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Rensselaer County

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

Upstate Cold Brew Works on Expanding Their Eye Opening Mission

June 3, 2025 By Corey Aldrich

Local roasters Upstate’s Cold Brew is on the rise, expanding their distribution and product offerings. A combination of community building, creativity and a drive for a well balanced, eye popping brew are the driving factors behind this dynamic duo’s move to supply your morning routine with a bump of flavorful exuberance and maybe a whole lot more.

Jamel Mosely and Khalid Miller : Co-Owners at Upstate Cold Brew | Image: Provided

Please state your name(s). What is your position in the company? Can you share a little about your educational or experiential background?

My name is Khalid Miller — most folks just call me Kha. I am a Co-Owner of Upstate Cold Brew alongside my brother-in-coffee, Jamel Mosely. Day to day I steer operations and recipe development as the Head Brewmaster in addition to and other cool stuff. Jamel drives brand and community outreach (he’s the people magnet). We both do everything of course – but we tend to lean in those respective directions. I received a Master’s in Education from the College of Saint Rose. I was a School Councilor / Behavior Intervention Team Leader at the Brighter Choice School for Boys in Albany, New York for just over 8 years when I left in spring of 2023. Since 2019 my focus and passion has been on deepening my knowledge of the coffee industry and different brewing techniques – such as cold brew!

Upstate Cold Brew Product Offerings | Image: Provided

Cold Brew is a crowded space. What made you decide to start up the company? Can you tell us about your mission? When did you start?

The seed was planted more than a decade ago: we dreamt of a coffee shop that doubled as a creative studio where aspiring entrepreneurs could hatch ideas and find the tools to build them. But we ended up slamming the brakes on the brick-and-mortar plan, because life had other plans – but we eventually came back around to it, but this time with a different approach. Cold brew concentrate. We made it, gave it to friends and family, they loved it and convinced us to bottle up this magic and share it with the world. We got our big break in 2022 at the Troy’s Riverfront Farmer’s Market where it took off. We now have a thriving community that supports us and is growing everyday and the best part is that our mission hasn’t changed– coffee is still the conduit. We brew to spark connection, fuel creativity, and pour resources back into the community that raised us.

Upstate’s Cold Brew : Concentrate | Image: Provided

Can you share a bit about your process and method? What would you say is the identifying characteristic(s) about UCB?

We start with organically-grown, sustainably-traded beans roasted right here in the Capital Region. In the early days we soaked coarse grounds for 14–24 hours and triple-filtered every batch. Today we scale that same philosophy with a chilled, closed-loop system that extracts in a fraction of the time while locking in a richer, smoother, profile and extending shelf life. The result is a velvety concentrate that’s “eye-opening” strong, yet incredibly smooth and flavorful! 

Upstate’s Cold Brew : Scented Candle | Image: Provided

How are you primarily distributing the product? Do you have additional channels that you are pursuing?

Right now a large percentage of our volume moves through direct-to-customer channels we can shake hands with: the Troy Riverfront Farmers Market every Saturday, plus refill stations and grab-and-go bottles at Emack & Bolio’s in Albany, and in the coffee cocktails at DeFazio’s Pizza and The Whiskey Pickle in Troy.

Upstate’s Cold Brew : Nitro Retail Beverage | Image: Provided

For retail, Honest Weight Food Co-op just gave us shelf space, and other regional grocers are in the pipeline. Online, we ship nationwide from our website at upstatescoldbrew.com, and we’re working through the final hoops to launch an Amazon storefront later this summer. So we are doing our best to get this high quality concentrate to as many people as possible!

Jamel Mosely and Khalid Miller : Co-Owners at Upstate Cold Brew | Image: Provided

BONUS: Anything coming up we should know about? New releases or live tasting events?

Catch us in person in right off Monument Square on Second Street at our booth every Saturday at the Farmers Market in Troy. You can also keep up to date on pop up events and special product releases by following our Instagram page @upstatescoldbrew.

