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ACE PLACES

Experimental Creativity as a Form of Inquiry w/ Exec Director Dena Beard

January 26, 2026 By Corey Aldrich

Long known as an organizational asset for resident artists and campus related endeavors, there is a new focus on finding ways to incorporate EMPAC (At Rensselaer Polytechnic Institute in Troy) into the fabric of the downtown Troy community and beyond. Find out what is in process and in store from a recent conversation with newish Executive Director, Dena Beard.

Dena Beard : Executive Director at EMPAC in Troy NY | Photo : Emma Marie Chiang

Please state your name, organization and position. Can you share a bit about your experiential / academic background?

I’m Dena Beard, Executive Director of the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute, where I support artistic projects that challenge habituated forms of perception and invite new modes of engagement—across performance, sound, time-based media, and research-driven art.

Before coming to EMPAC, I served as Director of the Leonard & Claire Tow Center for the Performing Arts at Brooklyn College and spent nearly a decade as Executive Director of The Lab in San Francisco, working on projects rooted in experimental music, performance, and cross-disciplinary practice. Earlier in my career, I worked as Assistant Curator at the UC Berkeley Art Museum and Pacific Film Archive.

Across these roles, my focus has been on creating conditions for artists to work rigorously and experimentally, while also building organizations that are legible, humane, and porous—places where process is visible and audiences feel invited into how work is made, not just asked to consume finished products. I’ve been shaped by how powerfully art can activate space, community, and imagination. That’s why I do this.

EMPAC : Studio 1 at Rensselaer Polytech Institute in Troy NY | Photo : Provided

You have an interesting diversity in institutional leadership between your time on the west coast with THE LAB in San Francisco and in NYC at Brooklyn College’s Leonard & Claire Tow Center for the Performing Arts. What made you decide to take on EMPAC and how is that background informing you in your approach?

EMPAC is unlike any other arts institution in the country. RPI made a once-in-a-generation investment in experimental art, research, and technology—and that ambition is real, not rhetorical. Over the years, EMPAC has supported more than 700 artists whose works now circulate internationally and enter major museum collections. What drew me here was the opportunity to steward a program that operates simultaneously as a performance venue, a research laboratory, and a civic space in Troy.

My prior work taught me that institutional frameworks can either obscure creativity or make space for it. At The Lab, we foregrounded artists’ ways of seeing and making, creating conditions for experimentation rather than containing work within predictable program structures. That included commissioning artists meaningfully, offering $25K to $150K and forms of support still rare in the field: healthcare, legal representation, full access to space. What emerged was an adaptive ecosystem: when artists were trusted, they shared resources and reshaped the organization itself.

At the Tow Center, I worked within a large public academic institution, supporting Brooklyn College’s Conservatory of Music and Department of Theater while bringing local and international artists into deep conversation with students and New York publics. That work taught me how to bridge academic environments and professional artistic practice without flattening either.

Coming to EMPAC was about merging these two approaches, one rooted in generosity and adaptability, the other accountable to a complex academic institution and a broader public. My goal isn’t to change EMPAC’s identity, but to make its extraordinary work more legible, more durable, and more connected to the people who live and work in Troy and across the Capital Region.

EMPAC : TOPOS Remote Peformance at the Gasholder Bldg in Troy NY | Photo : Patrick Dodson

EMPAC has been largely misunderstood by the public historically. I see you have been working on raising awareness not only about what it is but also finding ways to bridge the gap, creating a more inclusive interaction with the regional arts community and general public. Why do you feel that is important for the institution? What challenges are your facing in the implementation of that approach?

EMPAC was founded on the idea that art and research aren’t separate activities—that experimental creativity is a form of inquiry, and that technological innovation often requires imaginative leaps we don’t always recognize as artistic. Nearly two decades in, that premise still holds. The question now is how EMPAC carries this work forward in ways that offer models of imagination and resilience to people living in this region.

