NYS

Community Based Design Aspirations : The Albany Riverfront Collaborative

December 20, 2022 By Corey Aldrich

I was approached about the ‘Albany Riverfront Collaborative‘ by an architect friend, Scott Townsend of SWBR. He reached out to me asking if I was aware of the project and wondering if ACE! would be interested in playing a role in the growing chorus of voices that have an interest in participatory collaboration on what is surely one of the most potentially impactful projects for the riverfront in downtown Albany in decades. As the project is entering an important community feedback phase in the following months, it felt right to amplify the exciting opportunity presented to stakeholders associated with the City of Albany riverfront. To get a little more insight I reached out to Jodi Smits Anderson (AIA, LEED-AP BD+C, Well-AP), a managing principle at Einhorn Yafee Prescott (Albany) who happens to be spending a lot of time engaging interested folks about a collaborative design process.

Jodi Smits Anderson – Member at Albany Riverfront Collaborative | Photo: Corey Aldrich

Can you tell me a bit about the project? What is it trying to accomplish and why now?

The core of the project is reimagining the City of Albany’s riverfront. Albany’s upstate sister cities, Syracuse, Rochester, and Buffalo, have all been implementing significant changes to their outdated urban highway structures. ARC (Albany Riverfront Collaborative) founders came together to 1) help people see that we can make powerful change to uplift our communities and improve access to the Hudson River, 2) build relationships to gain support for this change with regional leaders and elected officials, and 3) design aspirational goals that guide the current project and future work – doing so together, with no exceptions!

Albany Riverfront Current | Photo: Jonah Michel of @AroundAlbany

The best time to influence a project’s scope is prior to the actual design process, through discovery of what is possible. Once design is completed, the only tools available to inform the work tend to be confrontational ones: lawsuits, criticism, protest, etc. The consultants for the project are set to begin designing late winter/early spring of 2023, and collaborative feedback during the process is vital to achieving goals of equity and inclusion.

Three redesign concepts are currently on the table for I-787: 1) A highway cap consisting of parkland that connects the city to the river above the fast-moving traffic; 2) an urban canal system that brings the river into the city while restoring water-leveling locks, creating marinas, and generating local interest and tourism (similar to that of the Providence River Walk in Rhode Island); and 3) an appropriately scaled boulevard that balances pedestrian, transportation, commercial, and community needs.

It is likely that the best design incorporates elements of all three, for each idea builds on different perspectives and priorities, from water management and environmental health to recreation and economic development.

Albany Riverfront Current | Photo: Provided

I-787 Beltway on the Riverfront | Photo: Provided

From a historical perspective, what affect has the I-787 corridor had on the City of Albany, specifically the people who lived / live in the areas impacted?

It is amazing to me how projects have ripple effects over time and space. I-787 and the highway interchanges, along with the Empire State Plaza itself, initially took out 98 acres of locally owned businesses, homes, and community places. This gutted the city and created a physical gap. The intention was to provide faster circulation for cars, offices for government, and to create an impressive skyline. Over time, this gap, this slice through town, has forged disparities in the economic levels of impacted communities and created a downtown that is primarily for workers who don’t live here. In addition, all the communities of Albany are distanced from the Hudson River, with only three access points, none of which are vibrant or welcoming.

Can you share some current financial aspects of the project and also community based goals being discussed?

There was a 2018 study completed by DOT for the Capital District Transportation Committee (CDTC) that clearly stated that creating a boulevard, located on either side of the railroad tracks, was a distinct possibility for further study and analysis. The budget this time is more than fifteen (15) times the funding for that study.

Specifically, the Department of Transportation (DOT) has $5 million dollars to reimagine the City of Albany’s riverfront to promote access to it while adapting to the Hudson’s current and future tidal rise, reconnecting neighborhoods, spurring economic activity, and creating opportunities for current and future residents.

Albany Riverfront Proposed Redesign Features | Photo: Provided

We’ve been hearing from communities including the Albany Downtown BID, South Albany, the Pastures, and North Albany among others. I, myself, live in Pine Hills and have worked downtown for 15 years, mostly biking and walking to and from the office. The visions of joy being shared through the work of the ARC center around access to Nature and removal of the great weight of concrete over people’s heads. There is a lot of concern over development and a way to do it without pricing our current residents out of the city. This is why local voices are vital. We also hear about slowing down traffic and increasing access points into the city. This last piece is particularly impactful because it can lead to economic growth – for all of the city. Studies show that this approach helps people spend more time and more money in cities, as they are more likely to be part of the community after work hours.

Can you tell us about the public and private stakeholders and cultural and community organizations who have signed on to help make this happen?

