her experience working as a straightening mechanic at US Steel Duquesne Works.  Madar was employed at the mill from 1941 to 1944 and was one of thousands of women who found a way to bring together a sense of patriotic duty and a desire for self-sufficiency through working in industry.  When asked about what she remembered about her job, Madar says, “I got a job in the heat treating dept, we had pickling, like a swimming pool for steel, we had furnaces in there where the steel was rolled through and then put into the pickling tanks, and um, straightening machines for round bars and for long rectangle bars.  And we also bundled steel with tie raps and loaded them into the box cars, and whatelse…” 

Throughout the oral history, Madar continuously recounts how her work at Duquesne during the war was only the beginning for her. At the time she understood that once the war ended and the men returned to factory work, she and her coworkers faced displacement.  She recalls, “We were glad that the war ended, we didn’t care!” Madar’s relief in this short exclamation gives way to her need to keep working. 

Over the course of her life, Madar parlayed her mill work into jobs in Homestead like Grimburkes appliance store on 8th Ave. and the A&P on 7th.  Madar took that experience with her when she and her husband moved to Twinsburg, Ohio. The interview continues as she lists her lifetime of work:

 

I went to a factory after that, I went to a diaper service where I worked in the mail department where I typed out plates just like your credit plates or anything else. From  there I went to Ken Collin’s that was a factory, and that had to have been during some other war that we were involved in…I handled papers, it was the atomic thing.  And, I took care of the mail room there, and um, and then we moved up to Twinsburg and I got a job at the telephone company and I worked in bookkeeping, and then I had my last child and I took a couple months off after she was born and then they called me back and I was a telephone operator for Western Reserve Telephone Company.  And then I worked in a window replacement where they change the windows, the storm windows and stuff.  From there we moved here and I got a job at Pickera XRay and I worked on the first MRI in Ohio.  And that’s me.  I retired from there.  I have a list of work a mile long!  But I liked to work, I loved it!

 

Madar talks amiably about work and how much she enjoyed the physicality of it– the lifting, the stacking, the rolling, feeling the heat from the open hearth furnaces lick at her body, the sweat– and she even brushes off an incident where “rolling Steel bars on skids, you know those wooden skids, I was rolling it and it rolled off the skid onto my foot and I got hurt then and that was it.” She was driven by the love of work itself. 

Most of Madar’s oral history, however, is specifically about her experiences at US Steel Duquesne Works.  She recalls working with men too old for the draft and working side by side with other women like her, especially the wives and mothers who felt called to the life of the mill. When asked about her memory of the first day she set foot in Duquesne as an employee, she recounts:

 

The first thing I remember was I was hired on Memorial Day and they walked us through the mill, through a portion of the mill, it was a short portion.  And um, it was 11 o’clock in the morning when we were walking through, they had the whistle blow and the church bells were ringing, and we were told to bow our heads and pray because it was during the war.  That I’ll never forget, that was so touching.

Marie Madar died in 2014 at the age of 91.

Regina Kowalski was looking for an outlet for her anxiety and aimlessness following her husband’s enlistment in 1941. At the time her brother-in-law worked as a police guard at US Steel Homestead Works and suggested she might find a job there.  Kowalski took him up on that offer and made three streetcar changes all the way from her home in Sharpsburg. 

In her 2003 oral history, Kowalski says that her application to work at Homestead was initially rejected because she was underweight, but she persisted. She says, “So, I begged them, I’d been everywhere. He says, “okay, we’ll get you heavy shoes.” And with that, she was hired.  Kowalski candidly remembers:

 

We had to wear steel toed shoes. We had to go through a check up, everything checked good except my weight was a little light. But then they gave you these heavy pull on overalls and glasses and you had to have your hair all covered and steel toed shoes before they let you go through the mill. Then they give you some test, how to put things together and this and that. Just like children. We thought we were children playing with toys.

 

With a war on and steel production ramping up to meet American military needs, the dismissal and skepticism Kowalski encountered gave way to the urgency of the national task. Kowalski says, “So we went into the mill, and it was scary at first.  But then we went into a labor gang, we had to start […] They had emptied box cars of brick for the furnaces.” So Kowalski and her coworkers picked up bricks and started carrying the load.

Parts of her interview focus on how she tried to maintain a sense of her own life beyond the anxiety of waiting for her husband, John, to write to her.  When asked about what she took for lunch, she answers, “Well, I’d take a sandwich or whatever, and a piece of fruit or a vegetable,” and then brings her memory back to the waiting and wondering: “Of course at that time you didn’t feel like eating a whole lot, you had other things on your mind. The war, how are they doing, your husband, how is he, I wonder what he is doing, crazy things, you know.”

Regina Kowalski was laid off in September of 1945, just after VJ Day.  She remembers being let go: “the end of the war was announced, we were not allowed to go back into the mill […] All the women, the men, yes, but the women were not allowed to go back into the mill because our work was done.” She says “it didn’t upset me” because “I was happy to, […] because all the whistles were blown and everything was going on and that and everybody was dancing in the streets and that.  ‘The war is over, the war is over!’  It was, well, you could cry even now when all that happened.  We knew our men were coming home, the ones that were left.” John Kowalski was among those left. Did US Steel ever thank her for her work?  Her service? She says yes. The women were thanked, “but we were there because we wanted to help, we didn’t even look for a thanks.”

The interviewer applauds Kowalski’s ability to recall her time at Homestead in such detail after many decades, but Kowalski shrugs off the compliment and offers up a simple, yet powerful testament to why she can conjure it up: “Because I try to still see the mill, the way it was, the way it should have been left.  When I go by Homestead now I see all those buildings and all that ground and those great big stove pipes that smoke was coming through, you just can’t visualize that it went down like that.”  

And when Kowalski died at the age of 102 in 2018, her obituary called her a “Rosie the Riveter.”

Women working in steel mills during World War II encountered many challenges. The work was arduous, wholly dangerous, and often involved taking shifts through two or three turns in extraordinarily hot, loud, and dark settings. They operated throughout all parts of the factory, from blast furnaces to open hearths, rolling mills, plate mills, rail mills, and machine shops.  They were blacksmiths, masons, electricians, pipe fitters, finishing workers, and transported all kinds of raw and processed material.  The work demanded substantial physical strength and endurance, and women met those demands.  Most women were also required to simultaneously manage domestic obligations and childcare outside of working hours. Their contributions to wartime production levels proved pivotal and not only sustained US American industrial output, but also contested conventional gender roles and established a precedent for expanding women’s socioeconomic potential through the labor force.

Here are some links to consider if you’re interested in learning more about the history of Rosie the Riveter and women’s factory work in World War II.

Rosie the Riveter NPS

Library of Congress Image 1

Library of Congress Image 2

Margaret Bourke-White Essay and Photos

Listen to “Rosie the Riveter”

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A wavelike structure is lit in blue lights and see in a park at dusk.

Getting to Know: Shiftworks

By Blog, Getting to Know

A light installation by Joshua Challen Ice,  Aurora, 2024, lights up Mellon Square. Photo by John Altdorfer courtesy Pittsburgh Parks Conservancy.

Getting to Know: Shiftworks

The Getting to Know series helps you become better acquainted with some of Rivers of Steel’s partners throughout the eight-county Rivers of Steel National Heritage Area by featuring one of our community allies. For the third and final part of the Shiftworks series, writer Jason Vrabel examines how Shiftworks Community + Public Arts serves its mission through its impactful client service work.

By Jason Vrabel, on behalf of Shiftworks

Shiftworks’ Client Service work is making an impact

A few blocks away from a two-story, undulating arc of kaleidoscopic light spanning a downtown park is a dynamic light show crossing the Allegheny River. Aurora: Illuminating the Holiday Magic of Mellon Square is an interactive public art project in Pittsburgh’s historic Mellon Square created by local artist Joshua Challen Ice. The Three Sisters, designed by local art collective Rainbow Serpent, brings global meaning to the Roberto Clemente, Andy Warhol, and Rachel Carson Bridges, commonly known as the city’s Three Sisters.

Both of these projects that helped kick off this year’s Highmark Light Up Night festivities resulted from a partnership between several nonprofits and city and county agencies, a collaboration facilitated by Shiftworks Community + Public Art’s Client Services program.

