Stephanie Sittnick - Director of Sales ( 860) 227-8199 advertising@518mag.com
CONTRIBUTORS
Carol St.Sauveur Ferris, Karen Richman, Rona Mann
Chandler Stevens, Lawrence White, Kirsten Ferguson, Alan B. Richer, Crystal Cobert Giddens, Kristina Watrobski, Chef Armand Vanderstigchel
“There’s a Magic in Touching Clay” Meet Cheryl Horning, a Unique Sculptor pg. 6
It’s Gallery5 Schenectady Where the Arts are Popping Up All Over! pg. 16
you will find a culmination of creativity, passion, and an unyielding dedication t o the arts. Find your favorite chair and read on to find amazing, seasoned, new and aspiring creatives.
As always, our goal at 518 PROFILES, is always to focus on the good, the beautiful and the positive by publishing stories with heart and soul. We strive each month to deliver authentic and unique content about creative people and interesting destinations. Enjoy!
Stephanie Sittnick Founder / Publisher
David Arsenault, Artist: He Paints, Then Invites You to Tell the Story pg. 26
Mostly ModernTotally Amazing Connecting the World Community of Composers & Musicians pg. 34
The Laffer Gallery
Frequencies | June 14 - July 27
Reception: June 14, 5pm - 8pm
Hours: Thursday - Sunday 12pm - 5pm
Address: 96 Broad St, Schuylerville, NY 12871
Featuring: Leslie Parke & Yeachin Tsai
“There’s
a Magic in Touching Clay” Meet Cheryl Horning, a Unique Sculptor
by Rona Mann
Michelangelo once said: “Every block of stone has a statue inside it, and it is the task of the sculptor to dis cover it.”
Auguste Rodin once said, (albeit nowhere near as poet ically as Michelangelo): “Sculpture is the art of the hole and the lump.”
And in the Capital Region, Cheryl Horning fre quently says, “When people sit for me, it’s a very sacred experience for me. I get to see what’s special about that person, it’s who they are. Your life story is carried in your face.”
Yes, Cheryl Horning is a professional and well respected sculptor having spent years of her life making the journey. It’s a journey she’s still on because a true artist doesn’t reach a pinnacle or end point and that marks the end of the story. For an artist of Horning’s caliber, there is no end, so let’s turn back the pages and begin at the be ginning of Horning’s fascinating and beautiful journey.
Born right here in the Capital District, this self- styled country girl was raised in Catskill. “Such beautiful country,” Cheryl begins. It’s a peaceful town surrounded by mountains and rivers and tiny as it is, it is considered the birthplace of American art where the Hudson River
School of Landscape Painting began and where Cheryl Horning’s intro duction to art began as well. Her grandmother operated a nursery school in town, and the young girl loved going there to play and explore. While most little girls might be drawn to simple dolls and toys, Cheryl liked playing with the blocks, the shapes, and everything that represented construction even on a childish level.
“By 4th grade, I was drawing a lot, then I got into creating dioramas with layers of scenery lit by a simple flashlight. I copied pictures I saw on calendars, and by the time I reached high school, I had boxes of sketch-
books. My friends all liked to draw people or pets, but I always loved to draw trees. There was something about the life force of a tree growing that appealed to me and still does.”
Horning’s mother recognized the budding talent and wanted to support it so on Saturdays she would take her daughter for an hour to the home and personal studio of one of the co-founders of the Woodstock Art Colony. This was the world-famous artist, Lucile (sp) Blanch, but Cheryl just thought she was sitting with a nice old lady who told stories. “Sitting with” Lucile was more than just a young girl spending time in a chair. Cheryl’s time flew by each week as she listened wide-eyed to the stories Blanch told the teen of growing up in Minnesota and what it was like to be an artist at the turn of the century all the way to the 1950s. She spoke of specific paintings and the stories behind
them, while young, budding artist Cheryl Horning sat enrapt in the dialogue, soaking up the knowledge along with the stories themselves.
“We did talk somewhat about philosophical ideas and art,” Horning said. “What a blessing I was to have had that time with her!”
It was a blessing and a privilege that Cheryl didn’t fully realize until she was older because Lucile Blanch was a painter whose work was featured at the Whitney Museum of American Art, The Metropolitan Museum of Modern Art, the Milch Galleries, and both the Whitney and the Corcoran Gallery in Washington D.C. purchased her works for their permanent collections. It was an invaluable education young Cheryl received from all those stories told on all those Saturdays for three of her teenage years.
“Lucile Blanch taught me that art is not a competition, it’s all about discovering who you are.”
During her senior year of high school, Horning attended ColumbiaGreene Community College in Hudson for a few courses and was fortunate enough to take a class from Anthony Padovano, a famed New York sculptor who also taught at Sarah Lawrence and whose work had won him worldwide notoriety and acclaim. “It was my first introduction to clay,” Cheryl said, “and at age 17 I knew I had found myself.”
She asked Padovano if she could take the clay home with her, and when granted permission, her creativity soared. “I sculpted everything... my dog, even a foot which I still have in my studio,” she laughed. Cheryl plunged headlong into sculpting embracing the study of anatomy and biology. Padovano urged her to go on to Sarah Lawrence, but its prohibitive cost sent her instead to SUNY Albany where she met another unique artist, her professor, Richard Stankiewicz, a veritable scrap iron pioneer in what was then called, “junk art.”He would liter ally find objects and weld them together, and along the way, a student named Cheryl Horning also learned to weld.
Speaking with the artist today she is loathe to give full credit for her talent solely to herself. She is quick to speak of Lucile Blanch, of An thony Padovano, Richard Stankiewicz, and others like Regis Brodie and Alice Manzie from Skidmore; and also Jill Fishon-Kovachick of Saratoga Clay Arts (“she helped me so much on my journey, I love hanging out there”) who have given their time and talent to help Cheryl develop and refine hers. But even then, this artist has few preconceived notions each time she touches the clay to begin her next sculpture. “The ideas for my sculptures, whether from my dreams or my drawings, often originate from unconscious memory, from an unknown space.
My abstracted figurative works are about bodies that are conjoined in a perpetual dance or struggle to separate or merge. As these ideas are realized in three dimensions, they become lyrical, sensual, and visceral.”
Horning continues, “I am fascinated by identity, where we come from and who we think we are.” And she speaks of drawing much of her in spiration from people’s stories much as her teenage self all those years ago learned from the stories of Lucile Blanch. The teacher in Cheryl offers us all a simple lesson by instructing that a sculpture can be built with solid clay with no interior space or hollow where the artist builds up external walls. Regardless of how it is built, the sculpture is left to dry slowly for a month or more. When bone dry, it is fired in a kiln at extremely high temperatures then finished with layers of acrylics or casein (fast-drying, water-soluble) paint. A more labor-`intensive option is to make a rubber mold and then cast the sculpture in plaster or resin.
“For me, creating sculptures is like filling a void. As I build up the clay little by little, as the form takes shape, filling up the space in front of me between my hands, I am sometimes surprised or delighted by this new being.”