The list of stakeholders / partners is impressive. They include residents, neighborhood and community groups, for and not for profit organizations, businesses and government entities. The intent of the Albany Riverfront Collaborative has always been to be a connector. ARC’s goal is to facilitate a growing understanding for all the communities of Albany, including commuters and visitors. That we all have a right and a responsibility in the vision for the city. We want elementary school kids to write about the Hudson, and college students to do the carbon calculations on the plans. We want people to propose legislation to clean and heal the Hudson, and all the streams we have buried in Albany. We support Radix Center‘s urban gardens and the South End Butterfly Sanctuary pollinating them. Local artists and local advocates can agree about the need for a shared, co-created, inclusive, climate smart, and healthy future. CDTA and the local neighborhood associations can inform the plans, and you and I can love our city. That’s the potential we all can see and work for.

Where can folks go to get more information?

You can check out our website and follow us on social media. We are currently looking for more people with a vested interest in the long term development of the City of Albany to connect with the process so please, reach out if you have an interest!

WEB: albanyriverfrontcollaborative.com
IG / FB: @albanyriverfrontcollaborative

Street Art / Graffiti as Gravity – Part I of III : A Townie Perspective

May 8, 2022 By Taliesin Thomas

This 3-part series on the dynamic nature of street art and graffiti—as both a symbol of cultural consciousness and a cultural commodity—highlights these genres as viable assets within the regional and global creative economy today. In this opening segment, the author shares a townie perspective.

BLM Street Art in Troy NY — Black Lives Matter Mural Project | Photo: Taliesin Thomas

Troy, NY is a historic town built on the foundations of fortunes gained during a heightened gilded era of development in the United States. One can celebrate the charming vibes of this post-industrial town nestled along the mighty Hudson River. Troy boasts a reputation as an increasingly eclectic enclave north of Manhattan—and Albany further still—that is home to a diverse community and a thriving arts scene, including strong examples of street art and graffiti that one might encounter in any lively urban (or non-urban) locale anywhere in the world. This, I believe, reflects street art and graffiti’s role as a kind of gravity within society: it is a symbol of cultural consciousness and engagement with a community audience—it is also a cultural commodity within the larger context of a global creative economy. The brief footnote here: my use of the terms ‘street art’ and ‘graffiti’ are somewhat interchangeable, however, the distinction that I have observed during my years as an arts professional is that community planned and supported expressions of street art aim to contribute to the artistic life of a community with care and respect.

Troy NY Graffiti — Photo: Taliesin Thomas

Troy NY Graffitti — Photo: Taliesin Thomas

Troy NY Graffiti / Street Art — Photo: Taliesin Thomas

Nevertheless, I became familiar with Troy’s artistic milieu during the mid-1990s (having done my undergrad at nearby Bennington College) and I relocated from Brooklyn during the deepest summer days of the 2020 pandemic-era (a welcomed redux encounter with the Hudson Valley). It has been a joy to behold a healthy street art and graffiti scene flourishing around Troy since taking up residency in these old digs. Alas, one cannot ignore the unfortunate acts of vandalism caused by graffiti in certain contexts—on sacred public spaces and historic buildings—yet the intentional placement of vibrant street art and the reverential gestures of calculated bombing—when it does not incur outright destruction—are truly inspirational. If we consider nascent forms of art-making dating back to the basic Paleolithic line drawings found in the caves of southern France, for example, our collective desire to mark our human existence by way of the ‘I WAS HERE’ declaration is irrefutable. Those magnificently crafted 17,000-year-old drawings that consist of raw markings and swaths of color are, essentially, the earliest form of sizing up a barren wall and tagging it with some signature of presence. Such outstanding examples of prehistoric art naturally point in the direction of an artistic expression that has, over millennia, evolved into divergent forms of communication with a would-be audience, thus the birth of art as anywhere—and eventually art in the street.

Our contemporary society is thriving with all categories of creative stimuli, and I think many of us are drawn to commodities and cultural contexts that provide a sense of connectivity. I would argue that the energy of great street art is unrivaled in this category—one is immediately brought in within the moment of stumbling upon it. The stylized tags, the brazen use of bold color, the oversized gestures, the symbolic code name of one’s chosen street alias, and the deft and dope use noxious aerosol paint are all aspects of graffiti to be celebrated. Although I will not further comment on acts of graffiti that cause outright damage, this is an inevitable facet of the conversation. We must welcome the ribald nature of the so-called ‘art-world-circus-show’ in all its unbridled medley, including the blatant criminality of certain practices on every level (street or no street as part of the equation).

