• Skip to primary navigation
  • Skip to main content

ACE

Upstate Alliance for the Creative Economy

  • HOME
  • ABOUT
  • NEWSLETTER
  • SUBSCRIBE
  • JOBS
  • Show Search
Hide Search

ACE FEATURED

Collar City Coterie : Respecting the Past While Creating a Path for the Future

July 10, 2025 By Corey Aldrich

Professional, tenacious and dignified. I met Devin LeBlanc at this years Arts Center of the Capital Region annual gala. There was an earnest nature, insistent. Brimming with focus and determination. I had seen a few flyers for Collar City Coterie sketch events before, they stuck in my mind. Creative, quirky even. After a few misses we were finally able to connect. What I thought would be a standard interview about a project became a much deeper and more meaningful review of a subtle and sensitive approach to a craft. A passion for meaning through creativity and the beautiful bonds created by creators in community. I decided to leave this one less edited than normal, it is a touching journey that remembers the excitement of why we do what we do and pays respect to those that came before us, adding to a forward path laid. As such…this is our first long read format story.

D.M. LeBlanc : Creative Director and Founder at Collar City Coterie | Image: Provided 

Can you state your name, company and title. Please feel free to give us some experiential background including educational, career experience and personal.

My name is Devin LeBlanc and I go by the pen name D. M. LeBlanc in my artist and writing circles. My current project is Collar City Coterie, with myself having the title of Creative Director and Founder.

I found the first threads of that at the Fine Arts program at Hudson Valley Community College, through a curriculum designed and implemented by the professors Thomas Lail and Tara Fracalossi. It was there that I received a solid foundation in the fundamentals of drawing and painting, along with art history, gallery management and–most importantly–abstract and experimental thinking, which gave me the tools in which to create works on a highly nuanced and conceptual level. It was, however, during these early college years that I experienced a few hardships.

Le Chat Noir based off of the original Le Chat Noir Club in Montmartre Paris : D.M. Lebanc | Image Provided

The year was 2012, and at the time I didn’t believe the Capital Region of New York had what I needed in regard to an education in illustration. With a long-term partner, I packed everything we owned into an old Subaru Outback–including the cat; Chase–and left the area for Sarasota, Florida. I had been accepted on scholarship to Ringling College of Art & Design, a well-regarded competitor on the international stage when it came to design and the visual arts. To someone like myself–aspiring, but with little means–Ringling was like entering into a magic, fairytale land, where all of my peers were just as inspired, enthused and dedicated to the craft as I was. Studying under the guidance of Hodges Soileau, Mike Hodges, Thomas Casmer, Caleb Prochnow and Don Brandes, I developed a strong appreciation for the figurative arts, book illustration, concept art, the history of illustration and traditional approaches to physical media.

Ringling invites many large names and studios in the commercial field to their campus and I was fortunate to have my portfolio reviewed by Geogina Melone, a VP from Hasbro Toys, who hired me as an intern for the Girl’s Design Team.

Open Book Mural Design for Hasbro’s Global Day of Joy 2015 : D.M. LeBlanc | Image: Provided

In my senior year of Ringling, however, I experienced something which presented as a health complication and it had me reconsidering the direction of my life. Instead of pursuing the commercial field, I decided to enroll in a master’s degree program for Arts Education at the Rochester Institute of Technology. It was a very fast-paced program, and I developed a foundational skill-set in childhood development, teaching, curriculum design and classroom management. To my surprise and before graduation, Hasbro reached out again and hired me onto their newly formed Future of Play team. I was given new responsibilities in relation to research and development, art directing, developing brand blueprints, networking with ‘external’ as well as ‘internal’ creatives, encouraging cross-department collaboration and pitching more blue sky concepts, but this time to senior level management. The position I held was exactly what I had run myself ragged for and set out to obtain, and could have been considered a once-in-a-lifetime dream job to many creatives.

My health, however, hadn’t kept up with my aspirations and after a series of hospitalizations in the following years, I voluntarily resigned from that fast-paced and competitive position to refine my personal values, focus on my health and stabilize. I returned to the Capital Region of New York, where I experienced the loss of my dynamic illustration community and series of personal setbacks, while also educating myself in topics related to psychology, sociology, spirituality, metaphysics, world history and personal ethics, under the guidance of several health providers, my own curiosity and the development of a long book series. I had considered myself a futurist while working at Hasbro, but in this period of retreat and self-reflection, I began to realize that it takes a much deeper knowledge of the patterns, structures, visions and machinations of human history to inform what may lay for us ahead.

Various Examples of Illustrative Work by Artist D.M. LeBlanc | Image: Provided

It was through my research and the cathartic writing of this book series–which is still very much in the preliminary draft phases–that I discovered a dormant part of my creative voice which had been nudged aside during college and my time working for a large company. I found something of myself that I had neglected in order to climb the ladder of something I saw as success, but were instead the toeholds of someone else’s hierarchical and capitalistic system, in disguise. In brief, I had found it to be a model of life which doesn’t support the claim of liberation and equality. During this time, I went through a process that many deem as a ‘transition’, but was for me a returning to the self; my innate and true self. I changed my name, presented myself very differently and learned a few more things about the way in which external perceptions shape the world around us, particularly when those perceptions only reach as far as the façade.

The Scene is Set at Collar City Coterie | Image : Provided

Emerging from the lockdowns, however, I still had the sense that something was missing from the Capital Region in regard to illustration, particularly as it pertains to traditional approaches and the exercising of the imagination–fanciful exploration, one could say–, and so, I began to lay the foundation to the Collar City Coterie; not only for my own creative interests, but for those in this area who may be like me. Something I often tell my creative peers is that while the education I received was incredibly valuable, it shouldn’t have cost as much as it did—monetarily and to the detriment of health. It is my aim to found something in the Capital Region which will serve the needs of those creatives looking to pursue careers on a professional level, but without the pressures and narrow margins of today’s commercial market or with the objective of making a profit off of its members and students.