Lit in green light, the sculpture looks a bit like a snake from a profile view.

Aurora, Joshua Challen Ice, 2024. Photo by John Altdorfer courtesy Pittsburgh Parks Conservancy

Holiday Ecosystem

Mellon Square is a newcomer to Light Up Night, a longstanding tradition that kicks off downtown Pittsburgh’s holiday season. Not to be confused with Market Square, Mellon Square is a park; designed by famed landscape architecture firm Simonds and Simonds and built on top of a parking garage, it was the first of its kind. Surrounded by towering buildings along Smithfield Street, Oliver Avenue, William Penn Place, and Sixth Street, the park’s trees and bronze basin fountains became an oasis in 1950s Pittsburgh. The park is city owned but primarily maintained by the Pittsburgh Parks Conservancy (PPC), which oversaw its complete restoration in 2014 and has taken responsibility for landscaping, programming, and security year-round ever since.

Mellon Square is a popular destination spring through fall, but it’s typically closed during winter to protect the park’s signature terrazzo surface from harsh snow and ice removal. James Snow, PPC’s vice president and chief administrative officer, said the pandemic renewed civic interest in public spaces and provided an opportunity to expand Mellon Square’s operating season for downtown workers, residents, and visitors.

“Parks aren’t complete without people. If people don’t feel connected to them year-round, you’re missing half the equation,” Snow said. So instead of going dormant this winter, Mellon Square will remain open and play a role in downtown’s “holiday ecosystem.”

This idea appealed to the Pittsburgh Downtown Partnership (PDP), an organization that fosters economic development and works to cultivate a vibrant residential population. PDP’s Senior Director of Urban Design Bruce Chan said the PDP sees downtown as more of a neighborhood than a city center.

“As a steward of public places, we look for space between buildings, where people can find some intrigue—fun things you won’t find in other places,” Chan said.

The PDP has been successful with the programming that it initiated throughout the year, such as the farmers market, night market, and musical performances in Market Square, but Chan says open space is limited.

“How do we use that energy and momentum in other public spaces downtown?” he asked. Wanting to build upon annual events like the holiday market, the PDP approached the PPC about incorporating Mellon Square.

Instead of simply adding decorative lighting for the holidays, Snow said the PPC wanted to think bigger and approached Shiftworks about the possibility of creating a temporary art piece. Best known for leading civically engaged art in the public realm, Shiftworks also supports other organizations pursuing public art projects through its Client Services program, a fee-for-service opportunity available to any organization or company.

Derek Reese, Shiftworks’ program manager of artist services, said his organization was involved at every stage of the project, starting with conceptualizing how to bring public art to Mellon Square. Shiftworks then solicited five paid design proposals from its Pittsburgh Creative Corps (an extensive roster of prequalified artists), supported the selected artist throughout the project, and helped to finalize engineering details and obtain permits.

This artist selection process yielded high-quality submissions, but Joshua Challen Ice’s concept stood out, Reese said.

“There were many highly innovative proposals, but Josh’s was the most site specific. His design concept responded to the unique design features of Mellon Square as well as the surrounding architecture.”

Ice, a Murrysville native and Point Park University graduate, is a multimedia artist who has created lighted sculptures before. A wall of his studio showcases art made with neon tubing he repurposed from commercial signs. But it was Ice’s background in theatrical stage lighting and exhibit installation that enabled him to work at this scale.

Across the street from the former Alcoa Corporation building, Aurora’s aluminum truss rails invoke the history of aluminum manufacturing in Pittsburgh. Suspended between the rails are hundreds of polycarbonate panels that, when lit by programmable LED light sources, produce the full light spectrum. Ice’s design also takes inspiration from Mellon Square’s argyle-patterned terrazzo floor. These panels are intended to appear as if “the floor is floating away,” Ice said.

Because Aurora can be disassembled and possibly reassembled somewhere else after the holidays was another reason Ice’s project appealed to the project team, Snow said. But constructing the rails and suspending the panels on axles was an engineering feat that fell to Flyspace Productions, an event management, event production, and art services company whose motto is Yeah, we can do that. Flyspace and Shiftworks have partnered on past projects; the familiarity of working together was especially important on a short timeline—16 weeks from issuing a Request for Proposal to completion.

Support from The Benter Foundation and Eden Hall Foundation made Aurora possible from the outset, and additional funding was provided by the Richard King Mellon Foundation.

See from below and lit by purple light, the art installation looks like a bridge across the sky with skyscrapers surrounding it creating a vanishing point.

Aurora, Joshua Challen Ice, 2024. Photo by John Altdorfer courtesy Pittsburgh Parks Conservancy

Making a Spectacle

Broadening our understanding of what public art is and what it can be is part of Shiftworks’ mission. But unlike sculptures or murals, lighting is sometimes seen as something other than art —a “display” or an enhancement of something else, like a building façade. When asked what visitors should take away from experiencing Aurora, Reese said, “It’s important to us that people begin to see this type of installation as public art, created by a living artist specifically for the space.”

Ice answered the same question this way: “The word spectacle always comes back to me.” Most important to Ice is that people experience the “interactive, exploratory nature of it, which changes when you get closer.” The experience varies both with distance and at different times of the evening into night. “There are peak moments but also subtler moments,” Ice said.

Mellon Square will eventually close after the holiday season, and Aurora will be dismantled. Where it turns up next and in what configuration are unknown, but both Ice and Snow (yeah, what are the chances?) hinted at numerous possibilities. For the PDP, Chan said this project has made a case for activating Mellon Square with different kinds of public art year-round—especially at night.

A night aerial view of three bridges lit in various colors.

The Three Sisters, Rainbow Serpent, 2024. Photo by Allegheny County.

Global Meaning of The Three Sisters

Most of the land Allegheny County owns is parkland. Because the county doesn’t own many buildings, it doesn’t have many high-visibility locations to commission or display public art. But the county does have an abundance of bridges.

So for the second year in a row, the county’s Three Sisters bridges were transformed on Light Up Night into a public art project. This year’s project—a lighting display designed by the Rainbow Serpent—not only represents a public art contribution by the county but is another example of the impact Shiftworks makes through its Client Services program.

“Allegheny County takes great pride in its infrastructure,” said Darla Cravotta, Allegheny County’s director of community affairs and special projects. Of the 400 miles of road and 508 bridges for which the county is responsible, none are more iconic than the Roberto Clemente, Andy Warhol, and Rachel Carson Bridges—the only trio of identical bridges in the world.

The bridges are lit throughout the year, but Cravotta said the county’s $86-million restoration of all three didn’t originally include the technologically sophisticated lighting infrastructure that is now in place. That idea came about during Pittsburgh’s bicentennial celebration in 2016, which featured Energy Flow, a temporary lighting installation on the Rachel Carson Bridge that captivated audiences and prompted the county to rethink the bridges’ lighting schemes.

Cravotta explained that the original lighting was adequate for motorists and pedestrians but neglected the bridges themselves. “The lighting didn’t accentuate the architecture of the bridges. The timelessness of lighting and the gracefulness of the structures were really important to us,” she said.

The county’s exploration of other cities’ lighting programs led to a new concept that would properly light the bridge structures and allow for future projects similar to Energy Flow. According to Brent Wasko, county public information officer, the enhanced lighting system includes almost a half mile of linear video fixtures on the bridges’ suspenders (cables) and 336 more fixtures along the bridge structures—all told, 601,440 LED lights.

Cravotta says this programmable lighting infrastructure is what makes Rainbow Serpent’s The Three Sisters technologically possible, but it was Shiftworks that made it artistically possible.

“We wanted to contribute more public art to the region, but the county can’t do this on its own. We needed Shiftworks to do this for us,” Cravotta said.

Like with Rob Long’s Observing Light bridge-lighting project in 2023, Shiftworks solicited paid proposals from qualified artists and provided the county (and their project team) with a short list for consideration.