Compelling works of street art and graffiti abound in towns and cities across the planet, proving that street artists and taggers are a prevalent international tribe with their own language, history, society, and sect. While many examples of street art and graffiti embody the anti-establishment tendencies that we associate with counterculture proclivities, this distinct sub-cult remains as one of the most compelling declarations of artistic identity in contemporary times. The multidimensional presentation of street art and graffiti as it prevails in Troy, NY provides a ‘townie perspective’ into the proliferating scale of the global genre today. I know we all look forward to seeing more uplifting displays of public art and street art in our town and in our world. In Troy, The Arts Center of the Capital Region along with several other Troy based institutions and residents are working to expand support for local artists through community arts initiatives that encourage local artists and taggers to step up their game in a way that kindles camaraderie and care in our beloved city.

PART II : In the next installment, we will explore the economies and community benefits of public mural programs.

Troy NY Mural / Street Art — Uniting Line Project | Photo: Taliesin Thomas

Taliesin Thomas is an artist-philosopher, writer, and lecturer based in Troy, NY. Since 2007, she is the founding director of AW Asia, NY and the collection manager of Art Issue Editions, NY—two private art collections that are the foundation for collaborations and projects with artists and museums worldwide. Thomas has lectured and published widely on contemporary art. She is a faculty member at School of Visual Arts (SVA), NY and a visiting critic at the Arts Center for the Capital Region, NY. Thomas studied studio art, aesthetics, theory, and philosophy at Bennington College (BA), Columbia University (MA), and The Institute for Doctoral Studies in the Visual Arts (PhD).

SALEM ART WORKS : A Conversation with Pearl Cafritz – Executive Director

May 4, 2022 By Corey Aldrich

My first exposure to SAW was through the ‘Things To Do’ section in back of The Metroland (RIP). There was a listing for a quirky music festival called SAWFEST. I went, saw and heard and ever since, I have been a big fan of this amazing institution. I first met Pearl through previous ACE! Executive Director Maureen Sager. We did an event together and I came to appreciate just how much Pearl had to offer SAW and the region at large. And now…you too are on the inside track.

Pearl Cafritz, Executive Director at Salem Art Works — Photo: Corey Aldrich

Please state your name, title, and what you do at Salem Art Works (SAW). How many employees do you have on campus and what do they oversee?

I am Pearl Cafritz, Executive Director. I oversee administration, programs, and strategic planning. There are twelve staff currently. The administrative team is comprised of a Director of Programs, a Coordinator of Workshops, a Director of Development, and a Graphic Designer. The studios each have a director as well including: blacksmithing, ceramics, glass, foundry and welding. We also have a sculpture park manager, a young artist coordinator, a seasonal chef and housekeeper.

Entrance to Salem Art Works — Photo: Corey Aldrich

Can you share a little bit about your education and background pre-SAW. Curious about the other places you have worked and learned your expertise from.

Originally from Saratoga Springs, my journey to creative problem solving began while working at my family’s hardware store, Farmers Hardware. I earned my Bachelor of Fine Arts from The College of Saint Rose with a concentration in sculpture. My background in exhibit installation and art handling took me to museums like The Guggenheim, The American Museum of Natural History, The Cooper Hewitt, Smithsonian Design Museum, and The Whitney. Pursuing the contemporary division of art shipping allowed me to travel, oversee import / exports and coordinate crews installing at various art fairs including Basel Switzerland & Miami, Frieze London, and Venice Biennale. I had the privilege of working directly with Matthew Barney as a set builder for Cremaster 3 and assisted Kiki Smith at the International Center of Photography.

As an art world entrepreneur, I started my own art handling company inspired by the Art Basel scene in Miami, Florida.

Salem ARt Works pieces from the ceramic kiln — From the Ceramic Kiln | Photo: Corey Aldrich

Can you tell us more about the mission and varied programming that you oversee?

The SAW mission is to provide a unique alternative arts learning and experimental environment for young, emerging, and established artists. In addition to a variety of artist residencies, SAW prides itself in its youth programming and workshop offerings. For example, In 2021 ‘Salem Teen Arts‘ taught 31 teens valuable art skills such as glass blowing, watercolor painting, acrylic painting, welding, pottery throwing, and welding.

Starting this year, we are offering a ‘Family Friendly Residency‘ which will allow families of teen artists to stay on campus and take advantage of workshop offerings. For the summer of 2022, we have families joining us from as far away as Washington state and Florida.

Over the past few seasons we have seen a dramatic increase in our workshop offerings. Our capital improvements have allowed us to winterize most of our shops, thus expanding our workshop schedules in a variety of disciplines including:

Blacksmithing, Welding, Making Natural Paints and Pigments, Painting, Retaining Wall Restoration, Woodturning and Stone carving

Barn Construction Shot — Barn Facility Upgrade | Photo: Michael Hatzel

How has COVID affected your programming and facilities over the last couple of years?