As a part of my health journey, I also joined a small figure drawing group called the Riverfront Artists, operating primarily under the wing of a local artist named Norman Strite. Although Norman never pursued his work from the commercial side, he was an illustrator at heart and we shared much of our interests and inspirations in common. I found a new community there and worked on refining my visual voice, preparing it for a new portfolio of work. When Covid hit in 2020, I joined the online community at Visual Arts Passage, an unaccredited school for illustration and fine arts under the guidance of John English and Timothy Trabon, drawing with them in weekly zoom sessions and participating in one of their mentorship courses. I learned a lot about the fostering of healthy creative communities and the preservation of artistic legacy during that period of global uncertainty and isolation.

Norman fell ill in 2022 and I spent some time with him while in hospice before he passed away at the grand, old age of 88. It was a very different experience to slowly lose an older friend and it was during that stay that I truly realized the value of a strong creative community, not only for those starting out in their careers and are seeking mentorship, but also for those who are facing the ends of their journeys and would like their works to be preserved before they depart.

The Scene is Set at Collar City Coterie | Image : Provided

Can you tell us a bit about the inspiration and mission of COLLAR CITY COTERIE? How long have you been official?

While the inspiration for founding the Collar City Coterie stemmed initially from a personal need for creative community, I drew upon many models and sources from history for its formation. Because I live and plan on staying in Troy for some time, I naturally began to look into its history and found overlaps in my own areas of creative and intellectual interest.

As many know, Troy is called the Collar City due to its significance in the invention and manufacturing of detachable collars during the turn of the last century and it was an illustrator named J. C. Leyendecker, referencing his partner Charles Beach as a model, who was the powerhouse behind the major ad campaign called The Arrow Collar Man. These ads, along with much of J. C.’s work was featured in the Saturday Evening Post and he helped to put Troy on the national map during the 1910s-1930s. There is a line in the Great Gatsby by F. Scott Fitzgerald in which Daisy says to Gatsby, ”You always look so cool…. You resemble the advertisement of the man.” This is in reference to those famous ads, and while The Arrow Collar Man featured the ideal of a closeted gay illustrator, he was considered a major sex symbol of the era.

City of Troy New York : Historical References | Image: Provided

J. C. Leyendecker’s illustrations, along with his brother F. X., have had a significant impact on my own work not only in regard to style, but also in regard to process. Although he was producing at a time in which photography was becoming more accessible, J. C. worked off of live, costumed models in his studio, in the tradition that he was taught at the Académie Julian in Paris. This approach was also passed down to Norman Rockwell, whom Leyendecker mentored and helped to reach The Saturday Evening Post fame.

It is because I contemplated these linear footsteps of creative legacy that I began to think of forming the basis to a social club, with the toes of its branding steeped firmly in the waters of the area’s local history. But my inspiration doesn’t stop short with iconic Americana. Looking back further and into those artists who inspired the Leyendeckers is the Art Nouveau and Belle Époque movements of Montmartre, Paris. I think of Toulouse Lautrec, Sargent, Mucha, The Moulin Rogue, Le Chat Noir, and many, whimsical more, and I often wondered how it was that they convened in the same city that they did, partook in the same entertainment and helped to develop its rich culture, and particularly, its night life.

Collar City Coterie’s Mission Statement: Collar City Coterie is a peer-supported artist fellowship, reminiscent of guilds, social clubs, and artist salons of times past, operating out of Troy, NY. Despite being modeled after exclusive society clubs, the CCC is made to be an inclusive and affirmative space and we welcome creatives of all skill levels, backgrounds, and monetary needs through our doors.

Collar City Coterie Artist Participant Examples in Troy, New York | Image: Provided

In a world of AI generated art, why do you feel these types of events / approaches are relevant and important?

AI art didn’t really hit my radar until after I had left Hasbro and entered into a personal period of what I would call ‘low tech’. It had been exhausting chasing the most innovative and cutting edge technologies and trends for a large commercial company, trying to find ways to implement them seamlessly into product lines and after many years of staring at screens and making digital art, I began to experiencing excruciating pain and issues with my neck, shoulders and drawing arm. Because of these complications, I made a hard shift away from computer-based creation and returned to traditional media for my work. When I began to see what was coming out of AI software such as Midjourney, I was curious, but also disappointed. I had the inkling when I was at Ringling that the production of digital art was carving some sort of trench between the artist and the end product, as it didn’t leave a tangible, physical artifact behind, and while I firmly believe it is still a craft to create digital work, for someone like myself, there was something lost in the value. I felt that artists who were still able to work traditionally would have an advantage over those who could not, primarily due to longevity.

AI art can hardly be considered a form of digital art as there is very little human input and expression, which I see as some of the purpose of art, but at the end of the day, there was someone who designed and programmed the software, and in a way, one could argue that there is something of humanity behind the product. As someone with a background in concept art, where you often employ the abstraction of form, color and composition to envision new characters, creatures and worlds, I can see AI’s use as tool in the brainstorming and ideation stages, where an artist may be able to use the generated images as a source of initial reference to then extrapolate and build upon.

Collar City Coterie Artist Participant Examples in Troy, New York | Image: Provided

But back to the loss of tangibility… I feel that the costumed figurative sessions at the Collar City Coterie and the traditional approaches I encourage fill an important niche in our society. In some ways, I feel that I take a few steps backwards in time, calling upon the methodologies, processes and language styles of eras bygone, but I do this retracing of the steps with purposeful intention. To me, there is something magical about the idea of creatives convening together under the same roof, occupying the same halls, observing one another in person and sharing stories without the distractions caused by sensory and information overloads.There is a certain kind of discipline and a depth which I believe can only come from deeper concentration and meditation. Many of us know this as creative flow and it seems to me that there has been something of that skill lost when our minds and attention spans have been trained for quick rewards, obsessive consumption and easy entertainment. And I do not take this stance lightly, as it stems from the perspective of someone who participated for some time in the creation of products which were designed to do just that.