Rainbow Serpent is a Pittsburgh-based art collective with 40 collaborating artists from around the world, dedicated to advancing Black LGBTQ culture through the exploration of emerging technologies, innovative healing protocols, African cosmologies, and multimedia art. Marques Redd and Mikael Owunna, the organization’s co-founders and co-executive directors, wrote in an email, “In some respects, we see this project as the biggest canvas of our careers, but we also see it as an exciting extension of our contributions to Pittsburgh’s vibrant cultural ecosystem,” which includes the Pittsburgh Symphony Orchestra, Pittsburgh Glass Center, and Pittsburgh International Airport.

The Three Sisters is an apt title for an art installation on this same-name bridge trio, but Rainbow Serpent said the term also has global connotations. From the artists’ project brief, in North and Central America, “Three Sisters refers to their main crops of squash, maize (corn), and beans, which flourish when grown in close proximity.” Elsewhere, from Nigeria to Brazil and Cuba, “the three sisters” are associated with the goddesses Yemaya, Oshun, and Oya.

“While each bridge highlights a different crop and corresponding Yoruba goddess, the themes of growth, protection, and transformation are universal,” Redd and Owunna wrote. “This alignment allows the light shows on each bridge to complement each other and create a narrative arc that can be understood and appreciated whether viewed individually or collectively.”

Cravotta said that the county’s relationship with Shiftworks “has always been very strong.” In addition to the bridge lighting, Shiftworks has collaborated with the Allegheny County Parks Foundation to support programming for the county-owned Carol R. Brown Sculpture Garden in Hartwood Acres Park.

“When you hire someone to do this work, you want them to be the experts. Shiftworks staff are the experts. Derek [Reese] essentially staffed this project for us,” Cravotta said.

Visitors can experience The Three Sisters now through Highmark First Night Pittsburgh (December 31) and Aurora through mid-January 2025.

About Shiftworks

Shiftworks Community + Public Arts envisions a region in which the creative practices of artists are fully engaged to collaboratively shape the public realm and catalyze community-led change. Shiftworks builds capacity for this work through civically engaged public art, artist resources, public programming, and technical assistance.

If you’d like to learn more about Shiftworks, read about their working relationship with communities in creating public art in part two of the Getting to Know: Shiftworks series.

A stone sign situated in the grass with flowers around it reads Woodville.

Community Spotlight—Woodville

By Blog

This Woodville sign welcomes visitors to the former home of John and Presley Neville. Photo courtesy of Neville House Associates.

Community Spotlight—Woodville

The Community Spotlight series features the efforts of Rivers of Steel’s partner organizations, along with collaborative partnerships, that reflect the diversity and vibrancy of the communities within the Rivers of Steel National Heritage Area.

By Emma Michaud, Communications Intern

Woodville: Where the Chickens Call Home

They might not know it, but a flock of chickens residing at a National Historic Landmark in Bridgeville just had the view from their run upgraded. Their coop sits beside Woodville (aka the Neville House), which was built by John Neville who gained historic notoriety for his role in the Whiskey Rebellion. And the view from the run? Well, it overlooks a recently restored exterior porch.

Situated on two acres of former farmland, Woodville, which was constructed between 1774 and 1780, has been preserved by the Neville House Associates since the mid-1970s.

A smaller red structure is in the foreground with a large white house with a sloping roof in the background.

The Woodville property contains the John and Presley Neville house, a chicken coop, a demonstration kitchen garden, a shed, privy, a still house, and a recreated cabin. Photo courtesy of Neville House Associates.

“This place is such a gem,” said Susan O’Toole, who has served as the president of the Neville House Associates since 2019. “I’ve always felt this was very important—that Woodville should be cherished, preserved for people to learn our history.”

Susan began volunteering at Woodville in 1985. In time, she joined the board of directors and served as vice president before taking on her current role.

“It becomes a real passion for you, you know. Every year, I learn something new! Raising my kids, I would take them there and they didn’t get the bug from me . . . but they would help out sometimes,” she said with a laugh.

Susan and her other volunteers with the Neville House Associates work to recreate life in southwestern Pennsylvania from 1780 to 1820. The Woodville property contains the John and Presley Neville house, a chicken coop, a demonstration kitchen garden, a shed, privy, a still house, and a recreated cabin. Woodville is the oldest house open for tours in Western Pennsylvania and it is mostly in its original condition.

“There’s a lot to learn from history,” Susan wisely said.

A white home from the 1700s

Woodville, as seen from the interior of the property.

One of Woodville’s stories overlaps with John Neville’s role in the Whiskey Rebellion.

Having previously served as a general the American Revolution, John Neville had amassed considerable acreage in the Chartiers Valley including approximately 1,200 acres of land that housed his primary residence, Bower Hill, which was situated just up the hill from Woodville. He had also earned an appointment as the local tax collector.

In the years after the American Revolution, the government created an excise tax on whiskey to help pay back debt from the war. To the farmers in Western Pennsylvania, the new whiskey tax that Neville was charged with collecting was unfair for a variety of reasons, and they began to organize in protest.

On July 17, 1794, Major James McFarlane led hundreds of militiamen to Bower Hill, with the intent of forcing Neville to resign from his position and turn over the tax records. Following a day long battle, they burned Neville’s house on Bower Hill, as well as the other outbuildings.

Fortunately, Woodville was spared, as it was occupied by Neville’s son Presley at the time of the incident. In the ensuing years, the home was occupied by only two additional families.

Half a dozen chickens walk around and peck at the ground near a wood pile in a white fenced in run.

Some of the chickens at Woodville.

During a visit to Woodville, you can learn more about the history of the home, its role in the Whiskey Rebellion, and the story of its preservation and restoration . . . which brings us back to those chickens and the new porch.

The Neville House Associates recently received a Mini Grant from Rivers of Steel to help with the restoration of Woodville’s wraparound porch. Prior to this year, the original covered wooden structure was showing its age. Now restored using more durable modern materials, the porch retains its original appearance and should stand the test of time. With the continued preservation, the Neville House will remain an indoor/outdoor historical museum for people to experience and learn about for years to come.

Additional support for the porch was provided by Colcom Foundation, Schoonmaker Foundation BNY Mellon, Americana Corner, National Association of Colonial Dames of America Allegheny County Chapter, and Roman Family Charitable Trust.

A red painted porch covered by a roof with the ceiling painted blue, and supported with lattice work uprights.

The restored porch faces the road and wraps around one side of the home.

Programming at Woodville includes Whiskey Rebellion Day, cooking demonstrations and workshops, educational events for students, self-guided tours, and more, including the upcoming the Twelve Days of Christmas event on Sunday, December 15, 2024. To begin the evening, guests are welcome to join the Annual Christmas Service of Lessons and Carols from 4:00 to 5:00 p.m. at Old St. Luke’s Church free of charge. Afterward, at Woodville, experience how the Twelve Days of Christmas were historically celebrated by touring the site by candlelight from 5:30 to 9:00 p.m. Tours are $10 for adults and $5 for children. No need to register in advance.

To learn more about the mission and programming at Woodville, visit https://woodville-experience.org/.

About the Mini-Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant Program.

a black and white selfie of a woman with a knit cap on in the woods.

Exploring a Sense of Place with Sherrie Flick

By A Literary Look, Blog

Join writer Sherrie Flick, pictured above, for a conversation about her new book Homing: Instincts of a Rustbelt Feminist that explores a sense of place in southwestern Pennsylvania. Photo courtesy of Sherrie Flick.

Homing—Exploring a Sense of Place in Southwestern Pennsylvania

On Thursday, October 24, Rivers of Steel will host writer Sherrie Flick at the Pump House for a conversation that explores her journey away from—and back to—southwestern Pennsylvania.

Her latest publication, Homing: Instincts of a Rustbelt Feminist, is a collection of autobiographical essays that traces her journey from her hometown of Beaver Falls to her cultivated home on the South Side Slopes, with time spent living on the East Coast, West Coast, and a significant stop in between. While reflecting on the experiences that shaped her, Flick offers insights on culture, characters, and place—with a special emphasis on the fabric of southwestern Pennsylvania.

Guiding the conversation with Flick is Amy Camp, who as a trails and tourism consultant is a woman who knows how to explore a sense of place. Also an author and fellow Beaver County native, Camp describes herself as having come up “a town and a decade apart” from Flick. From the boom and bust of a steel town adolescence to the vibrant communities these women help to shape today, Rivers of Steel explores perspectives of life in the Rust Belt.