WEB: upstatescoldbrew.com | IG: @upstatescoldbrew

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

Elizabeth Reiss Advice for 2025 : Focus on the Basics | Embrace Change

January 10, 2025 By Corey Aldrich

Elizabeth Reiss, CEO of The Arts Center of the Capital Region is a force of nature. Many of you here no doubt know her or at least of her but many don’t fully understand the energetic impact and momentum she creates in the regional art scene and beyond. Seasoned and confident, Liz is not only a personal mentor to myself and many others but additionally serves as an Advisory Board Member of ACE! who has been connected here since it’s inception. As such, I can’t think of a better person to bring a slice of pragmatic sanity to the barrel we are looking down that we call 2025.

Elizabeth Reiss, CEO at The Arts Center of the Capital Region | Image: Corey Aldrich

Please state your name, title and past experience that got you to where you are today.

My name is Elizabeth Reiss. I am currently the CEO of the Arts Center of the Capital Region.

I’ve always worked in the arts, everything from gallery installer, docent trainer, publications manager to festival producer.  What got me here? At the Arts Center?  When I was in college I took a painting class.  A visiting artist/professor looked at my work and scoffed at it.  Told me to stop painting.  She and my primary professor laughed.  I was humiliated.  I never want that experience for someone.  Everyone should paint. Sing. Dance. Maybe they won’t end up in a gallery. Every artist belongs somewhere – the walls of MoMa or the fridge.  So, I work at a place that celebrates it all.  I love it. I’m lucky. 

That said, what else got me here?  I’m fearless when it comes to thinking I can pull off a project. I’ve opened a children’s museum in NYC, produced an artist-made skate board park in Pittsburgh, and now I’m working on my most complicated endeavor yet – finally developing the upper floors of the Arts Center.  

The 2024 FENCE Show in the Jane Altes Gallery at the Arts Center of the Capital Region
Image: Provided

Can you tell us a bit about what a day in the life looks like for you at the Arts Center?

The Arts Center has a much smaller staff than people may think.  There are 7 of us full time.  So, I spend a lot of time internally, writing & managing projects. I like writing. Our board is really involved, there’s lots of people dropping in. Or, I’m out. I’m old fashioned, I like to meet with people get a little deeper into things. Get to really know people. I spend a lot of my time representing the Center and the region at places like Creatives Rebuild New York, ArtsNYS, or with elected officials. I’m trying to start up a new group  – Capital Region Arts Allies, to help the region get more funding.  We are all surviving, but imagine if we all had enough resources to do more?

Arts Center of the Capital Region – One of the 2024 Troy Glow Exhibits in Downtown Troy NY
Image: Corey Aldrich

I know in addition to your main gig, you are involved in other supportive organizations. Can you tell us a bit about those roles?

When I started at the Arts Center, I knew we were also an arts council and a regrant site, but I didn’t really know what any of of that meant. So, I turned to my peers and had some fabulous mentors who mentors formed ArtsNYS, a state-wide educational and advocacy group. That led to me to serve as President of ArtsNYS for the last three years which has been incredibly fruitful.  The Arts Center was able to distribute a million dollars over two years in grants to our community.  Beyond the funding, I’ve met a lot of people. Last fall I invited the Center for Urban Futures (See ACE! Interview with Eli Dvorkin of CUF) here to talk about the arts and artists in the Capital Region. The growth here is phenomenal. The artist population is growing at a faster rate than any other sector. It’s really exciting. I stepped down as President, but will still be finishing the projects that I started, including a state-wide artist survey that ACE!, CREATE Council on the Arts and Siena College collaborated on with the Arts Center. We are just getting to building the research tools for the findings.  Stay tuned on that one.  

A Young Student Works in the Stained Glass Shop at the Arts Center of the Capital Region in Troy NY
Image: Provided

With a new administration, the end of ARPA funding and the current underwriting challenges for the arts, where do you see things headed in 2025? What in your opinion needs to be the main focus for arts / cultural institutions?