Cheryl Horning is not just a fine sculptor but a wise woman indeed who has been touched with a unique talent.
There is a magic in touching clay.
Come meet Cheryl and the other Oakroom Artists on Sunday, June 8th at their annual show at the Unitarian Universalist Society of Schenectady, 1221 Wendell Avenue. This show will be held 2-4 PM, is open to the public, and there is no charge.
For further information on Cheryl Horning: www.cherylhorningsculpture.com (518) 275-3198
587 Grand Avenue, Saratoga Springs, NY 12866
This beautifully maintained Victorian style home is just minutes to downtown Saratoga Springs, Saratoga Race Track and Saratoga Performing Arts Center. On a quiet, acre corner lot, this majestic home has old world charm with a wraparound porch, stained glass windows, detached 2 car garage, sunroom with natural gas stove, and greenhouse. Located in the Saratoga Springs City School District, this 3 BR, 2.5 bath home has 10' ceilings, hand crafted trim, oak staircase, fireplace w/marble hearth and Hearthstone gas logs, Central air, hardwood floors throughout, large master bedroom with walk in closet and large master bathroom, 1st floor laundry, quartz countertops, stainless appliances, large partially finished basement, ADT Security System, and a 22kw Generac standby generator. Move in condition. Homes like this one don't become available very often. $649,000
Live Where You Love
It’s Gallery5 Schenectady Where the Arts are Popping Up All Over!
by Carol St.Sauveur Ferris
Beginning in March 2020, cities everywhere went dark and silent b ecause of the pandemic. The new normal was unlike anything experienced before. Companies that could, retooled to accommodate a remote working population, while others closed temporarily, and sadly, some closed permanently.
When the shutdown was lifted in the summer of 2021, cities across the country slowly came out of their pandemic stupor only to find a very different world than the one pre-Covid. People were now quite comfortable with remote work, and the idea of a commute to the city was no longer appealing. The net result of this attitude shift was a dra matic decrease in the daily population that city retail and service sectors had relied on, leading to businesses closing or trying desperately to reinvent themselves.
However, despite the challenges, there were flickers of light and beacons of hope shining through in the form of concerned business people, elected officials, and city residents who came together to bring back the vitality of their cities. They looked at the areas most deeply affected and began to identify solutions that would once again attract the community at large to return to the city.
What became abundantly clear and has always been a known fact was that economic development and support for the arts are key pillars to the vibrance and growth of any city. In Schenectady, New York a small group of residents, artists, and business people joined forces to do just that. Their goal was to foster the arts and bring people back. In addition, they sought to provide an opportunity for known and unknown artists at every age and experience level to showcase and sell their work.
This ambitious vision began with a conversation between art enthusiasts Dr. Paul G. Ambrose, Chief Vision and Executive Officer of Prxcision, Inc., and Richard Mare, Owner of Downtown Designs and Curated Vintage. One evening over dinner, the two were discussing the city’s challenges and both recognized the need for the arts to return strong. Yes, there were venues like The Proctor which had history to build upon and were already making some comeback strides, but they both felt it was the loosely knit artists’ communities which go largely unrepresented that needed a helping hand and in turn would be instru mental in revitalizing Schenectady.
“The mission was to bring unknown artists to the public eye and engage the community of Schenectady with the arts on a higher level. It was also a way to bring a breath of fresh air into the whole art scene.”
Left to right: Carney McGuire, Rudy Grant, Paul Ambrose, David Siders, Annie Cortelyou, Richard Maré and Steve Kowalski
From that initial conversation, the two set out to attract other individuals willing to put in the time and do the legwork to create unique events and showcase the city’s diverse community of local artists. Since those early days of setting up the organization, now known as Gallery5, the board has evolved and now consists of eight individuals representing a crosssection of the arts and industry. Besides Paul Ambrose and Richard Mare, the board includes Annie Cortelyou, Rudy Grant, Samantha Herbst, Steve Kowalski, Carney McGuire, and David Siders. Each brings their unique talents and skills to the table plus the enthusiasm and willingness to make things happen.
But the big question looming over them was how? How do you bring people into the city after hours? And how do you assist both known and unknown artists with bringing their art to the people? After discussing and
researching a variety of possibilities, the board decided to plan pop-up art shows that would create an air of mystery and fun with the unknown and the unexpected. Unknown artists, unconventional locations, and an opening night featuring signature drinks, unique charcuterie, plus entertainment became the template for their excit ing venture. When combined, this novel, pop-up art gallery concept created a mysterious and sophisticated ravelike event which was the first of its kind in Schenectady.
When asked what the process entails to create these events it is immediately clear that a lot of effort goes into making pop- ups memorable and successful. It takes a village for the most part and in volves the board, community support, and local vendors to design and create marketing materials, do website updates, prepare food, pre pare the site, create and set up décor, and provide beautiful flower arrangements. Richard Mare shared that they decide on a theme and location, and then put out a call for artists.
“We put out a call to artists a couple months prior to the event, and then we jury it. We have a small group that juries all of our pieces. We then get together and do a layout of all the chosen pieces in the selected space. Typically, the location is in a vacant retail space or new construction. We go into that space and transform it into a gallery space.”
Their first pop-up was held in 2022 and was a resounding success. People thoroughly enjoyed themselves and were introduced to the work of
aspiring and established artists. Gallery5 sold $30,000.00 worth of artwork at their initial, 4-day show. Needless to say, everyone was thrilled, and ever since then, there have been four large-scale events and numerous small pop- ups with more to come.
“We’ve done different amounts since but we’ve sold at every show that we’ve done, and they were significant amounts for the artists.”
The next pop-up, titled Pony Up for Art is happening from June 5th through June 8th at Electric City Apartments, a Highbridge Development Building. It coincides with the Belmont Stakes taking place at the Saratoga Springs Racetrack for the second of three consec utive years, and as one might expect, a call for equestrian artwork went out to the arts community which has responded in kind. At open ing night there will be wonderful entertainment as always, a sig nature drink called Saratoga Sangria, and a delightful array of hors d’oeuvres and charcuterie.
Last year when their show coincided with the Belmont Stakes at the Saratoga Springs Racetrack they had over 600 people in attendance. It
was a phenomenal success despite publicity done entirely by word of mouth! This year, opening night for Pony Up for Art is also Gallery5’s first official fundraiser with proceeds to
fund several scholarships that will be awarded to deserving high school students of the arts and future pop-up events. A total of 250 invi tations have been sent to a cross-section of the Schenectady corporate community to en courage attendance at this special event and also to encourage philanthropy. In addition, the Gazette newspaper is a sponsor and provides publicity as well; and of course, word of mouth is spreading the good news once again.
Regardless of theme or location, over the 4-day pop-ups, education is an important part of the event. Artists are encouraged to attend so they can meet prospective collectors and answer any questions they may have. The artists are also encouraged to give presentations during the day to share their journey, describe their process and style, and share the story behind their pieces.