In anticipation of this event, Lynne Squilla chatted with both women to learn a bit more about what to expect.

By Lynne Squilla, Contributing Writer

headshots of two white women, one in a cardigan and the other in a sweater, paired with a book cover

Sherrie Flick and Amy Camp will reflect on a sense of place as reference in Sherrie’s book Homing: Instincts of a Rustbelt Feminist.

Considering How Place Shapes Us

What does it mean to have a sense of place? Rivers of Steel invites two dynamic female authors and creators to delve into this multilayered subject that plays into all of our lives.

Writer Sherrie Flick has visited and lived in many places, from her birthplace in the former mill town of Beaver Falls, Pennsylvania, to her current garden-terraced home on Pittsburgh’s South Side Slopes, with much time spent on the East and West Coasts and points in between. She questioned why she wanted so desperately to leave home and to travel, and why it is that she ultimately returned to this Rust Belt roost. The result is a collection of autobiographical essays in her new book, Homing: Instincts of a Rustbelt Feminist.

“I wanted to examine how memory works, to think about the ways in which memory connects to history and to lived experience. Some of the essays in the collection circle around questions and ideas about what it means to leave and what it means to stay in a place you don’t fully understand.”

Flick is the featured author for Rivers of Steel’s evening of conversation at the Pump House on October 24: Homing—Exploring a Sense of Place In Southwestern Pennsylvania. She will read from her essays, which explore how place has shaped her sensibilities as a writer, feminist, educator, and human being, with a special focus on the strange and wonderful area that is Pittsburgh and southwestern Pennsylvania.

“Southwestern Pennsylvania can be hard to understand, even if you’ve lived here a while. There is something here that draws people in; it’s that quality of the unknown. The idea of a mystery. There are the common tropes of sports town, mills, and labor, of course. But there is more to this place.”

Flick’s essays delve into these other elements, weaving stories that touch on intriguingly diverse topics such as faith, whiskey, grief, eight ball, and gardening, as well as Andy Warhol, the poet Peter Oresick, her father, and her older brother’s telltale dialect. Flick noted that place has a big impact on each of us, whether or not we are fully aware of it, whether we leave or stay.

“Warhol is a great example of someone who grew up here, sucked in a bunch of ideas and influences, and left to New York to make it big. He didn’t come back here until he died,” she notes wryly.

A woman in a gray t-shirt and bike helmet poses for a photo on a bridge above a river showing whitewater caps.

Amy Camp, author, trails consultant, and fellow Beaver County native, will guide the conversation with Sherrie Flick. Photo courtesy of Amy Camp.

Factoring in Culture, Heritage, and Nature

Guiding the Pump House conversation with Flick will be Amy Camp, an author herself and a trails and tourism consultant whose career has focused on sense of place. As founder of Cycle Forward, Camp was instrumental in launching the nationally recognized Trail Town Program® in 2007. She works with local leaders and communities to create a more robust outdoor recreation economy in areas hit by industrial collapse. She initially settled in Pittsburgh in 1999 and watched as the empty steel mill sites grew into housing and retail shops.

“There was already a lot of change. It was no longer the Smoky City,” said Camp. “There were already some riverfront trails in place. In my work now, I’m often thinking of culture and heritage and what makes the area special. When you step off the trail into a community, what is that place all about?”

Nature likewise creates a sense of place. Camp likes the idea that the area’s natural surroundings—the rivers and valleys and resources that caused industry to take hold here—are “homing” back to their natural state. She spoke about recently hearing a talk about returning to returning to a nature-positive, carbon-neutral world. “We need to continue to strive to live in better harmony with nature, and this place can be that.”

Camp’s book, Deciding on Trails, gives the backstory of the Trail Town movement and outlines best practices for trail communities. When questioned why she is attracted to Pittsburgh, Camp muses, “I learned recently that my great-grandmother went right from Ellis Island to Hazelwood. So I’m asking, ‘Hmmm, did it have something to do with her? Something deeper than our conscious knowing?’”

A twilight view of a house on a hill that overlooks other homes and the Oakland neighborhood of Pittsburgh from across the river.

Sherrie Flick’s home on Pittsburgh’s South Side Slopes overlooks the community below and the Oakland neighborhood across the Monongahela River. Photo courtesy of Sherrie Flick.

Choosing a Place / Staying or Going

Flick says the Pump House discussion and Q&A with Camp and her will examine the why of choosing to live in a certain place. The audience will be invited to weigh in, too.

“Amy is also from the same Beaver Falls region as me,” Flick says, “and also lives on the South Side, but is younger than me. She has very different opinions about Pittsburgh than I do. So I think we can look at generational layers there. Depending on age and how you experienced a time in history, you’ll have a different conceptual understanding of a place.”

Flick’s parents chose to settle in Beaver Falls at a time when industry was booming. By the time Flick reached high school, the mills had largely shut down.

“The mill town was dying as I graduated high school. Disappearing before my eyes, because of this its history wasn’t written yet. There was no easy way to talk about the region in the mid-80s.”

“People choose ‘place’ for many reasons Flick continued. “My parents ended up in Beaver Falls to have a better life for their kids. Their decision was based in employment. I did the opposite of my parents. I knew for sure I had to leave and I knew I wanted to explore for exploring’s sake. I lived in New England, San Francisco, and Nebraska. I traveled all over the country.”

A tiered verdant garden on a slope above a small yellow home.

Sherrie Flick’s backyard garden, featured in the essays “Cultivation” and “Caretaker, Murderer, Undertaker,” helps define her relationship with the place where she settled. Photo courtesy of Sherrie Flick.

The Give and Take of Place

Sherrie Flick’s travels gained her degrees in English literature from the University of New Hampshire and University of Nebraska and fueled her many books and articles, which have appeared in such publications as the Wall Street Journal and New England Review. She has also garnered numerous fellowships and awards, including a 2023 Creative Development Award from The Heinz Endowments, a Golden Quill, and PA Partners in the Arts grants.

But this prodigal daughter eventually returned to postindustrial Pittsburgh, becoming more involved and aware of the character, history, and community of the area. Among her first creative endeavors from 2001 through 2010 was as co-founder and artistic director of the Gist Street Reading Series. Housed in an artist’s studio on Gist Street in Pittsburgh’s Uptown neighborhood, the freewheeling, monthly event featured local writers and poets, as well as national authors.

Flick also worked at the Frick Art & Historical Center, The Heinz History Center, and has created programming for the Carnegie Museum of Art, Silver Eye Center for Photography, and, most recently, Shiftworks, as part of their Creative Corps. Her Walk & Write programs take small groups through area neighborhoods and unlikely public spaces to observe and write. She is hoping to do one of these sessions at the Carrie Blast Furnaces National Historic Landmark. Flick is currently a lecturer at Chatham University and will serve as the 2025 Distinguished Professor of Creative Writing at Davidson College.

Flick strongly credits this once-industrial region with forging her feminist viewpoint: “I realized that my feminism was a mix of not just learning theory in a class, but also formed from the idea of labor, of effort, the strength of the body that is a focal point in mill towns.”

She continues, reflecting on her hometown of Beaver Falls: “It was a very macho place, and a person is informed by that growing up as a woman. You notice sexism that’s in your face, but sometimes you can process that to your advantage.”

After years of wandering and more than 20 years of living in Pittsburgh, Flick thinks she’s uncovered some of the draws to this region: “This is not a place that gives in to trends; sure, it’s hipper than it once was. Pittsburgh is settled-in, not pretentious, and bragging won’t get you anywhere. That’s appealing to me.”

Flick added, “You can start things here. It’s a great place for innovation . . . and historically always was. People can make their own way, try things out,” she explained. “Also, because of the hilly geography you often literally stumble on things that are surprising and fun and unusual, so you feel a constant sense of discovery.”

Views of steep concrete steps looking up and down.

Two sets of Pittsburgh’s infamous steps that are referenced in Sherrie Flicks essays help to define both the physical character of the South Side Slopes and reflect its industrial heritage. Photos courtesy of Sherrie Flick.