You know, the future is a little uncertain in regards to policy and funding.  And so many people are feeling unsafe right now.  This is where the rings on my tree may be an asset.  I’ve seen this before.  Federal funds may retract, state funds will be under strain….but….private dollars may fare better. It’s too soon to tell.  One thing I do know…. this kind of uncertainty leads me to my own true certainty – in times of unrest people need the arts.  Artists help us understand what we are seeing, experiencing and feeling. Time and time again, when things get tough, people want to feel control.  So they start making things again. There’s a reason crafts blew up during the pandemic. It was something to do, sure, but it was something we could do with our own two hands and with our own autonomy. So the arts will forge on. At the Arts Center? Our main focus will be on strengthening our core programming and to continue to rebuild now that the rescue funds have be spent. Yet, we’ll also try to be sensitive to the changes and stay ahead of them. We will be as nimble as possible to serve the needs as they present themselves. That said, we have a few ARPA (American Rescue Plan Act) and DRI (Downtown Revitalization Initiative) dollars to spend, so look forward to more public art.

BIG INK Print Workshop at the Arts Center of the Capital Region in Troy NY | Image: Provided

What would you say are some practical suggestions that folks can put to use in their organizations to find a more predictable resource sustainability?

That’s a big question. Lets see…

When funding gets tough, its always good to stick to your core competencies and to deliver them with excellence. If you want predictability, you too need to be predictable. That doesn’t mean you have to do the same creative act every day, but it does mean you have to commit to the same level of care and thoughtfulness in what you bring to the public. 

Art Center of the Capital Region – 2023 Troy Art Block in Church Street Alley, Troy NY
Image: Steve Alverez

It’s better to have 100 donors at $10 a month than one donor at $1000 a month even though its a lot more work. Your funding can withstand donors dropping in and out and your programming can stay on track.  

I’m also still learning this one – communicate more than you think you need to.  People – whether they are consumers or donors – want the inside track.  They want to stay in touch. Let’s face it, its hard to get people’s attention, so develop a communication plan and stick with it. Even if no one tells you they are listening. They are. 

Youth Photography Workshop at the Arts Center of the Capital Region in Troy NY
Image: Provided

Anything in the pipeline that we should be aware of? Anything you would like to plug that you have coming up?

More and more creatives are moving upstate and they aren’t interested in our old rules of who does what or our outdated regional boundaries. The work week will continue to flow and change, where people go for arts and entertainment will flow and change, and I hope as a community we can work together to reach for more. 

Sorry I don’t have anything more tangible. It’s winter.  We are all hunkered down.  The kilns downstairs in the pottery studio are warm though…

For more info –
WEB: capartscenter.org
IG: @capregionartscenter
FB: @TheArtsCenteroftheCapitalRegion

Working on the Wheel in the Pottery Studio | Image: Provided

ALN’S Steve Lawrence : All the Things, All the Time

January 10, 2025 By Corey Aldrich

My first introduction to Arts Letters & Numbers was through ACE! Our previous ED, Maureen Sager had set up for us to do a ‘Creative Networking’ event there (2019). My first impression was very similar to that of Salem Art Works, who I had done a bit of consulting with when I first left my corporate job in real estate. A hyper creative, renegade spirit with an alluring joie de vivre that attracts highly creative minds and makers. Recently, I went to an opening there and Founding Director, David Gersten invited me to stay for dinner which would be at their newest campus acquisition, La Perla Restaurant. The conversation was rich. David and Steve Lawerence, the Associate Director started passionately telling me about the educational programming and creatively fluid campus style that is developing. I had to share. This type of experiential programming really gets me excited and I am hoping it will inspire you to consider new and innovative approaches to what you do.

Steve Lawrence, Associate Director at Arts Letters & Numbers in Avrill Park, NY | Image: Provided

Please state your name, title and past experience that got you to where you are today.

I’m Steven Lawrence, and I currently serve as the Associate Director at Arts Letters & Numbers (ALN) in Averill Park, NY. My journey here has been shaped by a blend of being a tradesman, artist, educator, and psychologist. I ended up at Arts Letters & Numbers because I changed the heating system during a stint of contracting after retiring from the classroom and working on post-grad work.