COVID imposed a variety of challenges on our operation, the result was an opportunity for re-examination of our procedures and processes. In March 2020, we temporarily postponed our the public programming scheduled for the 2020 season. Having this imposed breather allowed us to refine our administrative procedures, policies and programs. Additionally, we used this time to make several improvements to our facilities.

Image of teen boy and girl working in a blacksmithing shop. — Salem Teen Arts – Blacksmithing | Photo: Michael Hatzel

Young Student Grinding a Piece of Metal — Salem Teen Arts – Metal Shop | Photo: Michael Hatzel

It seems like SAW is an important part of the greater community at large in Salem and the immediate area. Can you talk a bit about your outside collaborations and partnerships?

I am actively seeking opportunities for our artists in residence as well as for local artists. Currently SAW has partnered with North Main Street Gallery, Railroad Station Gallery, North Bennington Outdoor Sculpture Park, HN Williams, Lower Adirondack Regional Arts Council, Kingsborough Community College, Southern Vermont Art Center, Elizabeth de C. Wilson Museum, Salem Historic Community Center, The Art Center of the Capital Region, Union College, Collar works, and MASS MoCA.

I also serve on the Salem Chamber of Commerce, our 4th of July Parade Committee, and have begun working with Jackos (A downtown Salem Restaurant/Gathering Space) to provide public programming which will begin this summer.

Students pouring molten iron into molds — Iron Pour with Hartwick College Students | Photo: Michael Hatzel

Student making an iron pour mold design — Mold Making for an Iron Pour | Photo: Michael Hatzel

Anything coming up that you are especially excited about that you would like to share?

Now in it’s 2^nd year, the ‘NY/VT Regional Artist Residency‘ will host 10 artists who live and work in one of the two states and that have an income of $50,000 or less. This takes place from June 20th to July 5^th. Artists will live and work at SAW for two weeks with a $500 unrestricted honorarium. Our goal with this residency is for the artists to see themselves as part of our region while generating new opportunities and growth.

Artwork created during the residency will be on view during a closing Artist Reception Friday, July 1st from 5-7 PM.

This is the 11th season of ‘salem2salem’, an international multi-disciplinary exchange between SAW and the Bodenseekreis (Cultural Department of Lake Constance in Salem Germany) which brings together 20 artists from August 8th to August 29th. The group will include 4 artists from Australia, 1 artist from Romania, 10 artists from Germany, and 5 artists from the USA. An open studio event with work created during the residency on Friday, August 19th from 5-7 PM will include live music, readings and fine art.

To join the mailing list, register for a program / class or to see the full program/workshop/event calendar drop by the website.

WEB: salemartworks.com | IG / FB: @salemartworks

Recap: CFA Opportunities for the Creative Economy

June 6, 2018 By debug

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[x_gap size=”25px”][cs_text]Photo credit: Ken Kozak, Kendo Design

On Monday, June 4th, a packed house of Creatives took part in a workshop entitled “CFA Opportunities for the Creative Economy,” and got a chance to hear from and ask questions of members of the New York State Council of the Arts (NYSCA), Regional Economic Development Council (REDC), and Empire State Development (ESD) about the millions of dollars of state funds made available through the Consolidated Funding Application (CFA) process (yes, that’s a lot of acronyms!). The application process can be daunting for newcomers and experienced organizations and companies alike, so this unprecedented chance to hear from those who’ll be reviewing scores of applications was beneficial to all parties involved.

Philip Morris — a member of the REDC and CEO of several CFA grants for Proctors, Cap Rep, and Universal Preservation Hall — recommended that grant requests be “real — don’t make something up just to fit the guidelines. The panelists can tell if it’s a project that’s really true to your mission.”

Melissa auf der Maur, founder of Basilica Hudson, which was awarded two CFA grants last year, recommended that applications be “relevant to both your local community and to the region” and recommended that applicants “really make a strong financial case” about how much is invested and what all of the outcomes of your project will be.

Mike Yevoli of Empire State Development recommended that applicants review CFA guidelines as well as the REDC’s goals before applying.

Andrew Meader of the REDC encouraged people to not be put off if their projects aren’t funded the first time out, citing the Park Theater project in Glens Falls, which was funded on its third try.

Sunita Iqbal of NYSCA recommended that applicants contact NYSCA with questions before the July 9th “inquiry deadline.”

The Capital Region has received $521.9 million from the state to support 718 projects through the Consolidated Funding Application since 2011, but all of the panelists emphasized that the application process itself is extremely rigorous, as are the reporting demands that take place after receiving a grant, and that not every organization and project will benefit from the amount of work that the CFA grants require.

For other questions about the CFA process, visit the CFA site or contact ESD at (518) 270-1130.[/cs_text][/cs_column][/cs_row][/cs_section][/cs_content]