Exploring the Postindustrial

The Carrie Blast Furnaces, the Pump House, and the Bost Building are among the kinds of unusual discoveries to be made in the Pittsburgh area. Both Flick and Camp feel a connection with Rivers of Steel when it comes to defining place and helping historic sites preserve their history and their significance for future generations: “I wish I had seen all the industry that was here, and at the same time, I’m glad that I didn’t.” Camp said. “This region experienced trauma, and it’s a natural inclination to want to wipe away all that trauma. But the fact that some of it is still standing helps tell the story of this place. I mean, what if there was no Carrie Furnace?”

One of Camp’s favorite quotes about place is from Ed McMahon of the Urban Land Institute. “He said, ‘A sense of place is that which makes our physical surroundings worth caring about.’”

To Camp, Pittsburgh and southwestern Pennsylvania’s former industrial communities have an endearing quirk factor worth preserving. Organizations like Rivers of Steel play a major part in that effort, as well as in tying nature, trails, arts, and culture to the story of labor and industry in the region.

“Part of our charge as a National Heritage Area is to engage in storytelling that helps explore and define a sense of place,” said Carly McCoy, director of communications for Rivers of Steel. “We do this throughout all of our programming and the content we share, but our conversation with Sherrie and Amy is an exciting opportunity to really dig in on the topic . . . to have an exchange about what it means to be from southwestern Pennsylvania and even how that varies from person to person. I’m really looking forward to it!”

Like Camp, Flick appreciates this Rust Belt region for its natural features. For the past 20 years, Flick has been happy in her “place,” hiding high atop a hillside in the South Side Slopes, with her many flower and vegetable gardens. “I am addicted to the view. The vista. It makes my world so much bigger to see the whole city before me. But the garden is what grounded me in this place and made me stay here—the organic versus the old industrial.”

Camp sums it up: “This talk at the Pump House is a great opportunity to explore Sherrie’s relationship with the region and how this postindustrial place has informed who she is as a person. It is important to have these conversations around place.”

Sherrie Flick and Amy Camp in Conversation

There are two upcoming opportunities to join in the conversation with Sherrie Flick and Amy Camp. If you can’t make Rivers of Steel’s event on October 24, make your way to Beaver for the next event on November 9. See the details below.

Homing—Exploring a Sense of Place in Southwestern Pennsylvania

Pump House, 880 E. Waterfront Drive, Munhall PA 15120
Thursday, October 24, 2024, 6:00 – 8:00 p.m.

Presented by Rivers of Steel, this is an evening in conversation with writer Sherrie Flick, guided by trails and tourism consultant Amy Camp. From the boom and bust of a steel town adolescence to the vibrant communities these women help to shape today, Rivers of Steel explores perspectives of life in the Rust Belt. The evening will include excerpted readings from Flick, a cumulative Q&A with both women, and the opportunity to pick up a copy of Homing: Instincts of a Rustbelt Feminist.

 Free; register here.

Rustbelt Reflections: A Evening of Written Word & Art

The Baby Bello, 2200 9th Avenue, Beaver Falls, PA 15010
Saturday, November 9, 7:00 – 9:00 p.m.

If you are unable to attend the event at the Pump House, we recommend this opportunity to hear another conversation with Flick and Camp in Beaver Falls, which also highlights community artist Kit Miller.

Get tickets.

A headshot of a white woman with salt and pepper hair, light blue eyes, and a cropped haircut in front of a black background.

Lynne Squilla is a skilled and creative storyteller. She honed her craft as a writer and producer / director of original scripts, documentaries, articles, web content, stage, and other live presentations. While her work has taken her across the globe, she’s rooted in the Mt. Washington neighborhood of Pittsburgh, and has a passion for sharing stories about our region’s past.

Check out Lynne’s most recent prior article on the Gledaj! Sketching Session at the Carrie Blast Furnaces.

a young girl spray paints a wall

Creating Legends: Graffiti Writers of the Past, Present, and Future

By Blog

Creating Legends: Graffiti Writers of the Past, Present, and Future

By Jordan Snowden

At the Carrie Blast Furnaces, energy and creativity have replaced molten iron as the leading commodities supporting their surrounding communities with the help of Rivers of Steel and local and non-local artists through festivals, events, and educational programming.

For the heritage nonprofit’s latest upcoming project, Creating Legends: Graffiti Writers of the Past, Present, and Future, graffiti artists from around the world will mix and mingle with one another and with residents of Pittsburgh and Mon Valley communities. The project is presented by Rivers of Steel in partnership with Hemispheric Conversations Urban Arts Project (HCUAP).

Running from October 14 – 20, this multilayered, community-based program serves as a weeklong residency for select artists to engage with youth, create new murals, and participate in free public events at The Warhol and Carrie Blast Furnaces.

Or, as Scott Brozovich, Rivers of Steel’s graffiti coordinator and teaching artist, put it: “Creating Legends serves as a way to work with legends—like New York graffiti writer pioneers and United Graffiti Artists, aka UGA, founding members Henry 161 and Mike 171—to create new legends.

“I think the part that gets slept on a little bit is the ‘creating,’” says Brozovich. “You know, because we’re bringing legends out, but that’s not the purpose of the program. The program, in my eyes, is to use people like Henry and Mike to inspire others to become legends themselves.”

Chris McGinnis, Rivers of Steel’s senior director of programs & regional partnerships, understands the excitement of bringing famous artists to the region and the impact it can make on youth but also acknowledges what programs like this can do for the communities over time.

“Our graffiti arts programs are anchored in the legacy of our region’s postindustrial past,” said McGinnis. “Not unlike a moth to a flame, creatives of all types have been lured by the Carrie Blast Furnaces, including the graf writers in the 1980s and ’90s. But more importantly, our program is also centered on our region’s future. By working with youth and partnering with an array of collaborators—HCUAP, individual artists, community centers including Rankin Christian Center and Dragon’s Den—we can build skills, create confidence, and spark interest among our communities’ youngest artists, while also crafting something beautiful for everyone whose eyes rest on the murals.”

Title image for creating legends with spray can and artists names

The 2024 Program at a Glance

Creating Legends kicks off on Monday, October 14, with a community event during Rankin Christian Center’s Fall Festival. All of the Creating Legends artists—from the Netherlands’ hip-hop-leaning graphic muralist Mr. June to local artists working with HCUAP, including Shane Pilster who helped develop Rivers of Steel’s graffiti arts program—will be available for a meet and greet, as well as a live community painting session. Alongside music and food options are pumpkin carving, games, and a portrait mural session.

Come Wednesday, Mike 171 and Henry 161, known worldwide as The Boys from the Heights, join self-taught multimedia Venezuelan-American artist Ally Grimm at Homestead’s Dragon’s Den to speak with students about the artists’ backgrounds in the graffiti medium.

Front-runners of style-writing graffiti, The Boys from the Heights helped launch the graphic art form as a global cultural phenomenon and were some of the first graffiti artists to be written about in The New York Times during the 1970s. Grimm, meanwhile, will offer a more modern take on graffiti, as over the years her signature monochromatic style has evolved from paper to canvas, and now murals and digital installations found in cities across America, as well as the virtual world with augmented reality and non-fungible tokens.

That same day, across the river at the University of Pittsburgh’s Center for Creativity, Roberto Seminario aka Sef, a graffiti artist from Peru whose realistic aesthetic focuses on themes of innocence and purity, and renowned Parisian street artist REVER will share their stories while creating accompanying live paintings.

Thursday, Creating Legends offers another student-focused educational leg, when Sef, REVER, Mr. June, and Grimm visit associate professor of communication Caitlin Bruce’s class at the University of Pittsburgh to share their stories, followed by a Q&A session.

Creating Legends opens back up to the public on Friday at The Andy Warhol Museum’s theater for a Q&A panel discussion featuring all of the artists involved, moderated by Emma Riva, a member of HCUAP. Riva is an art writer based in Pittsburgh. Her work has appeared in Artforum, The Art Newspaper, Newcity, The Pittsburgh Jewish Chronicle, Belt Magazine, and more. She also serves as the managing editor of UP Magazine—an international graffiti and street art publication—and is the online editor of Pittsburgh’s TABLE Magazine.