I do not believe that physical labor and exertion brings more value to the art, but I know for myself, I have found something spiritual in the processes and nuances of working with the material. Like a theatrical production, the Collar City Coterie’s sets require a sense of spacial awareness and design, and an idea of the way in which lighting and sound radically changes the atmosphere of a scene. We tell little stories on our stage, often featuring antique pieces from history, props that have sentimental value and costumes designed by the models themselves. There are multiple layers of collaboration between myself as the director, my peers who partake in the set design, the models who propose the costumes and characters, and the artists who attend. Not unlike a commercial studio which produces animation, video games or toys, many voices convene around a shared vision, but what is unique about the Collar City Coterie is that the end product, or rather, the artwork which is produced, is incredibly unique to each attending member. Individual voices do not get lost in this process. Instead they get promoted, as everyone has their own interpretation on the presented scene. Our conversations during these sessions also have subtle effects upon the work, as the atmosphere of a room will naturally influence the mood of the working artist.

This is an organic and mutable experience and process that I do not believe that AI art will ever be able to achieve and there is a touch of magic lost each time creativity is a little further removed from the human mind and hand. Perhaps it is uncouth of me to say, but I consider AI art to be derivative dribble. It will only ever be able to cannibalize the voice of the individual into a smeared collage, and will not be able to create something wholly unique on its own. Wherever our unique voices originate from–as I do believe in something of spirit and the source(s) of inspiration–the machines that we create here on Earth are only ever going to be a given to us, in the sense that they build upon what has already been established throughout the generations of those who came before us. In a way, the body is an instrument that we each learn how to use and then play and hone, and the artwork and writings that we make from these temporary physical forms are unique to each and everyone of us.

A Recent Set at Collar City Coterie in Troy New York | Image: Provided

You have a strong commercial business background, how is that helping you to make the endeavor sustainable from a financial perspective?

Despite having worked in the commercial field and having a decent sense of branding and marketing, I have not approached the Collar City Coterie with the intention of it turning a major profit for those who run it. There are good reasons–hinted at above–that I steer clear from the hierarchical models presented to me through corporate creative and for-profit education. They often create environments and cultures of Machiavellian-style competition, which are incredibly damaging and unhealthy not only to those creatives involved, but also to society at large. It is very challenging for someone with little means from the outset to ‘make it’ in the creative industry, regardless of passion and skill, and it is often so that the voices which manage to reach the public via mass and social media are those who came with some sort of societal competitive advantage. For these reasons, the current market doesn’t reflect the lives of those who pay into it, with equal measure and representation. Many stories of lived hardship, trauma and tragedy get lost along the way and in the metaphorical ‘climb’. This disparity and inequality of representation is part of the reason why the Collar City Coterie is looking at establishing itself as a community-based fellowship and nonprofit.

Of course, for our group to establish its own foothold in the greater community and begin the process of proliferation for the careers of those involved, financial minutia will need to be taken into serious consideration, but money is not the starting point or driving force behind this experiment and venture. We are still very much in the blue sky phase of our development, but I believe if the vision is clear enough, and others can see something in it of personal value for themselves–that is, something they can share and step into–then we are carving out a special niche and needed space in which to invest, for the long run.

The vision is being shared–ala the pitch–to creative friends in the local area and with the subsequent interest that has been generated, we are beginning to take the next steps into consultation. Since some of our inspiration stems from unaccredited and atelier school models, along with creative fellowships, and nonprofit and historical societies, we will be contacting those institutions next, to gather advice and get a better sense of operating models. The goal is to turn this fanciful concept into something which can not only be beneficial to the community, but also sustaining, fulfilling and long-lasting.

Collar City Coterie : recent Events Flyers | Images: Provided

What are your short / mid / long term goals for CCC?

Our short term goals are to establish the nonprofit, reach out to members in our community and get the ball rolling on ideas related to real-estate and renovation. It is our ideal to move into a townhouse-style building, transforming it into a small, multi-level studio. This may still be a few years out, but is one of the next big steps. In the meantime, we will be developing the portfolios of our members, and refining our offerings, making sure that they will service the needs of those who plan to join our community, and consulting those who have experience with the formation of nonprofits and ventures which operate on a sliding scale.

In the mid-term, we would like to establish the official center and fellowship, helping to expand Troy’s artistic scene and particularly its night life. In addition to this, we would like to offer specialized classes and continue networking and branching out into the fields of illustration and gallery arts. There are conventions such as IX Arts and LightBox Expo which we would like to have yearly attendance, showcasing the talents of our local community and helping to generate more interest in our unique, little city. We would also like to form relationships with galleries and maybe even a few companies, helping local artists to get a foot in the metaphorical door.

In the long-term, I have been eyeing the model of established private social clubs and professional societies, not in terms of exclusivity and competition, but in terms of long-lasting legacy. It is a goal for the Collar City Coterie to become a trusted foundation, in which its Fellows can be assured that their work, life stories and legacies will be preserved for those who will come after us to learn from and enjoy. It would also be a huge personal achievement if our model of establishment changes some of the direction of the cultural needle, in regard to cultivating respect for our contemporaries the arts and away from the aspirations of tycoons.

Nichelle Nichols as Nyota Uhura from Star Trek (2022) and Michael Caine as Ebenezer Scrooge and Kermit the Frog as Bob Cratchit in the Muppet Christmas Carol : D.M. LeBlanc | Image: Provided

EXTRA CREDIT: Care to give a shameless plug or share a random tidbit of wisdom or levity?

Since I am also a writer, with several manuscripts in the works, I will share with the readers a short quote from one of the series’ main characters.

“Do not assume what you may only suppose.”