Another very exciting pop-up is on the horizon in July. It will be taking place in Schenectady’s famous Central Park Rose Garden. Approximately one acre in size, the park boasts ponds, waterfalls, a per gola, a hillside staircase and shade garden, a gatehouse, and over 2000 rose bushes. It’s a beautiful place to visit and witness Mother Nature’s artistic hand most of the time, but in July, it’s a spectacular backdrop for the beautiful artwork being exhibited.
Since its inception, Gallery5 has grown, and with that, the vision has grown as well. The need for more hands on deck to take the vision to the next level has arrived, and the search is on for more individuals who share their community spirit and love for the arts. This next level is challenging but a chal lenge they welcome. On the wish list is finding a more permanent location to hold the events as well; and with that will come seminars, workshops, and art classes that will reflect and explore the styles, themes, and mediums seen in the work at pop-up events.
Not long ago, Gallery5 was thrilled to launch its official website. It provides up-to-date in formation about upcoming events, the his tory behind the organization and its board members, a detailed description of the schol arships to be offered to local high school students with application information, and a shop featuring all the fabulous art available for purchase.
It would appear that after just three years in the making, Gallery5 is now a permanent fix ture in the Schenectady art scene. Their in creasingly busy schedule also includes small-scale pop-ups on the third Friday of the month for Schenectady Art Night through the efforts of one of their former board members, so there are even more fun and creative events on the horizon.
It’s exciting to see that not only have Gallery5 and their artists gained name recognition for themselves, they have also earned a respected place in the arts community. Bravo everyone!
For more information about Gallery5, their up coming exhibitions, featured artists, schol arship details and to view and purchase art as well, visit them at: www.gallery5schenectady.com or on Instagram @gallery5schenectady, and on their Facebook page - Gallery5Schenectady.
David Arsenault, Artist: He Paints, Then Invites You to Tell the Story
by Carol St.Sauveur Ferris
Born and raised in the towns of Troy, Monticello, and West Sand Lake, New York, David Arsenault grew up an avid reader, a big fan of rock music, and as he puts it, “an enthusiastic mildly talented baseball/basketball player.” His interests also included science fiction, Star Trek, and TV. Notably absent from the list were painting, sculp ture, drawing, or anything distinctly creative.
According to David, his dad could draw but didn’t have much time to pursue it with a family of eight to support. Likewise, his mom was busy taking care of six children, so art was not on her radar. However, in grade school, he did have a few teachers who encouraged him when he took some art classes, but beyond that, he did not pursue the arts until later in life.
David’s early career was rather eclectic. At 19 he worked at a convenience store followed by a 5-year stint as a radio announcer. Next was a job at a talent agency including on-camera work, voice, and print media.
Later he took a job in educational publishing which eventually led him to graphic design work for the company’s advertising and publishing groups.
He did manage to attend college sporadically between 1986 and 1989. Three of them in fact. David attended The University of Albany, Al bany Business College, and Hudson Valley Community College with no particular focus or field of study. However, in 1990, the idea of studying art took hold, and he moved on to Sage College of Albany to study graphic design. In 1993, he graduated Magna Cum Laude with his AAS in graphic design. David continued his art education at the University of Albany but never finished the degree program. He was 36 years old and just wanted to get out there and start painting!
And painting he did. In earnest. It wasn’t long before his signature style emerged. A style that was and still is reminiscent of Edward Hopper whose work David was introduced to as a 7th grade library
assistant and later reintroduced to in 1990 in a studio class at Sage College. Hopper is known as one of the 20th century’s most important painters of realism. His paintings depicted scenes and details of everyday life, both urban and rural while conveying a sense of loneliness and isolation.
Like Hopper, David paints moments he sees and is deeply contemplative and thoughtful about what he wishes to convey on canvas. The essence of his feelings passes through these filters before the paint reaches the canvas. As the paint is being applied, his intentions slowly appear in the form of shape, color, light, and perspective. The result is a moment beautifully captured forever on canvas for others to enjoy, ponder, and reflect. However, unlike Hopper, his pieces also give you space and en couragement to personally connect with the scenes he paints and imbue them with the emotions and memories that are meaningful to you.
To allow that space, David’s approach to painting is measured and con sistent. Many artists use heavy brush strokes and palette knives to apply thick layers of paint that give importance to its texture and invite the viewer to notice the paint itself. David eschews heavily textured paint in his work and focuses on applying each color thinly and seamlessly, paying close attention to light and small details. He uses oil paint
exclu sively and prefers his compositions to stand on their own, simple and clear, without brush strokes. As a result, his compositions can be viewed and understood both up close and at a distance.
“Looking North” 24x30
“Winter Stillness” 24X36
“Approaching Storm” 36x36
“I’d rather you have no cognizance of the paint itself so much as you’re feeling the space.”
One need only view some of his pieces to understand what he means. Pieces such as Overdue Conversation II, Sea-ing and Dreaming, and Arrival take you to places you might have been or to moments you might have experienced. They are compositions that invite an inner dia logue with those moments or places. And if not a personal connection, they invite your inner storyteller to speak their story.
The sensitivity and passion David brings to his work is also evident in his commitment to painting. He can be found in his studio 4-5 days per week and about 3-5 hours each day. That’s a 25-hour commitment to his work, but for David, it’s not work, it’s a way of life which he loves. When asked where his inspiration to paint comes from that compels him to paint for so many days and hours, he shares a long list of concrete and abstract references.
“Light, life, color, patterns, shapes, feelings, questions, understandings, seeing, imagining, and making connections between sometimes seemingly unrelated things.”
In addition, his process will often include capturing an image on his phone as a means to record feelings, certain light, compelling compositions, or simply fuel ideas for future work. After all these years, he has built an image archive of photos he’s taken and sketchbooks filled with notes and sketches, of course. As mentioned, once David decides on a concept and the time has come to put paint to canvas, he is unhurried and contemplative. For that reason, he has
“Cape Ann Morning” 18x24
not been one to do en plein air paintings. The idea of painting quickly is just not for him and never has been. In fact, he has been noto riously so slow to finish projects, dating back to his younger years, that a high school teacher nicknamed him, “Speed!” It appears that the name is still apropos but that’s alright with David. He knows he will get it done in good time.
Despite his slow and prodigious approach to painting, he has managed to be the featured artist in numerous solo exhibitions and his work has been exhibited in over 150 group shows across the country as well. In addition, his Artist’s CV lists a number of awards and recognition in more than 16 juried exhibitions, including winning 1st place in several of them. David’s work has also appeared in dozens of publications and on television in cluding the PBS series, “A House of Arts.” And last but not least, his paintings have ap peared on more than 26 book covers over the years. The most recent book was just re leased in 2025. Written by Pulitzer Prizewinning author Anne Tyler, it’s called Three Days in June and David’s painting titled Cape Cod Bays is the cover.