After high school, I found my way into the trades as a plumbing and heating contractor. I ran my own company for several years before transitioning into becoming a licensed NYS teacher in 2009. I spent 12 years abroad teaching History, English, and Psychology across international schools in Kuwait, Saudi Arabia, Qatar, and China. Whatever the system I was teaching in, I focused on creating learning environments that nurture both intellectual and emotional growth. I quickly found that of all that I “taught”, the teaching of meditative practices to students was by far the most important. Through this, and my work outside the classroom in therapeutic settings, I’m now pursuing my PhD in Psychology at Saybrook University (C.A.) specializing in transpersonal psychology and the hermeneutics of meditative expressions as viable treatment.

I’ve always been passionate about the power of craft and the arts in shaping the future. At ALN, I’m working to bridge the worlds of arts, trades, and academics, helping students connect with opportunities that are both practical and creative. The skills students develop in these fields will play a crucial role in shaping their future – just as they did for me.

Arts Letters & Numbers – Resident Artist / Dancer Emma Bäcklund | Image: Zelé Angelides

Can you tell us a bit about what a day in the life looks like for you at ALN? Also, maybe a bit about the diversity of programming you have going on…

My days are a mix of community engagement, creative collaboration, and facility and program development. As Associate Director, I work on fostering connections with local educators and organizations, helping to expand our hands-on learning opportunities across arts, trades, and experiential programs. We have the privilege of a wonderfully supportive team and community that play a critical role in the success of any project associated with ALN.

A big part of my role is supporting artist residencies, where we provide them with space to create and collaborate. These residencies are about fostering the artistic experience, connecting artists with the community, and creating a space for cross-disciplinary exchange. Additionally, the maintenance of facilities could take an afternoon or two, keeping up houses, apartments, studios and the Mill.

La Perla Restaurant and the Gregory House Inn, Part of ALN’s Growing Campus | Image: Provided

La Perla Restaurant, which was opened under the ALN banner in August 2024, has been an exciting addition to the project. The restaurant brings in not only local people from the community, but musicians, poets, and guests that stay at at the Gregory House Inn.

Arts Letters & Numbers Workshop / Educational Programming | Image: Provided

I am always struck by the quality of offerings that I see happening at ALN, real intellectual stuff juxtapositioned nicely with get your hands dirty, maker oriented programming. What’s the organizational philosophy that you have to drive the selection and balance?

Our philosophy centers on the belief that intellectual exploration and hands-on creativity are most impactful when combined. We intentionally balance thought-provoking programs with maker-oriented experiences to create a dynamic, holistic learning environment. Our aim is to balance thinking with making.

Arts Letters & Numbers Workshop on Campus | Image: Zelé Angelides

Our approach is interdisciplinary, connecting different fields to foster deeper understanding, while also encouraging collaboration across disciplines, enriching both intellectual and creative work. We prioritize personalization, offering opportunities for participants to engage in both deep reflection and tactile creation, to explore their passions in diverse ways. Add to that our moto: “Yes, in advance.” and “If we know what it’s going to be we don’t do it”. Very often that’s all anyone needs, it’s so remarkably simple. It’s not easy, but it’s simple.

We also ensure that our programs have a community impact, providing real-world relevance and opportunities to engage with the local environment.

Art Letters & Number Mural Project for Doors of Hope with Partners: Rensselaer County Mental Health Student Assistance Program (SAP), and the Nopiates Committee | Image: Provided

I am especially interested in your pursuit of educational integration, IE working with non-campus based populations, academic institutions and other arts organizations. Can you sketch out what the ALN vision is there, and how you are continuing to expand that approach?