Henry 161 poses in his studio

Henry 161

Riva, who grew up in New York’s Washington Heights—where The Boys from the Heights did—is looking forward to the event. “I’ve done a couple of combinations at this point with different panelists, but this is the third discussion I’ve moderated with Mike [171] and Henry [161], so I feel like I know them pretty well, and they’re really fun people to talk to that have super inspiring stories.

“They’re both sweet people and positive examples of masculinity that are at a point in their lives where they want to share their stories with the world because they were some of the first graffiti writers in the U.S.,” says Riva. “They are some of the originators of the movement, and we’re lucky in Pittsburgh—in any of these arts institutions—that they speak and we get to be near them, to hear from them, while they’re still around.

A man holds up a sheet of plexiglass painted with the name Miki and the number 171.

Mike 171

“I’m always really excited to speak with people in the graffiti community because they are always such big personalities and take some elitism out of being creative,” says Riva.

Saturday, the fun moves to Carrie Blast Furnaces, where the artists will hang out and work on creating new pieces. Mr. June and Grimm are set to paint solo murals, while Sef and REVER are set to paint together. Meanwhile, The Boys from the Heights will lead a special version of the Hands-On Graffiti Tour before turning the spray cans over to guests, offering a chance to paint with the legends themselves.

Closing out the week on Sunday is a paint party at Trace Brewing’s Clement Way legal wall, featuring snacks, drinks, music, live painting, and murals by Dejouir Brown and Juliandra Jones, both of whom currently work with Brozovich to lead Rivers of Steel’s graffiti arts student programs.

For Brozovich, youth engagement is an essential element of the program. “This really means something to me because I didn’t get chances like this as a kid,” says Brozovich. “No one came into my school and was like, ‘Hey, you don’t have to go work in the local factory . . . you could do something else.’ That’s a big part of what the program is—showing youth that you can be something more than just your average worker; you can be a legend.”

split image of artworks created by Carlos Mare and Michael Walsh for industrial grit and graffiti

Artworks by Michael Walsh (left) and Carlos Mare (right) created during the Industrial Grit and Graffiti program in 2022.

The Foundation for Creating Legends

In 2022, Rivers of Steel launched Industrial Grit and Graffiti, a program held at the Carrie Blast Furnaces that was dedicated to exploring the intersection between metal arts and graffiti.

For one week that summer, graffiti arts pioneers Carlos Mare, né Rodriguez, (aka Mare139) and Pittsburgh’s own Michael Walsh joined three local artists to collaborate, learn from one another, and push their personal boundaries and intersections of graffiti sculpture art. Some of those works, including Mare’s sculpture showcasing the movement of breakdancing, are still on display at the Carrie Blast Furnaces.

The program also connected with residents in the nearby communities in the Monongahela Valley—places shaped by both their industrial and postindustrial heritage—for interactive events, ranging from tours and workshops to internships and residencies. These activities, dubbed the Community Learning Series, also culminated with an artists’ talk at The Warhol Museum in December of 2022.

“What’s really nice about the organization is that it’s preserving this whole industrial space for artists to come look at it, be inspired by it, and then go make art,” said Mare in a 2023 video about Industrial Grit and Graffiti. “The opportunities that Rivers of Steel offers someone like me and Michael, who believe very strongly in the ethos of hard work, smart work, forward-thinking work, work that does not come easy—this is a place for people like us.”

Walsh echoed that sentiment, saying, “I was somehow, in these abandoned sites, almost taken over by this industry and the ghost of its spirit. The amount of energy that was expelled here, if you think about that, is pretty hard to grapple with. I think it’s only appropriate that someone from a city like Pittsburgh would work in this medium and continue to.”

While one of the purposes of Industrial Grit and Graffiti was to show how graffiti art can extend to other mediums and opportunities, the format was also a hit with the creatives who participated.

“I want to make this available in the way of encouraging other graffiti artists to work in the industrial arts and work with their hands . . . and 3D art and also work in the ever-emerging and expanding digital realm,” says Walsh.

Industrial Grit and Graffiti was Rivers of Steel’s second major initiative that used graffiti as an inspiration for creative placemaking and community building,” said McGinnis. “It was borne out of the Murals on a Mission project. Now, picking up where the 2022 program left off, Creating Legends embraces that momentum and features public murals, community-based collaborations, and culminating public events.”

a graffiti art mural with a rocket reading "inspiring the future" and "murals on a mission"

A canvas painted during a Murals on a Mission community event.

McGinnis also acknowledged the support he received from muralist Ashley Hodder. “Ashley was essential in getting Creating Legends off the ground, from early-stage collaboration in drafting the grant requests to connecting us with participating artists and helping coordinate their murals and locations. It was great to have the opportunity to work with her again.”

Creating Legends was made possible through contributions from The McKinney Charitable Foundation, The Heinz Endowments, and the McElhattan Foundation.

Get Involved

Join Rivers of Steel & Hemispheric Conversations Urban Art Project for a panel discussion featuring nationally recognized muralists and graffiti artists Mr. June, Sef, Mike 171, and Henry 161 at The Warhol Museum on Friday, October 18. The conversation, moderated by Emma Riva, will reflect on how the project is bringing together local, national, and international muralists to celebrate the origins of graffiti and its influence across generations. It is co-presented with The Andy Warhol Museum. The event is free, but registration is required. Sign up here.

Also, don’t miss the opportunity to join the special version of the Hands-On Graffiti Tour at the Carrie Blast Furnaces on Saturday, October 19, led by Mike 171 and Henry 161—The Boys from the Heights. Register here.

So grab your spray paints or simply your listening ears, and come, learn, have fun, and who knows—you may just be the next graffiti legend!

A youthful brown skinned woman with silver and black braids, smiling in a gray mock turtleneck.Jordan Snowden is a freelance writer based in Pittsburgh whose work has been published in The Seattle Times, Pittsburgh City Paper ,and elsewhere. She also runs @jord_reads_books, a book-focused Instagram account where she connects with other bookworms. In her free time, Jordan can be found with a book in her hand or DIYing something with her husband.

A woman tends a iron furnaces that's expelling flames from the top. Image paired with event logo and copy "October 5 at the Carrie Blast Furnaces."

Insider’s Guide to the 2024 Festival of Combustion

By Blog, Community Spotlight
An ironworker at the 2023 Festival of Combustion.

Insider’s Guide: The 2024 Festival of Combustion

The chill snap of October, falling leaves, and spooky Halloween décor bring to mind autumn traditions. Leaf peeping and fall festivals are popular seasonal activities—and Rivers of Steel’s Festival of Combustion, presented by U.S. Steel, is a standout among them! It has become a must-do fall tradition for many.

This one-of-a-kind extravaganza, happening this year on Saturday, October 5, attracts thousands of visitors of all ages to the Carrie Blast Furnaces; it is an invitation to join in a celebration of industrial arts and American crafts through hands-on activities, trade demonstrations, tours, live music, fireworks, food, and more. This year, Rivers of Steel’s Festival of Combustion welcomes more than 50 collaborators for the annual all-day event.

By Julie Silverman, Contributing Writer

The Iron Pour and Metal Arts Crew

The spirit of the festival takes its inspiration from the iron-making legacy of this National Historic Landmark—embodied by a deftly orchestrated iron pour featuring Rivers of Steel’s metal arts crew.

“The iron pour is the heart of the festival,” said Chris McGinnis, senior director of programs & regional partnerships. “It’s quite a sight to see! And artists from all over the world come to this National Historic Landmark site to participate in the iron pour. They arrive at the beginning of the week to create the molds that are cast during the festival. The process uses a cupola-style furnace, which is a scaled-down version of the process that had been used to produce iron by the hulking Carrie Blast Furnaces.”

spectators watch an iron pour

Insider Tip: Make sure to arrive before 6:00 p.m. to guarantee that you’ll see part of the iron pour. The event may extend past 6:00 p.m., but they could finish their work early!