Owning an art gallery was also part of his artistic journey. For the prior 10 years David owned and operated The Art of David Arsenault, a gallery in Rockport, Massachusetts featuring his own work. He had a studio there as well. It was a fascinating, interesting, and exciting experience but in late 2024, the time had come to make the decision to close the doors. It’s no secret that for many creatives, being an entrepreneur/business owner requires a lot more time devoted to the art of the busi ness, rather than the business of making art. At the start, it’s all very exciting, but as time goes on there simply isn’t enough time as you would like to create your art, which is a sobering realization. David had been quite
successful at both. In fact, he sold 9095% of his paintings in the Rockport Gallery but slowly realized he wanted to paint rather than run a gallery … and have time off to enjoy summers again! Returning to his creative roots, David closed the doors on December 24, 2024 to begin the next chapter.
“I ran that gallery for 10 years. It was a lot of fun but I eventually got to a place where I thought that the business part was outgrowing the art part of it. And I just felt like I needed to pull back and change the formula a little bit to ensure I was making the right paintings for this moment.”
Recently, David was thrilled to participate in an art exhibition, called Vernal Visions at the Laffer Gallery in Schuylerville, New York. Ten of his paintings were shown alongside those of three other artists. Their paintings captured the beauty and nuances of spring. Together the show was a refreshing introspective of the season and very successful.
It comes as no surprise that David’s original paintings are sought after by collectors and hang in private and corporate collections
worldwide. But for those who are not able to purchase originals, David offers prints through his website shop of the most popular pieces. In addition, he also offers gift items in cluding notecards, posters, and calendars. All feature some of his beautiful paintings.
Given the portfolio depth and breadth of work he has painted over the last 30 years, it is safe to say that we are all looking forward to seeing what’s to come as he begins painting the next chapter of his life.
Be sure to visit David’s website at www.artofdavid.com to view and purchase original paintings, prints, and gift items. You can also find his work and keep up with this new artistic chapter on his Facebook page - The Art of David Arsenault. And lastly, you can see even more of David’s work on his Instagram site - @artofdavidarsenault.
Mostly ModernTotally Amazing Connecting the World Community of Composers & Musicians
by Lawrence White
“Music is the universal language of mankind.”
...Henry Wadsworth Longfellow
Saratoga draws creative talent. This is no secret to anyone who lives here. The history, the natural environment, and the sense of culture and community conspire to make a perfect place for a creative spirit. Artists feel it immediately when they arrive.
After enjoying outstanding careers in New York City, this creative natural environment drew Robert and Victoria Patterson co-founders of The Mostly Modern Festival to Saratoga Springs.
Robert Paterson was born in Buffalo and spent over a decade in Rochester and Ithaca, before moving to New York City where he spent twenty years at the highest level of the musical world as a composer. Among his many ac knowledgments are being named Composer of The Year by the Classical Recording Foundation at Carnegie Hall, and the Alfred I. DuPont Award. He won a Grammy ® for Best Classical Producer of the Year for his opera Three Way.
Festival Director, Victoria Paterson is also a native New Yorker. She is a virtuoso violinist whose genre shifts from classical, to popular, to the healing arts. She performed in venues such as Carnegie Hall, Birdland, and Madison Square Garden. As General Director of Mostly Modern Projects, Victoria engages musicians for Mostly Modern and delivers vital programs to senior centers, hospitals, and Alzheimer’s patients, as well as to iconic public spaces, community centers, and parks with “rush hour” and “lunchtime” concerts that are free and open to the public.
Saratoga’s annual Mostly Modern Festival is a deeply immersive experience growing in scope and energy year by year. The festival takes place in June at Skidmore College in the Arthur Zankel Music Center, and all public performances take place at the stunning Helen Filene Ladd Concert Hall, a 600-seat acoustically- tuned professional performance space. Mostly Modern Festival/The Netherlands is the European edition, taking place every April in Holland in historic Middelburg, Zeeland.
Those accepted through application to perform at the Mostly Modern Festival experience a tremendous professional opportunity. The festival accepts up to 120 students and has over 40 faculty members. The event features the Mostly Modern Orchestra, American Modern Ensemble, three guest ensembles, guest speakers, and 10 concerts. The Institute is open to musicians ages 18 and over, at ALL ages and stages of their careers.
Selected composers and artists work alongside festival faculty, with the Mostly Modern Or chestra, and in chamber music concerts. The event allows participating artists to explore and network with faculty and participants and create new opportunities and future work that fits the artist’s passion.
Chamber music is a cornerstone of the Mostly Modern experience. During the three-week festival, they offer the opportunity to perform in three chamber concerts, plus pop-ups all over Saratoga Springs. Participants are put in the driver's seat in a collaborative effort to pro gram, rehearse, and perform a repertoire from the 20th-21st century.
Participants can perform in master classes in structed by some of the nation's leading per formers and composers in contemporary music. Participants enhance their skillset through entrepreneurial “real-world” lectures from our Artist Faculty.
Participants go home with links to fantastic 3-camera shot performance videos and top-ofthe-line audio of their works and performances. Tuition fees and costs are available on the Mostly Modern website.
When I speak to Victoria her tremendous en ergy, goodwill, and focus are immediately evident.
David Amado music director conductor
photo by-Joe del Tufo Moonloop Photography
Victoria Peterson photo by Lawrence White
I ask Victoria what first drew her and Robert to Saratoga, and she tells me, “My parents are in Vermont, so we would drive through Saratoga Springs, but I did not really know the city. Then in 2017, Robert and I were creating recordings of our music, and our producer/engineer was the acoustic engineer for the Arthur Zankel Music Center during con struction. He told us that the center had Carnegie Hall-level acoustics. Robert and I had been running our non-profit since 2005 and had an idea for a real music festival and felt that they needed a more bucolic and affordable setting with a prime venue outside the city for the event. So we visited Skidmore where we were welcomed with open arms.”
are playing in other places, churches, a bar, they are teaching violin, they are doing a tapestry of music jobs to pay the rent. We are teaching the students how to make their way in the world and how to sustain a career.”
Then with intensity, Victoria adds, “That is why we felt we needed to get out of New York City and create this incubator, a beautiful oasis, where musical artists can hang out in a calm, relaxed setting for an ex tended time while holding concerts and provide them with street cred at the business level at the same time.”
I ask Victoria when the name of the festival originated and she explains, “It is a play on the Mostly Mozart Festival at Lincoln Center where I performed for decades, but modern because that is what we do with some classical older favorites added too.”
Victoria continues, “In New York City it was all about performance of original work. But when we started the festival, it was focused on doing something educational. Where young composers, instrumentalists, and singers come to a place for three weeks and learn about the business of music. Like, how do I put together a music series in Columbus, Ohio, or some other place? How do you get work as a musician, especially a classical musician? It is very difficult to find work in an orchestra. Most
I ask Victoria about the results of the festivals, and she provides exam ples. “For instance, we have students who have returned to their home countries of Italy and Germany to start their own festivals and concert series. We love that!”