To find out more or to get involved:

WEB: collarcitycoterie.carrd.co | IG: @collarcitycoterie

The Pedigreed Couple Bringing World Class Performance and Education to Saratoga Springs, New York

July 8, 2025 By Corey Aldrich

My good friends over at Saratoga Arts were kind enough to provide tickets to the Sunday (06.15) performance of the Mostly Modern Festival at the Arthur Zankel Music Center on the Skidmore Campus, so I decided to drop by and check it out. In the past I have worked on projects with the Albany Symphony, Musicians of Malwyck and the Friends of Chamber Music to name a few so I have had a reasonable exposure to quality classical performance work. That said, I was not prepared for the resplendent beauty that I was privy to that day! The highlight being the world premier of Journey of a Dragonfly by Composer and MMF Co-Director Robert Paterson. It was a tour de force that felt like I had witnessed a new and unfamiliar format that left me hungry for more. (That and a great after party at the Surrey Williamson Inn!) I caught up with Victoria and Robert to better understand their organization and to ask how they are able to make this ambitious level of annual programming possible, with its attendant challenges, not only in Saratoga but with a sister festival in the Netherlands as well.

Robert and Victoria Paterson : Founders and Co-Directors at Mostly Modern Festival | Image: Lisa Marie Mazzucco
Robert and Victoria Paterson : Founders and Co-Directors at Mostly Modern Festival
Image: Lisa Marie Mazzucco

Please state your individual name(s), titles and give me a little bit about your background.

Victoria Paterson, General Director, Violinist and Co-Founder of Mostly Modern Projects. I am a violinist who is equally comfortable with classical, pop, and the healing arts. I have performed everywhere from Carnegie Hall, Birdland, and Madison Square Garden to Late Night with Seth Meyers and The Today Show. I am the General Director of Mostly Modern Projects where I hire musicians year-round, delivering vital programs to the community via senior centers, hospitals, and Alzheimer’s patients, as well as ‘rush hour’ & ‘lunchtime’ programs in public spaces and parks all over New York State. I lead the ever-popular FAB5 with a great line-up of live shows. My career spans a 20-years on Broadway, including full-time 1st violin positions for Lincoln Center’s My Fair Lady, The Palace Theater’s Sunset Boulevard and West Side Story, Lunt-Fontanne’s The Addams Family, and Off-Broadway : Heathers and The Thing about Men. I love collaborating with my husband and award-winning American composer, Robert Paterson. We celebrate his music with life-long projects, including the Mostly Modern Festival in Saratoga Springs, New York as well as the European edition, Mostly Modern The Netherlands.

Robert Paterson, Artistic Director, Composer and Co-Founder of Mostly Modern Projects. As an American composer, I strive to embody the diversity and breadth of New York State. Born in Buffalo, NY, I spent over a decade in Rochester and Ithaca, more than twenty years in New York City, and now live in Saratoga Springs, near the Adirondacks. My goal is to create colorful music that embraces everything from the environment to goddesses, online dating to mathematics. I had the privilege of being named Composer of The Year by the Classical Recording Foundation at Carnegie Hall. I was the winner of the Alfred I. DuPont Award, and my opera Three Way won the Grammy® under Best Classical Producer of the Year. I am honored to often get recognized as Best of the Year pick on National Public Radio where my orchestral tone poems, Dark Mountains and Triple Concerto, regularly air on NPR’s Performance Today. Three Way premiered with the Nashville Opera, Brooklyn Academy of Music, and across the United States. The Oratorio Society of New York, Minnesota Orchestra, Louisville Orchestra, Buffalo Philharmonic, Albany Pro Musica, Albany Symphony Dogs of Desire, Musica Sacra, Austin Symphony, Vermont Symphony, and ensembles worldwide also perform my music. I am a lifelong vegan and an advocate for animals and the environment, celebrating the natural world with seminal works such as Triple Concerto, A New Eaarth, Listen, and I Go Among Trees.

Mostly Modern Ensemble | Image: Lindsey Fish

Can you share the history of the project? What was the genesis of the Mostly Modern Music Festival? How about the mission? Is this an annual event based at the Zankel only?

ROBERT: From the outset, our goal has been to continually reassess the world of classical music, to reinvent it as a vibrant art form for the 21st century and beyond. Mostly Modern Projects (MMP) is dedicated to shining a spotlight on music by (mostly) living composers. We founded MMP in 2005, initially as a new music ensemble in New York City, with the critically acclaimed American Modern Ensemble (AME). AME’s mission is to “turn classical music programming on its head,” programming mostly and usually entirely by living composers. To this day, AME showcases and celebrates living composers, featuring world premieres in engaging and fun-filled concerts. Around the same time, we launched Lumiere Records, a classical label featuring string quartet music with broad market appeal, and then American Modern Recordings, a house boutique label focusing on music by living composers.

Mostly Modern Festival | Image: Provided

In 2018, Mostly Modern Festival (MMF) was founded in Saratoga Springs, New York. Each June, it takes place on the campus of Skidmore College at the Arthur Zankel Music Center. Quickly becoming the “Aspen of the East“, MMF hosts the MMF Institute, an educational experience for 200 instrumentalists, singers, composers, and conductors. Each year, people from all over the world descend on Saratoga Springs for the unique MMF experience. MMF’s international reputation began in 2021 when MMF The Netherlands was launched. MMF NL is held every April in historic Holland in Middelburg, Zeeland.

Mostly Modern Festival 2023 in the Netherlands | Image: Provided

Putting on a multiday, symphonic classical festival is a challenging endeavor on many fronts. How are you paying the bills? Is this mostly grant funded?

VICTORIA: The Mostly Modern Festival was founded in 2018 in Saratoga Springs, NY and takes place at the Arthur Zankel Music Center. It is an expensive endeavor indeed- I had an audience member say at the last MM Orchestra concert that she saw about $1,000,000 on that stage: 80 world class musicians, their instruments, especially the Steinways, the harp, all those precious violins and stringed instruments which can run about $10,000- $100,000 +, all the winds and the brass, all the percussion instruments. We pay top conductor fees and principal fees in our field to lead the orchestra with side-by-side learning with students who are all in their 20’s on average. It is a magnificent site and sound to behold, and yes, it is expensive. The hall and facilities at Skidmore College are world-class and top-of-the line in acoustics, sound and overall aesthetics and beauty. The price tag to rent the Arthur Zankel Music Center for 3 weeks is expensive. As of 2025, Mostly Modern is not affiliated with Skidmore. Mostly Modern is not presented by Skidmore College: it is a straight rental agreement, just as the New York City Ballet and Philadelphia Orchestra rent their facilities for the summer for housing, meals etc.