Our vision is to create a network where learning is not confined to traditional settings but extends into the broader community. Our approach is centered on connecting students and artists with real-world opportunities that span across any discipline imaginable. We are committed to collaborating with local schools, such as Big Picture Learning in Schenectady, the Averill Park School District and Berlin Central, to bring experiential learning out of the classroom through internships and hands-on programs. We also have a strong connection in secondary education with R.P.I., Russell Sage College, The Cooper Union in New York, as well as a range of international institutions. These connections are a testament of the life and career of David Gertsten, the Founding Director and President of ALN.

Arts Letters & Numbers Founding Director David Gertsten Does TEDx | Image: Provided
2018 ALN Collaboration : ‘Future Unknown’ Chancellor’s Summit held at
The Central Academy of Fine Arts (CAFA) in Beijing, China | Image: Provided

We’re deepening these collaborations to develop more integrated programs that connect craftsmanship, creativity, and theory as a sort of global exchange. This allows us to create rather unconventional pathways to learning and individual development. ALN is evolving into a truly interdisciplinary and transnational model. I wouldn’t say we’re building a school, it’s more like we’re working to supplement a learning experience that students want and typical schools can’t always provide. Schools have been open to working together. Generally, any hurdles are pragmatic, working through a system one issue at a time and sticking with it. ‘No’ can’t be an answer, sometimes.

Arts Letter & Numbers Film Project Collaboration with Youth FX and the
Albany High School’s Social Justice Theater Program | Image: Provided

It’s all very collaborative, what would you recommend to other institutions who may have an interest in expanding their footprint to have a greater yet practical impact? Thoughts on how to do that sustainably from a resource perspective?

When working with other institutions towards the same ends, it’s essential to focus on creating genuine partnerships that bring real value. Find the people that ‘get it’ and work with them. Starting small with pilot programs or focused collaborations can help you see what works before expanding. It’s also important to find synergies between different partners—whether that’s through sharing resources like space and staffing or finding common goals to work towards. Sustainability comes from creating partnerships that are mutually beneficial, where the collaboration strengthens the work of everyone involved.

When partnering with local schools, businesses, or other arts organizations, we look for opportunities to build programs that are aligned with our style of approach. It’s important to note that these discussions often take months—sometimes even a year—before a project fully comes to fruition. This long timeline is the reality of creating great programs. While planning and discussing future initiatives, we’re also actively carrying out the programs that are already in motion. Patience is essential. It’s important to manage both long-term development and the work happening right now.

Arts Letters & Numbers Workshop / Educational Programming | Image: Provided

We’re always keen to open the space for folks to venture out into their artistic pursuits. Recently a local woodworker took up shop here to get his furniture business off the ground. As ‘compensation’ he lends a hand, using his skill sets to support us where he can. There are ways to be creative about developing transactional relationships.

Arts Letters and Numbers – Teaching Time | Image: Zelé Angelides

Anything in the pipeline that we should be aware of? Anything you would like to plug that you have coming up?

We’re continuing to work closely with local schools and developing community projects that students can be involved in. These initiatives take on many forms, from community-based murals to a community table-building project for the Poestenkill Town Park.

Our residency seasons run from January 15-March 15 and April 15-June 15, where we invite artists from various disciplines to create, collaborate, and engage with the local community. Many are scheduled to arrive, and our application process is still open. You can learn more by visiting our residency page.

We’re also excited to be running our Craft 1o1 project again this year in July and August 2025. It’s our second year running, and we had a remarkable time last year. It’s a unique opportunity for individuals to engage experiences unlike anything I’ve seen, where we engage masters of craft in upwards of 15 different disciplines – from music to masonry, poetry to plumbing. That is to say, musicians learn masonry and masons learn to play music, poets plumb and plumbers write poetry. It’s rather remarkable. We’ll be announcing the open registration for that soon, otherwise folks can plan ahead and join the residency which allows them to participate.

Food Prep at Arts Letters & Numbers | Image: Zelé Angelides

There are a few other exciting projects in development that I’m not quite ready to announce, but you can stay updated on all of our upcoming initiatives by following our newsletter. It’s the best way to stay in the loop and hear about what we’re up to.

For more info –
WEB: artslettersandnumbers.com | IG/FB : @artslettersandnumbers

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