Victoria further defines the process. “The final component of our efforts is outreach. I have always loved playing hospitals, hospices, and places where music can help healing. So we have three pillars of the nonprofit: performance, education, and outreach.’
As we finish our conversation, Victoria adds, “We love the Saratoga community and appreciate that they have found us and support what
we are doing. This is a world-class festival event, and Saratoga Springs deserves no less than the best. We are looking forward to the festival this year with great anticipation and hope the community will respond as they have in the past.”
Then with a big smile, Victoria adds, “Health, history, horses, and harmony, that is our motto!”
As I was writing this piece, I was contacted by Rabbi Laurence Alpern who attended the festival as a student. His words summed up festival participation perfectly.
“The Mostly Modern Festival must be experienced to feel the healing power of music. The beauty of music is necessary to fill the void of so much emptiness in modern life.”
Yes, The Mostly Modern Festival certainly provides a refreshing and inspirational dimension of healing musical energy for all of Saratoga.
Mostly Modern International Music Festival June 5–20th
Skidmore College Attn: MMF, Zankel Music Center
815 North Broadway Saratoga Springs, New York 12866
Mostly Modern Festival 433 County Route 68 Saratoga Springs, New York 12866 Phone: 917-941-1493
https://mostlymodernfestival.org
JoAnn Falletta conducting
photo by David Adam Beloff
“I’ve been living with chronic eczema on my arms and legs for years. It’s at its worst during the dry, colder months. Having seen 3 different, highly rated dermatologists with no success, I accepted the reality that itchy, sleepless nights was something I just had to live with. Then I met Doctor Galay…”
Albany Resident Liam M. approached Katya Galay, DT CM as a “last ditch effort” to relieve his spotty ec zema symptoms. After consulting with multiple respected dermatologists, he believed his inflamed, itchy skin was an inevitable product of his genetics. But after regularly resisting the urge to scratch his arms and legs for years, he was desperate to try anything.
Dr. Katya Galay, DTCM
Expert in TCM dermatology
“Scratching is very hard to resist, but it is the worst thing you can do. Regular scratching traumatizes the skin and causes it to thicken," explains Katya Galay, Doctor of Traditional Chinese Medicine at Life Cycles Integrative Health in Latham, NY.
“Depending on the type and severity of the eczema, patients can experience con stant rashes, dry flaky skin, discomfort, difficulty sleeping, bleeding, weeping, and even infections. Living with eczema can be a very miserable existence.”
Lia m’s condition didn’t quite risk infection, but his flare-ups made it increasingly difficult to concentrate at work, enjoy time with his family, and sleep through the night. He never felt clear-headed or well rested. Sweating made everything worse. Peaceful hikes in the Adirondacks were ruined with constant scratchy distractions.
Every aspect of life with eczema becomes more challenging. It’s not just a continuous nuisance, it’s a vicious cycle. Itching leads to scratching, which can cause bleeding and more inflammation, which causes more itching — the cycle continues.
“As seasons changed, things would clear up for a little bit. Sometimes I’d even forget about the ec zema for a few weeks. Then it would come back — it would start as a rash, then an itch — and the more I’d scratch, the more it would itch, my body would be covered in bloody scabs…
I Finally Got The Itch I Couldn’t Scratch
I’d try creams, which would work for a little. But re lief was never permanent.” – Liam
“Emollient creams can be very helpful for patients with the dry type of eczema. They can help protect the skin and keep it moisturized. Topical steroid creams will re duce inflammation to a degree, but, unfortunately, can lead to skin atrophy and rebound flare-ups that come with vengeance. When we see the damp type of eczema, where skin becomes weepy and crusty, topi cals alone don’t do the trick,” said Dr. Galay.
“A friend told me about this specialist, so I went for a consultation. Dr. Galay told me that this would not be a quick fix, but assured me that she can help. I didn’t have high hopes. I mean, why would THIS help me, if nothing else could? She gave me a treatment plan, which involved medic inal teas, and a couple of creams: one to use during the day, and one at night. After 2 weeks my itch was almost entirely gone. Fast forward 3 months, and my rash was completely clear. It’s been a year since I finished my treatment. Still eczema-free!” – Liam.
“While symptoms might seem consistent from pa tient to patient, there’s no one-size-fits-all ap proach to ec zema treatment. To find the right treatment, you have to be part doctor, and part de tective. And sometimes the smallest details in a patient's history provide the big answers we need.” Dr. Galay mentioned.
These steady results seem to stem from a consistent method of eczema treatment that Dr. Galay uses at her clinic. She starts by interviewing the patient to identify root causes of the problem, followed by a series of pictures to accurately measure progress.
“Finding the right treatment often boils down to the specific type of eczema someone’s living with. With this in mind, we formulate special blends of medicinal herbs that are tailored specifically to
each patient, their ec zema type, and stage. The f ormulas are then ad justed according to the patient’s progress. The whole process takes a few months. But patients notice results within the first few weeks.” concluded Dr. Galay.
One major misconception is that all eczema is the same — it isn’t.
• If you’ve had eczema since childhood, and you also suffer from allergies, or asthma, you might have Ato pic Dermatitis
• If your eczema rash is round or coin-shaped, you probably have Nummular Eczema.
• If your rash is limited to your hands, and your hands sweat a lot, you likely have Pompholyx Eczema.
• If your eczema is limited to you legs, and you have varicose veins, it may be Stasis Eczema.
“ I was so used to the constant itching, I had almost forgotten what it was like to be comfortable. To sleep throughout the night again. It’s hard to put it into words… I thought my eczema would just be part of my life. I am thrilled to be able to enjoy hik ing with my family again, and not hav ing to worry about the itch!” — Liam.
Tired of living with the itch? At Life Cycles Integrative Health they use natural medicine to address skin diseases at their root, leading to gradual, and stable relief. Dr. Katya Galay specializes in autoimmune and inflammatory skin conditions, including psoriasis, rosacea and acne. She works with people of all ages – from infants to adults – focusing on skin health restoration, steroid withdrawal, and cases where conventional treatments have not been effective. Visit www.lifecyclesclinic.com or call (518) 504-6600 to learn more and schedule a telehealth or an in-person consultation
Picture: patient’s elbows
This ain’t your average boat ride—we’re throwin’ a full-blown Roaring Twenties revelry to benefit the Lake George Arts Project! So dust off your fedoras, fluff up those flapper dresses, and get ready for a night of secret sips, delicious eats, swingin’ tunes, dapper dames, and dashing fellas! It will be the bee's knees! (Find the secret password on our website)
Those Unknown Faces in the Wicker Baskets
by Karen Richman
I am in possession of two giant wicker picnic baskets, but I don’t think my mother ever used them for a picnic.