We pay the bills with tuition income, generous patrons, our board, local and national partners, as well as private foundations and public grants. Historically we receive funding from the NEA and NYSCA. Mostly Modern did not get those two grants in the 2025 current cycle. This was a loss of about $75,000. 2025 also brought on students who had far less money to cover tuition, so Mostly Modern awarded more tuition-free scholarships than ever before. Our goal is to have an endowed student education fund to ensure tuition-free scholarships for our 110 students (based on need, as well as merit) which will also help ensure 40 faculty salaries every summer. Student education fund goal: $2,000,000 by 2027. 

Good news in 2025: local support really stepped in and shout out to local partners: Adirondack Trust Company, Stewart’s-Dake Foundation and Phinney Design Group.

Good news in 2025: We have a new collaboration with Yaddo. Mostly Modern performs and celebrates one Yaddo composer every summer, culminating with a performance at the Arthur Zankel Music Center. Big thanks to President of Yaddo, Elaina Richardson!

Mostly Modern Festival 2025 Audience | Image: Provided

I was excited to be there for the debut of your piece JOURNEY OF A DRAGONFLY and was really excited about the format and the story-based narrative style. Can you tell us more about this piece…the process, how long where you working on this one? What was your motivation? What was it like to hear that performed in front of an audience for the first time?

ROBERT: I first started conceiving, outlining, and composing Journey of a Dragonfly twenty years ago, while I was in-residence at Aaron Copland‘s house. (Each season, the Copland House offers residencies at his house for a few select composers from around the world.) Knowing that I didn’t have a premiere lined up, or even the right orchestra conductor, I put that piece aside, and worked on a handful of commissions I had at the time. The conductor I wanted for the premiere of this piece was JoAnn Falletta. Since I love her conducting, and aspects of the piece are inspired by an area near Niagara Falls near Buffalo, I felt like I really needed to wait until I had a chance to work with her in order to finish the piece. Fast-forward twenty years later, we now have JoAnn as a guest conductor at Mostly Modern Festival, and I felt the time was right to complete this work. This piece is dedicated to JoAnn and MMF’s fifth season, and to the Mostly Modern Orchestra in-residence at MMF.

The format of the work is highly-programmatic, meaning, it has a story and a narrative ‘program‘ woven throughout the work, about a dragonfly that explores the world above, finds a portal to hell, sneaks into the Devil family’s house, is captured by the Devil child, and finally escapes back to the world above. The story is so descriptive that we decided to show each scene as super-titles above the stage so the audience could follow along. Although the piece is meant as a concert piece, it is also designed to be animated, so kind of the reverse process to how it’s usually done in the world of film. Usually, a film comes first, and the music is added at the end. With this piece, the music already exists, so the animation can be designed around the music. It took me one month to complete the first ten minutes at the Copland House, and another two to three months to complete the remaining twenty-five minutes.

Hearing this work for the first time was certainly cathartic! I feel like I’ve literally waited twenty years to hear it realized for the first time. It was definitely a little scary: with a piece that large, you want to make sure the audience is captivated the entire time, and fortunately, I received a lot of wonderful comments after the premiere, so I think I succeeded!

Mostly Modern Orchestra with Andrew Crust | Image: Provided

I noticed that your web address is MOSTLYMODERNPROJECTS…what else do you have going on we should know about?

VICTORIA: Mostly Modern Projects is a 501c3 non-profit music organization that runs and brings music to everyone year round. This summer brings more community and parks concerts than ever: here is our lineup

Special shout out…3 Yaddo events entitled Wine & Roses featuring Mostly Modern’s FAB5, July 17, July 31 and August 14.

Left to Right: Victoria, Corey, Danielle and Amara yuck it up at the 2025 Mostly Modern Festival
after party at the Surrey Williamson Inn in Saratoga Springs. | Image: Provided

Extra Credit: Anything else you would like to share or plug while you have the talking stick?

VICTORIA: Seeking new board members for Mostly Modern Projects who live in Saratoga Springs and/or the upstate New York region – the lift is light and the benefits are robust!

Mostly Modern delivers vital and incredible music through concerts, festivals, outreach and community engagement all year round. Help us continue to provide this valuable platform for an ecosystem of classical performance artists, students and those who love the craft!

WEB: mostlymodernfestival.org | IG: @mostlymodernfestival | FB: @facebook

Michael C. Clarke Leaves an Established Law Career to Promote Irish American Heritage

June 3, 2025 By Corey Aldrich

I met Michael C. Clarke, Executive Director at the Irish American Heritage Museum, recently at an event and was bowled over by not only his enthusiasm but his career story and how he came to be where he is today. Having decided to leave corporate real estate several years ago to pursue a career in arts and culture, I am always fascinated to find those kindred souls who make the plunge. But I guess for Michael, it is no surprise he ended up where he is…he has music in his soul and a strong connection to his immigrant heritage. Side note, ask him about a recent trip to Ireland where he helped deliver over 60 lambs on his brothers farm, it’s a good one but to long for this piece!

Micheal C Clarke : Performing Musician and Executive Director at the Irish American Heritage Museum
Image: Corey Aldrich

Could you please state your name, organization, position and give us a little bit about your history including educational, experiential and career background.

My name is Michael C. Clarke. I’m the Executive Director of the Irish American Heritage Museum (IAHM) at Quackenbush Square in Albany. I’ve been here for about six months. I’m a recovered lawyer. I left the law after about 30 plus years of practice and was reasonably successful. When I did, I had the intention of landing somewhere in the Irish cultural space. For a little background, I started playing Irish music when I was six years old and loved it. I was raised in a household of two Irish immigrants and had been very involved and aware of Irish culture and history growing up. I paid for college in law school, not by student loans, but by being a full-time musician playing music in New York City in the 1980s.