“Our largest operating furnace is capable of tapping up to 1,000 pounds of iron each tap. Our metal arts staff, who lead the iron pour, are skilled metal artists and craftsmen with a combined 40+ years of experience in foundry work. Our iron pours require 20 to 30 participants to manage all aspects of the operation,” McGinnis said.

“The metal-casting community nationwide is a close-knit group of enthusiasts,” McGinnis continued. “They often travel to numerous locations each year to participate in iron-casting projects, large and small. As the program has grown at Rivers of Steel, the Carrie Furnaces have become one of those destinations, joining established metal-casting hubs like Sloss Furnaces in Alabama; Salem Art Works in Salem, New York; and the Metal Museum in Memphis; among others.”

One of the artists joining in is Jay Elias. Elias runs the Evolution Arts Studio in Detroit, Michigan—a studio that uses the metal-casting process as a form of therapy, focusing on veterans and formerly incarcerated individuals. As a veteran, Elias struggled with post-traumatic stress disorder (PTSD) and found a recovery process through art and metal working. He interned with Rivers of Steel this past summer and developed work focused on his experiences battling PTSD. His studio thrives on the holistic approach of art and therapy and offers free workshops for veterans. Be sure to check out his newly installed sculpture “Unfinished Business” located in the Iron Garden this year!

For those enticed by hot metal who would like to have a more personal experience, aluminum pours will also take place. As part of their Festival of Combustion experience, event-goers can carve a scratch mold, which is then cast—transformed into a glistening square of aluminum art! Guests spend a few minutes carving a creative design and then watch as molten aluminum is poured into the molds. After it cools, they have an artistic souvenir to take home. Insider Tip: The aluminum pours happen between 1:00 and 6:00 p.m., or until the scratch molds are gone, so stop by earlier in the day!

A woman lifts her phone to photograph the Iron Garden.

Insider Tip: Don’t miss out on a walk through the Iron Garden. Stop in before 6:00 p.m.—Penn State Master Gardeners, interpretive iron plaques, and text panels for the sculptures all offer ways to learn more about the natural garden.

Casting the Iron Garden

In October of 2014, something momentous happened. For the first time in more than 30 years, iron was created at the Carrie Blast Furnaces. The event was called Casting the Iron Garden, and now, ten years on, Rivers of Steel is celebrating this anniversary as part of the Festival of Combustion.

The Iron Garden, as it’s now known, is an area along the eastern border of the landmark site. During the active years of the mill, it housed a structure and additional ore yard. During the intervening decades, after the building was demolished and before Rivers of Steel began managing the site, this area began to be reclaimed by nature, and seeds sprouted from the holes that remained from the removed foundation. Rivers of Steel’s approach was to apply a light touch in cultivating the site and to provide interpretation of the space. The project grew through a partnership with landscape ethicist Rick Darke and the Penn State Master Gardeners. (Read Growing the Iron Garden for the full origin story.)

Then, ten years ago, this creative collaboration of gentle gardening expanded with the addition of gardener Addy Smith-Reiman and her sculptor-husband Josh Reiman to the project. The two artists shared Rivers of Steel’s desire to honor the resiliency of nature as it reclaimed the land in a postindustrial habitat.

Addy Smith-Reiman, with her background in landscape architecture, has been engaging in creative projects celebrating local identities and shared histories for more than 20 years. Josh Reiman’s work has been exhibited worldwide; he’s known for sculpture, film, video, and photography.

Collaborating with Rivers of Steel and Penn State Master Gardeners, Smith-Reiman and Reiman designed and cast iron podiums to be placed along the walking trail through the garden space. Each iron installation revealed a raised drawing of some variety of plant or animal life that resides in the shadow of Carrie Blast Furnaces. As the first items cast on-site since the closing of the furnace in 1982, they represent a significant first step in bringing iron casting back to Carrie.

A white man in a black hoodie and a white woman in a fall blazer look down at the cast iron plaques in a garden space.

Visitors to the 2023 Festival of Combustion read from the cast iron interpretive podium created in 2014.

Addy Smith-Reiman reflected, “Carrie is an inspiration for many: artists, historians, and even gardeners. Ten years ago, it was fertile ground (pun intended) for a Master Gardener class to learn about ruderal vegetation and the urban wilds that consumed the landscape. Working from Rick Darke’s initial survey of the site, ten volunteers surveyed over months the ephemeral and opportunistic plants around the Carrie Furnace grounds. To have this data materialize in the plaques, utilizing the historic material of site (iron), and catalyzing the metal arts program to produce the work, the project aptly materialized as The Iron Garden.”

“It is exciting to return, ten years later, to see how the vegetation has changed and how the shift in programming allows plants to now share space with the growing sculpture garden,” she continued.

To mark the anniversary, the Master Gardeners will be stationed throughout the Iron Garden during the festival to help interpret the space, while Smith-Reiman and Reiman will help lead the iron-casting workshop offered by Rivers of Steel in the week leading up to the Festival of Combustion and will participate in the big pour the day of.

Festival goers make their way through the Ore Yard.

Insider Tip: Self-guided tours are available throughout the earlier part of the day, so plan your tour time around other timed activities that you are looking to do.

Tours of the Carrie Blast Furnaces

In addition to the self-guided tours of the Iron Garden, this year Rivers of Steel is also offering self-guided Industrial Tours. This self-paced tour route through the landmark site will include tour guides stationed at various locations, allowing guests to engage with them along the way. As guided tours have always quickly sold out in the past, this new format will accommodate as many event-goers as are interested, in addition to giving them more flexibility in how they spend their day. Additionally, an Ask a Tour Guide information tent will be located near the hub of the activities.

Six men in hard hats and safety gear work a large power hammer.

A crew with the Center for Metal Arts in Johnstown work together using a large power hammer.

Industrial Arts Demonstrations

Beyond the iron pour and tours, the demonstrations are always a crowd favorite at the Festival of Combustion. This year new participants include the Center for Metal Arts and artist Talon Smith.

The Center for Metal Arts is an educational program housed at the historic Cambria Iron & Steel forge shop in Johnstown, Pennsylvania. Their mission is to renovate and refurbish historic power hammers and tooling to make them available to be seen by the greater forging community and used by qualified professional blacksmiths—and they will bring a power hammer to the festival! Although it won’t be as large as the one in the photo above, it will certainly make an impression.

This year will bring a bonus demonstration—by twilight, ceramic artist Talon Smith will partake in a performative wood firing. The performance centers around a small wood kiln. Attendees of the event are invited to engage with the artist and their crew to ask questions about the process as it takes place and witness its glowing result revealed at dusk.

Smith—who identifies as a native Yinzer, has a studio in Polish Hill and a wood kiln in Ligonier, Pennsylvania—describes this wood firing as a performance that celebrates the narratives of our environments and how they change over time. In the context of Carrie, the landscape where the former iron mill is situated has witnessed extreme changes. Over eons, the slow erosion of the Allegheny Plateau created the Mon Valley. The molten years stretched for nearly a century, and the now-silent sentinel hovers as a reminder of generations of workers.

a portrait of an artist by lit by the glow of a fire

The artist Talon Smith is illuminated from the glow of their kiln.

“Wood firing is a process that demonstrates the combined efforts of individuals working towards a common goal,” Smith said. “Throughout the duration of the Festival of Combustion, a small wood kiln containing one sculpture will be fired and brought to temperature. At peak temperature—around 2,000 degrees Fahrenheit—the petals of the kiln will be opened to reveal a glowing sculpture of an arch. The arch mimics the landscape; it is a monolith left behind representing the narratives of our environments.”

Beyond the symbolism, the warm glow of the revealed sculpture will light up for the crowd just prior to the annual fireworks show.

In addition to the new demonstrations, perennial favorites will return, including glassblowing with The Pittsburgh Glass Center, welding with Patrick Camut Fabrication, and numerous blacksmiths working alongside Rivers of Steel staff.

Young children work together on clay sculpture.

Insider Tip: Don’t let the hands-on activities be just for the kids. Carve a scratch mold or make your own penny pendant!

American Crafts

If you desire to create your own crafts, wind your way through an assortment of hands-on activities. Mosaics with The Ruins Project, jewelry making with Pittsburgh Center for Arts & Media, raku-fired ceramics with Ton Pottery, STEAM crafts with Assemble PGH, Guild on the Go with Manchester Craftsmen’s Guild, and a Punk Rock Corner all vie for creative exploration.