Mom wasn’t the “picnic” type. Picnics usually mean sitting on the grass, opening and spreading an old tablecloth or blanket on the ground, and eating surrounded by nature. Nature to my mother meant heat, humidity, bugs, wind, and even – heaven forbid! - rain that might ruin her always perfectly coiffed hair. While I’m not certain if she was ever a guest at a picnic, I similarly don’t recall conversations or even suggestions that we might have held a culinary bugfest of our own. That, of course, begs the question: from whence did these wicker picnic baskets come? No idea, but over my lifetime I have lugged them from West Orange, New Jersey to Syracuse, New York, to Lima, Ohio, Worcester, Massachusetts, through the Capital District, and finally to Westerly, Rhode Island. They have been stored in closets, crawl spaces, under beds, and in offices, but never in attics or cellars because of their contents.
From the time I was a teenager, I remember those two baskets were always stuffed to the gills, not with sandwiches, cookies, fruit, and a thermos, but stuffed to the brim with photographs. Black and white little snapshots with deckled edges, sometimes bound together in a miniature cardboard folder, thus making the photos into a booklet. You could almost trace the history of modern photography by the contents of our wicker baskets: some are undeniably Polaroid pictures now halffaded into the decade of their origin; drugstore envelopes (convenient places that sent rolls of film “out” to be developed); receipts from Fo tomat, and envelopes that had Kodachrome (a process of color re versal film) advertised on them. Roll film was first developed by George Eastman, founder of Eastman Kodak. The George Eastman Museum in Rochester, NY, also known as Eastman House is the world’s oldest museum dedicated to photography and has been open to the public since 1949. It makes for a wonderful day or overnight trip.
A few years ago, in an attempt to pare down the “stuff” in this fourbedroom house, I made a concerted effort to sit down one evening with the two picnic baskets and “organize.” I find sitting on the floor the best way to do this because that way you can have three piles: the “Keepers,” the “Not-sure-I-want-to-keep,” and the “Toss ‘em out!” pile. Next to this pile, I had a large trash bag waiting because I had large hopes of filling it full.
I opened the first basket and realized there was neither rhyme nor reason for the contents. It was a wild mixture of black and white, color, Polaroid, and little booklets with deckled edges, all representing dif ferent decades and different lifetimes. Most frightening of all, there were tons of photographs of people I did not know...and obviously, would never know. I turned them over hoping to get perhaps a hint of recognition of name or place, but sadly, there was none. My father was great at writing the years, but seeing just 1953 written on the back of an image of a stranger meant nothing at all. At first blush, I felt it was wrong to just throw away old photographs, but then again, who would want them? I sighed and began filling the trash bag.
I wasn’t even into the second wicker basket when I started to feel guilty. Maybe I should keep some of them? But which ones and why? It’s as though I’m somehow expecting a revelation that some longlost family member who’s been looking for me all these years to add me to their will and make sure my name’s spelled correctly, might suddenly surface.
I therefore put the baskets back in the file room where they currently reside and didn’t think about it for a while. Then recently, I opened them again. I spent time with each of the old black-and-white photos, noting that in the oldest ones, it apparently was not customary for people to smile. They looked straight-arrow into the lens as though having their photograph taken was a serious job because back then people didn’t get to relax or enjoy too much. Their lives were solely about work. For what seemed like hours I made up a little story about each photograph: Who were these people? Were they family? Where did they live? Do I in any way resemble any of them? Sometimes the pictures when developed had a place printed in the margins of the photo paper, like Miami Beach or Atlantic City. If they did, I fantasized about vacations filled with footprints in the sand and palm trees swaying in the wind or walking the length of the boardwalk, eating saltwater taffy, and looking at old hotels. Suddenly I realized I didn’t have to know every name or face that was looking up at me from this basket of unknown memories. They were just people who had walked the earth for a time, lived their lives, were likely part of a family, had jobs, and in some fashion left their footprints on the ground and their faces on celluloid...and they mattered to someone.
And if somehow we were connected because I moved their photographs with me throughout the footsteps of my life, then maybe that was enough. Maybe we belonged together.
Perhaps for a picnic.
June’s Sweet, Celestial Gift
By Crystal Cobert Giddens, LE
Every year, as the days stretch long into golden evenings and the scent of summer ripens in the air, the night sky offers a treat as sweet as the season itself: the Strawberry Moon. This full moon, typically rising in early to mid-June, gets its charming name not from its color - but from its timing. According to the Farmer’s Almanac, the Strawberry Moon was named by the Algonquin tribes of the northeastern United States, as well as the Ojibwe, Dakota, and Lakota peoples. It marked the perfect time to gather ripened wild strawberries, one of the earliest fruits of the season.
Just imagine: before grocery stores and cultivated gardens, people watched the land closely for signs of nature’s rhythm. For many Indigenous tribes, the lunar cycle was more than just a way to track time, it was a spiritual guide and a practical calendar. The full moons
each had names that reflected the natural world and what was happening on the land at that time. The Strawberry Moon was a joyful signal, inviting communities to gather, harvest, and celebrate.
A Cultural Marker
The Algonquin tribes and other Indigenous groups living in the Great Lakes and northeastern U.S. regions relied heavily on environmental cues to guide their agricultural and foraging cycles. The Strawberry Moon coin cided perfectly with the short but sweet season of wild strawberries. These berries were not only a delicious treat but also held nutritional and medicinal value.
For the Ojibwe people, the full moon in June is sometimes referred to as Ode’imini-giizis, which literally translates to "Strawberry Moon."
In Ojibwe spiritual tradition, strawberries are known as ode’imin, or "heart berry." This sa cred fruit is associated with love, healing, and forgiveness. Some oral traditions describe strawberries as a gift from the Creator, representing the heart’s path and guiding people toward reconciliation and understanding.
In Lakota culture, full moons were often named for seasonal changes, much like in Al gonquin tradition. The Strawberry Moon was one among many lunar names that helped communities live in harmony with the Earth’s rhythms.
Despite its berry-inspired name, the Strawberry Moon doesn't usually appear red or pink. Occasionally, due to atmospheric conditions or when it rises low on the horizon, the moon may take on a golden or reddish hue, but
that’s more about optics than fruit. Its name is firmly rooted in tradition rather than appearance.
Interestingly, in Europe, this June full moon was sometimes called the Rose Moon or the Mead Moon. The Rose Moon referred to the bloom of roses during early summer, while the Mead Moon tied into the tradition of fermenting honey into mead, a celebratory drink that played a role in early summer festivals. All of these names show how closely peo ple from various cultures paid attention to nature’s tim ing…and how those observations shaped rituals, celebra tions, and community life.
A Moon Full of Meaning
Spiritually, the Strawberry Moon is often considered a time for reflection, gratitude, and growth. Just as strawberries emerge after the spring thaw, this moon is thought to sym bolize the fruit of intentions planted earlier in the year. In many traditions, the June full moon invites us to pause and take stock of what we’ve nurtured in our lives: Relationships, personal goals, or emotional healing.
Some spiritual practitioners believe that this moon carries a light, playful energy. It's a time to celebrate the sweetness of life and to connect with the earth in a grounded, joyful way. Full moons in general are seen as periods of culmination and clarity, and the Strawberry Moon in particular is associated with love, openness, and emotional abundance. It’s the perfect time to practice gratitude and share joy with others.