Micheal gets his first serious instrument at 13 years old | Image: Provided

IAHM is in the former Albany Planetarium location. In addition to a permanent exhibit including objects and artifacts of historical note, including a actual life sized cottage, there is a beautifully intimate 60 seat venue with a dome ceiling set up like a living room performance space. People come in and they sit down as if they’re at a friends home with the main difference being that there are stars shining up above while they listen to traditional and folk Irish music. We have an intensive program of music here and it’s filling up with internationally recognized artists. Additionally, we have a gallery space that currently has an amazing collection of canvases by painter Kevin McKrells, who is mainly known for his musical pursuits, first as a founding member of Celtic Folk band Donnybrook Fair and his current band, the Celtic Bluegrass band The McKrells.

Current Exhibit ‘Old Men in Hats’ at the Irish American Heritage Museum : Paintings by Kevin McKrell
Image: Corey Aldrich

What is the mission of the organization?

The mission of the organization is to educate. It’s to raise awareness in folks of the richness of Irish culture and art. My job is to curate shows, lectures, performances and exhibits that teach and expose our community to the impact of the Irish on America.

Irish American Heritage Museum Performance Space | Image: Provided

What artists have you had come through? Maybe you could elaborate a bit about that part of the program.

So we’ve had the Irish duo Ivan Goff and Katie Linane, who are internationally known for performing the Uilleann pipes, which is the Irish bagpipes in addition to the elbow pipes and fiddle. Last week we had Gerry O’Connor, who tours the EU and the United States constantly as an international recording artist. He has written books and he teaches at Celtic and traditional Irish music festivals around the globe. We had a band called Open the Door for Three. They are famous in the traditional Irish music and folk scene. They were performing in Buffalo and Maine and reached out to me and asked if they could perform in Albany on the way back through. So many people want to come because of the intimate nature of the venue which is perfect for this style of music. Albany is kind of a strategic stopover for them. I’ve been blessed in the six months that I’ve been here to be able to have this great pool of talent to choose from and only see that expanding over time. Oh one more…I am really excited to announce that later this year we have Kevin Burke who is one of the early members of the world-renowned Bothy Band and later the founder of Irish super-group Patrick Street, who will be performing on September 8th.

Irish Immigrant Objects at the Irish American Heritage Museum | Image: Corey Aldrich

Beyond the music, you said you had a connection with some genealogical research as well?

We have an in house genealogist! Lisa Walsh Dougherty has nearly 20 years experience helping people discover the specifics about their Irish roots. She is fantastic as far as sitting down with folks and is available on a regular basis. One of the scheduled times she comes in is before an open Irish jam style music event we sponsor called the ‘Traditional Music Sessions.’ These are held on the second and fourth Wednesday of every month at the museum. They start at 7:00 PM and we typically will have anywhere from 8 to 12 musicians from the community, who are very good at what they do, sitting around a table jamming out / performing together. Admission is free and the event is open to the public. Lisa comes in an hour before so anybody who wants to come early to do some family history research are able to do so.

Irish American Heritage Museum : Traditional Music Sessions Series | Image: Provided

Anything you can tell us about your midterm or long-term plans that you’d like to share?

I’m a very visual person. The reason why I am where I am today is because three years ago I was like, “What does a photograph of me look like three years from now?” I saw myself exactly where I am. Involved in Irish Cultural and Arts promotion and being a proponent for that.

To fast forward, the photograph of the museum and me three years from now is one where we are encouraging a new generation to embrace their heritage of Irish music, culture, dance and in general creating an overall appreciation of Irish immigration’s impact on America in the community at large. I am focused on activities involving children. Two areas I am actively looking at right now involve Irish music and dance programming, integrating schools and / or education. We’ve got the perfect space for a teacher to come in and organize recitals for kids and their families…

I recently hired a new Assistant Director, Hayden-Grace Francis, and am looking to integrate her more deeply into the various aspects of running the organizational mission. In addition to having a History Degree from Siena College, Heyden is a Certified Irish Dance Instructor through An Coimisiun le Rinci Gaelacha which adds a nice dimension to some of my aforementioned forward planning. Ultimately, I want this to be family oriented. It’s really about the mission, about getting the message out regarding the impact of Irish traditions, art and culture on American life while keeping them alive in a new generation.

HIstoric Cottage at the Irish American Heritage Museum | Image: Corey Aldrich

If people want to get involved, what’s the best way to do that?

Visit our website at irish-us.org or contact me at 518 . 427 . 1916.

Also, check out some of the events we have coming up later this month!

FIRST FRIDAY ALBANY Event – feat. Live Music with CURRAGH
Jun 6, 2025 | 6:00 PM | FREE SHOW! In collaboration with Metroland NOW!

THE EAST COASTERS – Trad / Folk Series
June 10, 2025 | 7:00 PM | Ticketed Event. Three renowned Irish performers from the eastern US weave together their regional styles in a memorable evening of tunes and songs

2025 Celtic Influences Performance Series: SEA SHANTIES W/SEÁN DAGHER
Jun 19, 2025 | 7:00 PM | Ticketed Event. The Sea Shanty resurgence is real! Join world renowned sea shanty expert and performer Seán Dagher in this full-throated, big fun IAHM evening of singing and learning about the genre!

Denver Based Musicians Vibe on a ‘Creative Pulse’ in Upstate New York

March 20, 2025 By Corey Aldrich

Late to the party, I just recently discovered this gem of performance space that opened up in early 2024 when I had the opportunity to see the amazing Buggy Jive open for the intellectual and well read storytellers, Nathan Meltz and the House of Tomorrow there. Transplants from Denver, Alana and Niek Velvis decided to land here in Upstate, Troy specifically, due to the creative pulse they felt on the street and the ‘unique mix of history, grit, and artistry, with a growing music and arts scene.’ Approachable and community minded, these creative entrepreneurs have made a space for local and regional indie artists to call home. Oh, and they have respectable baked goods, beer and coffee offerings!

Niek and Alana Velvis : Owners at Mojo’s Cafe and Gallery in Troy, New York | Photo: Provided

Please state your name and title. Also, can you share a bit of your backstory?

We’re Alana and Niek Velvis, the owners of MoJo’s Cafe & Gallery in Troy, NY. At our core, we’re musicians who love playing—that’s what brought us together, and it’s what drives most everything we do.