“The Punk Rock Corner is a collaboration between LIGHT Educational Initiative and Rivers of Steel’s Graffiti Arts program,” said Chris McGinnis. “We’re excited to offer hands-on activities, including graffiti art, patches, zines, and pin making.”

Now in its third year, the Heritage Craft Tent, presented by West Overton Village, is a festival within the festival that explores American heritage traditions, including the tastiest of all heritage crafts: rye whiskey distilling!

“West Overton is excited to participate in the Festival of Combustion for a third year,” said Aaron Hollis, co-executive director of West Overton Village. “As the 2024 sponsoring partner for the Heritage Craft Tent, we look forward to offering engaging opportunities for visitors young and old.”

A man and woman stand behind a table with historical objects and a tablecloth that reads West Overton.

Insider Tip: For those who imbibe, make sure to try a sample of West Overton’s Monongahela Rye.

The historical organization’s educational distillery revived the tradition of making whiskey at West Overton Village for the first time since Prohibition. Their varieties of rye whiskeys, including a Monongahela Rye, will be available to adults for tastings. Adults can also learn about their new whiskey heritage center, while the younger set is engaged with interactive activities.

“We are grateful for another opportunity to continue our partnership with Rivers of Steel,” Hollis continued.

Other hands-on happenings under the Heritage Craft Tent include activities by Rivers of Steel’s other heritage partners: Touchstone Center for Crafts, the Bradford House Historical Association, the Pennsylvania Trolley Museum, and the Society for the Preservation of the Millvale Murals of Maxo Vanka.

A woman sells cider under a tent.

Insider Tip: Get a head start on holiday shopping by supporting local makers.

Crafts are not limited to the hands-on variety at the Festival of Combustion; more than a dozen regional artisans are offering their creations in the makers’ marketplace. From ciders and sundries to upcycled car parts and art prints, there is a variety of wares to peruse!

A split image showing musicians on stage. and a flame performer.

Insider Tip: Check the event schedule if there is a specific performance that you don’t want to miss.

Live Music and Performances

And what would a festival be without entertainment? Beyond the metal pours, demonstrations, crafts, and shopping, there is even more to see.

On the music stage, Ames Harding and the Mirage, Tom Breiding and Union Railroad, and The Polkamaniacs will keep festival-goers entertained, in between sets by DJ Zombo.

A chronicler of small-town America, locally based Breiding said, “Union Railroad will play a set of music that pays homage to our region’s great industrial heritage. Rivers of Steel is such an important link to that heritage, and this festival is my favorite celebration of the year in Pittsburgh.” Breiding’s music lyrically lends understanding to the worlds of coalfields, mines, and mills.

Pop-up performances by Lovely Lady Lydia Artistry offer fire, flame, and other circus arts throughout the evening.

Fireworks over the Carrie Blast Furnaces

Insider Tip: The fireworks begin at 8:30 p.m. and end by 9:00 p.m.

Food, Finale, and More

If all of this has worked up an appetite, food trucks will tickle a variety of tastes. Farmer x Baker, Pita My Shawarma, Rogue BBQ, Street Fries 4ever, Tango Food Truck, and Taqueria El Pastorcito will be on-site. Craft beer, sponsored by Oskar Blues and Vecenies Distributing, and cocktails will be on hand to add a dash of flavor to this incredible ambiance. Plus, sales of beverages directly support Rivers of Steel and its programmatic and historical preservation efforts at the Carrie Blast Furnaces.

For the adventurous in the crowd, Xpogo will provide instruction and free-to-use pogo sticks for all skill levels and ages, and KSD Studios is offering affordable tattoos.

A day celebrating the innovation and artistry of our region can be capped only by the colorful combustion of a dazzling fireworks display. The fireworks finale takes place from 8:30 to 9:00 p.m., offering an epic end to a memorable day.

Two black men and a white woman post for the camera in front of the U.S. Steel tent.

Presented By

The Festival of Combustion is simply an experience like no other, making it a spectacular autumn adventure. Plus, with an all-inclusive admission price of $20 for adults and no cost for kids under age 18, it is supremely affordable and family friendly. This is made possible by the financial and in-kind support from our sponsors.

“Rivers of Steel is grateful to our presenting sponsor, U.S. Steel, for their unwavering support of the Festival of Combustion and our broader community initiatives,” said Rivers of Steel’s CEO Augie Carlino. “Their investment plays a key role in preserving Pittsburgh’s rich history as the steel center of the world, ensuring that the story of our industrial legacy continues to inspire and educate. Together, we are celebrating the industrial heritage that forged Pittsburgh and southwestern Pennsylvania and helped shape the nation.”

Rivers of Steel is also grateful for the support of West Overton Village, sponsors of the Heritage Craft Tent, for their underwriting contributions for this event.

Rivers of Steel is thankful for NEXTpittsburgh, who is the exclusive media sponsor for the 2024 Festival of Combustion; Jackson Welding Supply Co., Inc.; Oscar Blues; and Vecenies Distributing—all of whom are additional fiscal sponsors, and TMS International who provides in-kind support.

Beyond these partners, Rivers of Steel recognizes the event would not be all that it is without the support of our programmatic collaborators.

“The Festival of Combustion has grown so much over the years, and we are particularly excited to welcome more than 50 collaborators in 2024,” said Chris McGinnis. “So much of what makes this event special comes from the many friends and partners who bring their unique and creative work to Carrie Blast Furnaces each year!”

That said, the magic of the day is contributed by the thousands of folks from southwestern Pennsylvania and beyond who join us to marvel in the fiery spectacles and immense talent of our region’s artists, makers, and builders. They truly make this a celebration of industrial arts and American crafts!

A couple, each holding a beer, looks at vendor merch.

Insider Tip: Guests 21+ who are seeking to imbibe, should stop at the I.D. Check to get a bracelet before getting in line to purchase beverages.

Tickets and Information

The Festival of Combustion is hosted by Rivers of Steel at the Carrie Blast Furnaces National Historic Landmark, located at 801 Carrie Furnace Blvd., Pittsburgh, Pennsylvania, 15218.

The event is from 1:00 to 9:00 p.m. on Saturday, October 5, 2024. Some hands-on activities and demonstrations conclude at 6:00 p.m., as activities shift from the Central Courtyard to the Western Courtyard and more performances begin. This year, no reservations are needed for tours, but folks looking to carve a scratch mold should participate earlier in the day, as supplies may run out. All tours and activities are included in the ticket price.

Food is available for purchase, and visitors may want to budget for marketplace discoveries. Also, those looking to purchase adult beverages will need to stop at the I.D. Check to receive a bracelet before going to the beer and cocktails tent. Festival of Combustion T-shirts and other commemorative merchandise are available from Rivers of Steel at the gift shop near the entrance gates.

General admission tickets can be purchased here for $20 in advance for adults. Kids are free; however, tickets must be reserved. Free parking is available on-site, with additional spaces reserved for those with limited mobility.

Furnace #7 lit up at twilightAbout Rivers of Steel

Founded on the principles of heritage development, community partnership, and a reverence for the region’s natural and shared resources, Rivers of Steel strengthens the economic and cultural fabric of western Pennsylvania by fostering dynamic initiatives and transformative experiences.

Rivers of Steel showcases the artistry and innovation of our region’s industrial and cultural heritage by offering unique experiences via tours, workshops, exhibitions, festivals, and more. Rivers of Steel supports economic revitalization throughout the eight counties of the Rivers of Steel National Heritage Area by working to deepen community partnerships, promote heritage tourism, and preserve local recreational and cultural resources for future generations.

A woman in midlife with tight, short curls in a black blazer and earringsJulie Silverman is a museum educator, tour facilitator, and storyteller of astronomy and history for various Pittsburgh-area organizations, including Rivers of Steel. A Chatham University 2020 MFA graduate, her writing is most often found under the byline of JL Silverman. Occasionally, under the name of Julia, she has been seen on TV.

Read her previous story about West Overton’s new Whiskey Heritage Center here