Watching the Strawberry Moon
Watching the Strawberry Moon rise is a simple yet magical experience. Because June’s moon often occurs close to the summer solstice, it may be one of the lowest-hanging full moons of the year. This means it can appear larger and more dramatic, especially just after moonrise. Look for it in the eastern sky as the sun sets in the west. You just might catch that enchanting, honeyed glow as the moon begins its slow climb into the night.
You don’t need any special equipment to enjoy the show. Just find a quiet spot, maybe bring a blanket or a friend, and take a moment to breathe in the early summer air. You’ll be continuing a tradition that stretches back centuries - one that connects us with nature, with each other, and with the rhythms of the Earth.
A Time to Savor
In today’s busy world, it’s easy to overlook the quiet beauty of the moon or the sweetness of seasonal fruit. But the Strawberry Moon reminds us to slow down, notice, and savor. Whether you’re picking berries, sipping tea under moonlight, or just enjoying the warmth of a June evening, this full moon offers a gentle invitation to reconnect with nature, with community, and with yourself.
So when the Strawberry Moon rises this June, take a moment to look up. Let its soft glow remind you of ancient traditions, of love and renewal, and of the sweet, fleeting joys that summer brings.
FACES of Saratoga
Organic Skin Therapy Studio
Strawberry Moon Shortcake (Easy & Fresh!)
Serves: 4–6
Prep Time: 15 minutes
Cook Time: 12–15 minutes
Total Time: 30 minutes
INGREDIENTS
For the strawberries:
• 1 pound fresh strawberries, hulled and sliced
• 2 tablespoons sugar (or honey, for a natural option)
• 1 teaspoon lemon juice (optional, brightens the flavor)
FOR THE SHORTCAKES:
• 2 cups all-purpose flour
• 2 tablespoons sugar
• 1 tablespoon baking powder
• 1/2 teaspoon salt
• 1/2 cup (1 stick) cold unsalted butter, cut into small cubes
• 2/3 cup milk (whole or plant-based)
• 1 teaspoon vanilla extract (optional)
FOR THE WHIPPED CREAM:
• 1 cup heavy whipping cream
• 2 tablespoons powdered sugar
• 1/2 teaspoon vanilla extract
INSTRUCTIONS
1. Prep the Strawberries: In a bowl, toss the sliced strawberries with sugar and lemon juice. Set aside for at least 15 minutes to let the juices develop. This creates that classic strawberry syrup.
2. Make the Shortcakes:
Preheat your oven to 425°F (220°C) and line a baking sheet with parchment paper. In a large bowl, whisk together the flour, sugar, baking powder, and salt.
Cut in the cold butter using a pastry cutter or your fingers until the mixture resembles coarse crumbs.
Stir in the milk and vanilla just until the dough comes together—don’t overmix. Drop 6 equal mounds of dough onto the baking sheet (or pat the dough and cut into rounds).
Bake for 12–15 minutes, or until lightly golden. Let them cool slightly.
Whip the Cream:
Beat the heavy cream, powdered sugar, and vanilla until soft peaks form (you can do this by hand or with a mixer).
Assemble:
Split each shortcake, spoon strawberries and juice over the bottom half, dollop with whipped cream, then top with the other half like a little biscuit sandwich.
Optional Strawberry Moon Magic: Sprinkle a bit of edible glitter or rose petals on top to honor the moon’s radiant beauty!
CULINARY DESTINATIONS: Zion via Vegas!
By Chef Armand Vanderstigchel
Las Vegas has successfully converted itself from an “Old Boys Club” gambling Mecca with undertones of Frank Sinatra and “Red Sauce” dining options to one of the Culinary Capitals of the world with every celebrity chef or successful met ropolitan Restaurant concept opening a flag ship or carbon copy of an existing one. You can dine at Peter Lugers, Spago, Rao’s, Gordon Ramsey and multiple Bobby Flay concepts. Surprisingly even “In & Out Burger” of California has broken their ironclad resolve not to expand outside of the surfer state and the new location is to be seen from the highway. Vegas is a marketing tool to quickly achieve national recognition with millions of visitors flying in. In my case, Vegas is an opportune staging ground to conveniently explore neighboring states with their breathtaking attractions while having a comfortable home-base!
Arizona with its majestic Grand Canyon is less than 2 hours. Keep on driving and you can visit the scenic canyon and rock formations of Utah
with Zion National Park as a great multi-faceted adventure town. We took a non-stop flight out of Albany airport with Southwest being one of the few with non-stop to Vegas.
Leaving at 8 AM in the morning you will arrive before noon since you are going back in time. Alamo was the best Rent-A-Car option- they let you walk onto the rental-tarmac and you can pick the car you desire within your needs. We decided to stay at the Aria hotel run by MGM – for $300 which would include tax and resort fee, you get a beautiful high-level modern room and the state of the art hotel gadgets. The self-Parking rate is very reasonable for $20 parks for 24 hours. The casino has a multitude of great restaurants, including the renown steakhouse by celebrity Jean George, a typical plush steakhouse with leather banquets. We ordered an array of appetizers, such as the Foie Gras with Rhubarb reduction, an amazing Hearts of Palm Salad, Black Truffle shaved Mac & Cheese, and an unexpected show-
stopper of a complimentary loaf of Japanese Milk Bread with French But ter- the loaf went very fast. In such an environment it only makes sense to order Steak such as the bone-in grilled Prime-Rib-Eye and the petite Filet Mignon, which was served with an array of sauces, including Bearnaise and Red Wine Beurre Blanc.
Desserts at a Steakhouse never disappoints, especially in a casino envi ronment, where one kitchen is totally dedicated with high-level Pastry chefs who bake for the whole casino by commissary. We had to try the Molten Lava Chocolate Cake, which is the invention of celebrity chef Jean George during his early humble days in Manhattan. The cake was such a hit that soon many NYC Chefs played copycat! Designed with beautiful silk and high-quality chocolate; while oozing it is accompanied with a scoop of Vanilla Ice Cream. We enjoyed the Pavlova, which is a Meringue egg white shell drizzled with fresh Passion Fruit, satiated with Mango Sorbet – a true work of art!
For breakfast do visit in the hotel “Salt & Ivy”- a busy restaurant with beautiful outside seating and a Florida style bar. We ordered the Hot Cappuccino, fresh OJ and a French Omelet, stuffed w/ Spinach, and exotic Mushrooms. Served with a side of Hollandaise, Toast, serves and French potato cake, it was a great way to start the day before our journey to Utah.
First on the list- supplying our Airbnb in the town HurricaneUtah- at a well-stocked supermarket. Then for lunch at River Rock Roasting Company, which also supplies a lot of local restaurants, and hotels with their fabulous fair-trade Coffee.