Alana: I am a classically trained percussionist, with years of experience as a session drummer, nationally touring musician, and recording engineer. I’ve played in a wide range of projects, but find myself especially drawn to the second line rhythms and deep funk traditions of New Orleans. I also handle accounting and keeping everything at MoJo’s running smoothly behind the scenes.

Niek: I am a bassist, recording engineer, and entrepreneur with a background in law and business development. Since 2012, I have focused on working with startups while staying active as a musician. My passion in building physical and virtual spaces that allow artists to create freely came to fruition in 2018, which was a start of what led to building MoJo’s here in Troy.

Music has always been at the center of our lives, and MoJo’s was built from that foundation.

Backyard Stage Vibes at Mojo’s in Troy, New York | Photo: Provided

What was behind your choice in locating in the capital region / Troy? Also, I believe I remember you saying originally you did not plan to open a venue like this…how did it all come about?

We moved to Troy because of a pull to the creative pulse we felt here. For us, the city has a unique mix of history, grit, and artistry, with a growing music and arts scene that felt like the right place to help contribute to something special while remaining authentic to our own journey.

Before moving to Troy, we owned and operated a recording studio in Denver. Recording, engineering, and producing music were a huge part of our lives, and when we made the move to New York, we brought most of the studio gear with us, thinking we’d continue focusing on recording and production. And then, we found the space!

When we walked into what is now MoJo’s, some lightbulbs turned on for us. The layout and the energy felt like the perfect place. Instead of just being a recording space, we saw the potential for a venue, an art gallery, and a gathering place for musicians and artists, so we dove in and MoJo’s became the live extension of what we had already been doing in the studio.

Interior Shot at Mojo’s Cafe and Gallery in Troy, New York | Photo: Provided

From the start, MoJo’s was envisioned as a music venue and art gallery first. The focus has always been on hosting live music and showcasing visual artists. The coffee side of things was the next logical step for us, inspired by the bones of the space and a desire to provide sober-friendly offerings for gallery and show attendees. Building out the coffee portion naturally led to opening the café during the daytime hours, and as the creative energy flowed, we started developing custom coffee offerings with Gipfel Coffee, who roasts all of MoJo’s coffee selections.

You’re right about the plan developing in real time, and we’re grateful for not keeping our feet as there’s never any telling where we’ll be swept off to next.

Buggy Jive – Live at Mojo’s Cafe and Gallery in Troy, New York | Photo: Corey Aldrich

Live music is a cornerstone of a vibrant city / community but is notoriously hard to make work economically…especially if you’re trying to compensate artist fairly. Can you share a bit about that side? How are you keeping the rent paid and making that all work?

This is a continuous challenge. Independent music spaces are fragile, especially when you’re committed to artist compensation. The reality is, ticket sales alone don’t cover costs, not in a room of our size. So for us, the key has been diversification. We treat MoJo’s as a multi-layered business with the cafe operating as a 3rd-Space during the day for food and beverage, Private Event Bookings, Art Sales, Custom Coffee Roasts, and Ticketed events.

Beyond that, it takes community commitment, which we are growing organically every day. We book shows for fans, so we work hard to curate a memorable sensory experience directed at an audience that values live music and understands that keeping a space like this alive requires active participation before, during, and after the show.

It’s also about efficiency for running a lean operation, keeping overhead low, and building relationships with artists and vendors where mutual support goes both ways.

Afternoon Music Break with groop.lab’s DJ Denada | Photo: Provided

Do you have any general comments that you would like to share regarding what we should be doing to ensure that this level of musical ecosystem is sustainable and thriving?

  1. A thriving music scene starts with a dedicated and engaged audience. Show up often, even when you don’t know the performer. Live music and art aren’t nostalgic occasions, they should be part of your daily and weekly routines. The strength of a local music scene depends on people who are curious, open, and willing to experience something new. And when you do? Talk about it. Share what moved you, what surprised you, what made you think. Word of mouth builds culture, and the way we speak about music shapes the way our community values it.
  2. Musicians and artists need to talk about one another as if we are each other’s heroes. Build up your fellow artists, speak about them as if you’re their biggest fan. The love and beauty you speak of is palpable and contagious. When people feel how much love you have for your fellow artists and musicians, they’ll become fans themselves, start going to shows, and spread that energy further. We can actively choose how we frame our community through our language.  Your mindset is yours alone, yet when out in public, you are actively shaping the culture you are a part of. Don’t talk down about each other, lift each other up like the heroes we all are.
  3. Respect process over product. Art and music are all part of a larger ecosystem where artists are manifesting their creative process in real time. Don’t judge a single performance as a finished statement. Artists are evolving, growing, and experimenting live, and the audience, you(!) are a real part of it! One experience at a show should never dictate whether you go to another, so keep showing up.
     
  4. City and State Governments need to recognize the value of music and art spaces as cultural institutions through direct policy support. A municipality that boasts being a music and arts hub just because artists have chosen to live there while lacking direct policy to support music and art is just all smoke and mirrors.
Preshow Vibes at Mojo’s Cafe and Gallery in Troy, New York | Photo: Provided

EXTRA CREDIT: Anything you have coming up or are excited about that you would like to share?

This weekend show is not to be missed, if you haven’t heard Joseph Biss play guitar and sing yet, make it a priority for your Saturday, the musicianship is incredible.

Saturday, March 22nd – Joseph Biss w/s/g Alicia Macier VanScoy
$10 adv / $12 at the door | Doors: 6PM | Show: 7PM

Both nights will bring something special to the room—come through and be part of it.

WEB: mojoscafegallery.com | IG: @mojoscafegallery

Kayden Avery Fitzgerald : A Journey to Creative Practice(s)

February 20, 2025 By Corey Aldrich

As with many who are working full time in the creative economy, Kayden Avery Fitzgerald has a very round about path that he has explored to get to where he is today. The story felt familiar to me in that there were so many stops along the way, each informing a different aspect that led to their ultimate destination. I was especially surprised to find out Kayden had worked with a couple of companies I had in the past including Industrial Safety Supply Company Protective Industrial Products where I managed a large sales territory for a couple of years and previous Professional Dominatrix and Boudoir Photography Studio Owner Mistress Couple who brought me on for a guest room interior design project.