This quick stop is extremely popular with mountain bike riders because it has a beautiful outside patio view of the valley
and scrumptious Pastries, Salads and Sandwiches, especially the Burgers with fresh meat-portions are huge.
In sequence we drove into the beautiful village of Zion in the national State Park with its beautiful canyons, rock formations and surprisingly many businesses a tourist needs without it being os tentatious. We settled in at the beautiful Flanigan’s resort (no Irish bar-lol), which is a beautiful resort with different villas and cabins across the property adorned with big Rosemary bushes stimulating the senses walking by. By rec ommendation we went to Oscars Restaurant in downtown, known for a huge portion of Mexican inspired food such as the amazing Tamales which were rich and adorned with Smoked Pork, Rice and Black Beans and the world’ best Turkey Burgers, with hand-cut Sweet Potatoes
At the next-door bakery called Farmstead, just go there and swoon in the display of delicious Donuts, Croissants and Cakes prepared at a very high culinary level. Deep Creek Coffee is a wonderful Coffee house across the way to wash down a Chocolate Croissant.
Visit Bumble Berry Innfa mous for Pies and Icecream! We quickly peeked in the Hoodoos General store that is reminiscent of the Wild West and has everything you need to have a successful vacation.
Driving back to Vegas we understood what made our pioneers and settlers push forward- astonishing beauty!
Foie Gras Au Poivre
Passion fruit mango pavlova
JUNE EVENTS
Month of June Glens Falls
• Solo Artist Jude Dalton artworks in The Betty O'Brien Gallery "Expressions 2025" continues through June 14th. For more info visit www northountryarts.org
"Magnus Opus" - June 21-Aug. 2, Opening Reception Sat. Saturday June 21, 5-7pm NCA Gallery #120, 71 Lawrence St. Glens Falls. Call for Art: drop off Saturday June 14, 12-4pm
• "Brush of Life" paintings by Ann Womack, continues to June 27. more info at northountryarts.org NCA 2nd Fl. Gallery, 42 Ridge St. Glens Falls
• “Spring Show”continues through June 28th, art in all media by NCA Members. more info at northountryarts.org Queensbury Hotel Mezzanine Gallery, 88 Ridge St. Glens Falls:
For more Info about events visit: northcountryarts.org
June
1 - June 14
Clifton Park
The Blooming Artist Gallery presents Summer's Glory , an exhibition featuring the works of all local artists. We invite you to visit us through June 14th to experience this exhibit, celebrate the changing of the seasons, and grow your own personal art collection. The Blooming Artist Gallery 675 Grooms Rd, Clifton Park, NY 12065
June 1, 6, 8 & 14 - Saratoga Springs
Meet Upset the Mini Dark Horse of Saratoga! Beloved in the community, Upset the mini horse has made a name for himself in Saratoga Springs not for breaking racing records, but for his work as the mascot of Impressions of Saratoga and the Dark Horse Mercantile.
Sunday, June 1, 10-12, Beekman Street Art Fair
Friday, June 6, 5:30-7:30
Sunday, June 8, 10:00-12:00 National Museum of Racing
Saturday, June 14, Elk’s Flag Day Parade, Noon Start, Broadway
All Meet & Greets take place on Broadway unless noted. More events may be added, to stay informed check social media or give us a call! All dates are weatherpermitting. 445 Broadway Downtown Saratoga 518-587-0689
June 2, 7 and 16 Delmar
Paint And Pop (corn)! Mondays, June 2 and June 16, 4:00-5:00PM. Grades 6 thru adult $30 each session, materials included. Register at Jill@EverydayArtWithHeart.com
Paint, Tea & Sip. Saturday, June 7, 11:00AM-3:00PM $75 materials, included. Paint from still life setups featuring beautiful vintage tea sets! Register early by calling Kathy at 518-588-7268. The Gift Shops at Merriman & Pfister / M&P Gifts LLC, 340 Delaware Ave, Delmar, NY 12054
June 7 - August 16 Saratoga Springs
"Brilliant Becoming" Art Exhibition Terry Teitelbaum & Susie Kane Kettlewell. The beauty of becoming in full color: Opening Reception: Saturday June 7 @ 6-8pm. Dates 6/7-8/16 @ Spring Street Gallery, 110 Spring St., Saratoga Springs.
June 14 - July 27 Schuylerville
The Laffer Gallery is excited to announce its upcoming exhibition, "Frequencies," showcasing abstract paintings by renowned artists Leslie Parke and Yeachin Tsai. This exhibition will be on display from June 14 to July 27, 2025. We invite you to join us for the opening reception on Saturday, June 14, from 5 PM to 8 PM. The Laffer Gallery, 96 Broad St, Schuylerville, NY, United States, New York (518) 695-3181 www.thelaffergallery.com
June 12 - 29 Latham
The Angel Next Door by Paul Slade Smith. In this hilarious adaptation of Ferenc Molnár’s classic farce, Play at the Castle, playwright Paul Slade Smith transports us to a mansion in Newport, Rhode Island where the young Oliver Adams is on the brink of success! His debut novel is about to be published, or is it? Add in a Broadway playwrighting power couple, a not-so-innocent ingenue, the dumb but gorgeous leading man, a no-nonsense Eastern European maid and plenty of comical misunderstandings, and you have a perfect recipe for Curtain Call’s Summer show! Show dates: June 12th - June 29th, 2025 - Saturday
June 14 Glens Falls
June June 21st, 2025. Curtain Call
Crossfire Hurricane is New York’s top Rolling Stones tribute band, capturing the essence of the iconic rock group with their thrilling p er formances. They bring the timeless anthems of the Stones to life, embodying their energy and spirit on stage. From the raw energy of “You Got Me Rockin’” to the soulful melodies of “Angie”, every song is faithfully recreated, promising an unforgettable experience for fans old and new. Sat Jun 14 Show time: 8:00 PM Doors open: 7:00 PM. The Park Theater, 14 Park Street, Glens Falls, NY 12801. 518-792-1150
June 14 Ballston Spa
SSYB's Spring Concert. Join us to support the hard work and dedication of the dancers of Saratoga Springs Youth Ballet. The Spring Concert is the culmination of this year's studies in a cele bration of dance. June 14th at 2pm Ballston Spa High School, 220 Ballston Ave, Ballston Spa, NY 12020. For tickets go to https://www.ticketleap.events/tickets/ssyballet/spring-concert2025
June 20 - July 6 Schenectady
Strange Fibers: Unusual and interesting soft sculpture creations by Emerie Bell; Ingrid Tiffe; Jennifer Strunge; Joanna Fields; Laurie E. Snell; Mallory Zondag; Sadie Levine; Susi Brox Nilsen and Ulises Farinas. On exhibit through July 6, 2025. Artist reception: Friday, June 20 from 5- 8pm. Bear and Bird Boutique + Gallery, 160 Jay Street M • Schenectady, New York 12305. www.bearandbird.com
Matinee:
The atre, 1 Jeanne Jugan Ln, Latham, NY 12110, USA