Kayden Avery Fitzgerald : Independent Artist and Craftsman | Image: Provided

Please state your name, job title(s) and share a bit about past work history and education. Are you a full-time creative?

My name is Kayden Avery Fitzgerald. I am an independent artist and craftsman; making hardwood furniture, indoor and outdoor signs, homewares, and cabinetry. Additionally, my current job titles include Woodworker and Historic Window Restoration Assistant with Flow Historic Windows, and Woodworking Instructor with the Arts Center of the Capital Region.

My past work history is vast and a bit all over the place. I was accepted to The College of Saint Rose but I deferred for a year because I enlisted in the Army National Guard at age 17 and served six years as a Motor Transport Operator. I was doing that and also working as a yard jockey with a CDL, working in the food industry and getting my BFA in Graphic Design. I interned at Engine7Design and Discover Albany, and worked as a Graphic Designer at the Albany Business Review. These were all incredible opportunities that fueled the energy and love I have for the Capital Region. I left ABR to work on rustic flooring production at a company formerly known as Square Nail Rustics in Glens Falls. That’s where I realized I liked working with wood, and wanted to learn more.

Kayden Restoring a Window Frame | Image: Provided

Can you tell us a bit more about how you transitioned from a graphic designer to a woodworking craftsperson / window restoration professional?

I took a job in Chatham at a custom woodworking shop but that was unsustainable, so I returned to the graphic design field when I was hired as a Graphic Designer for Protective Industrial Products, a global PPE company based out of Latham. Learning about the products I was designing marketing collateral for and prepping logos for placement on things like hardhats, safety vests and gloves was a cool segway into OSHA and safety ratings for various PPE. Prepping the logos for embroidery, screen printing, heat transfer, and other processes gave me a strong foundation in asset preparation that I was able to carry into my own CNC (computer numerical control) and laser engraving work.

After that, I was an HVLP (high volume, low pressure) spray finisher and production assistant at Alexander Butcher Block. I left Alexander Butcher Block to focus on my small business while I worked part-time at the Troy Public Library, Lansingburgh Branch. The library was fulfilling while allowing me the time to focus on custom woodwork and design like outdoor signs for local clients and businesses. I also participated in a handful of curated maker’s markets and pop-ups across the Capital Region, including A Big Gay Market, LARAC 40U40, and OpenBaar Market. These markets were actually where I met Leon of Flow Historic Windows. Leon eventually offered me the opportunity to apprentice under him, learning the trade of historic window preservation. I absolutely love it! It’s fun to bring my existing woodworking skillset into historic restoration, and gain more trade knowledge while bringing windows back to back life and comfort back into people’s homes. Seeing previous repairs that have been done over the years and knowing that my repairs and restoration will be part of what helps it keep on doing its job for another 100 years is a very cool thing.

KF Woodworking and Designs : Business Signage Examples | Image: Provided

I noticed you also are teaching as well…can you share a little bit about your motivation to pursue that that?

Yes! I am going to be teaching woodworking courses at the Arts Center of the Capital Region in 2025! As a trans man, navigating the trade environments and finding spaces to learn and grow has been an interesting experience. If I can foster a place where I can share the knowledge, skills, empowerment, and joy that woodworking brings, to those who don’t feel safe in traditional trade environments, then I’ll be doing something right.

KF Woodworking and Design : Custom Tables | Image: Provided

With the advent of AI design tools, there is a lot of concern about the future for graphic design, in fact design in general as a profession. Can you share some of your thoughts on that?

I think AI is a risk to the future of a lot careers. Whether it be design, administrative, manufacturing, etc. AI analyzes data and regurgitates; it can’t empathize the way humans can, and I think that’s a downfall. In terms of woodworking, I see how AI could be a helpful tool for streamlining design and production processes. I personally don’t use it because of the environmental impact it has, and the fact it takes the human touch out of it. I use technology where it makes sense for me and my craft. I design and make things because I enjoy the steps and interacting with the material on a personal level, and that’s where I find the joy. I use a combination of hand tools, power tools, a CNC and/or laser machine, depending on the task and goal.

KF Woodworking and Design : Product Samples | Images: Provided

What advice would you give someone just graduating to help guide them to find a way to sustain themselves with their creative practice?

This is going to sound cliche, but my past experiences have taught me that following my curiosities, staying open, and being willing to step toward my dreams is worth it. It has taken five years to get to where I am today. Consistency, being flexible, and staying willing to change trajectory when I need to have been massively helpful in my success. Remaining endlessly curious, finding mentors, and connecting with folks in the creative industry has also been invaluable; providing me with opportunities I never would have found otherwise.

JK Woodworking and Design : Custom Nightstand | Image: Provided

Anything coming up we should know about?

This year I’m focusing on an exploratory box series, as well as some personal projects to fuel my inspiration. The box series has been a lot of fun because it is going to be my first full body of work. I’m working on ways to incorporate more free artistic exploration into my practice moving forward.

I also have a handful of classes coming up at the Arts Center of the Capital Region in Troy, starting in the Spring of 2025! Make a set of coasters, a joiners mallet, or a luminary style wooden lantern with me! If you want to stay updated on class opportunities, check out what I’m making, and see all my goofy antics, give me a follow on Instagram!

WEB: www.kaydenfitzgerald.com | IG: @KF.woodwork

  • Page 1
  • Page 2
  • Page 3
  • Interim pages omitted …
  • Page 13
  • Go to Next Page »

Creative Economy Updates and Other Good Stuff!

STAY CONNECTED!

  • Facebook
  • Instagram
  • Twitter
Copyright © 2020 THE UPSTATE ALLIANCE FOR THE CREATIVE ECONOMY

info@upstatecreative.org | 41 State Street, Albany, NY 12207

Design by Reach Creative