EMPAC has sometimes been perceived as opaque or inaccessible—not because the work isn’t compelling, but because the processes behind it haven’t always been visible. I think experimental work benefits from context, from gracious welcome, and from trust.

Hanae Utamura Performs at EMPAC in Troy, NY | Photo: Tara Holmes

For me, accessibility doesn’t mean simplifying the work. It means offering tangible points of entry: clear language, open doors, a public space for informal gathering—for food and drink, for conversation, for being together. Anyone who comes here should feel it’s their public park, a place to meet friends, go on a date, step away from screens for an hour, or even just take a nap between commitment

The challenge is doing this without flattening complexity. The initial capital funding for EMPAC expired more than a decade ago, and today over 80% of staff time and resources currently support campus projects. We’re figuring out how to offer more to the broader public without overextending staff or compromising EMPAC’s standing in the arts. That requires careful pacing, discipline, and a willingness to listen—to students, to artists, and to our neighbors in Troy. It’s slow work, but it’s essential if EMPAC is going to function not just as a laboratory and campus auditorium, but as a cultural anchor for the Capital Region.

Victoria Shen and Mariam Rezaei Performance at EMPAC in Troy NY | Photo : Michael Valiquette

What’s a typical day in the life look like for you?

There’s no such thing as a typical day, which probably explains why I love this work!

A day might include a technical walk-through with engineers and artists, a budget or infrastructure meeting with RPI leadership, a rehearsal, a conversation with faculty, and a late-night performance. In between, I’m thinking about long-term strategy: how EMPAC’s research mission aligns with RPI’s, how we care for a very complex building, and how we support a brilliant staff who are doing deeply specialized and deeply weird work.

A lot of my time is spent translating: between artistic and technical languages, between academic culture and public-facing programming, between ambition and sustainability. It’s demanding, but incredibly generative.

Leslie Cuyjet in Ephemeral Organ Festival at EMPAC in Troy NY | Photo : Michael Valiquette.jpg

SHAMELESS PLUG: Anything on the horizon that you have planned that you would like to share?

Absolutely. EMPAC is entering a really exciting phase.

This year we’re hosting three festivals that invite audiences from Troy and across the region into different ways of experiencing contemporary work: staging grounds (February 20–28), focused on time-based visual art; Corpus (April 23–25), dedicated to dance and movement-based practices; and Topos (September 3–5), centered on music. Each festival premieres new work we’ve produced alongside projects we’re eager for audiences to encounter—sometimes at early, evolving stages.

We’re also developing Interface, a more informal series designed to bring people into EMPAC through conversation, experimentation, and social exchange, hopefully with a drink in hand.

EMPAC is very much a living instrument, and I’m excited to invite more people to play it with us.

The Revolution WILL BE…In Person!

January 26, 2026 By Corey Aldrich

2026 is really kicking off with a bang. ACE! was on location for the grand re-opening of three major regional institutional arts organizations including The Egg (Albany), Saratoga Arts (Saratoga) and a new and expanded space for Albany Center Gallery (Albany). This represents some major investment in our region in community arts, culture and entertainment, and helps drive the Capital Region as a creative economy hub for work and play with an investment to the tune of well over $20M collectively. Find out what each organization was able to add and refresh with their reset and how that will impact future forward programming for our region.

THE EGG | YOUR EGG IS SERVED (ALBANY NY)

The Egg Staff Celebrates at the Grand Re-Opening Event | Photo: Megan Mumford

After a six month closure, state and local leaders cut the ribbon this month for a $19.5M renovation at The Egg. Though the project predates Governor Kathy Hochul’s $400m Championing of Albany’s Potential initiative, it complements the overall mission and direction being mapped out for Albany by her office.

The Egg : Crowd Shot at the Grand Re-Opening Event | Photo: Elissa Ebersold
The Egg : Dancing to DJ Hollywood at the Grand Re-Opening Event | Photo: Elissa Ebersold

The Egg is a performing arts center located in Albany, N.Y.’s Empire State Plaza. An unmistakable feature of the capital city’s skyline, the venue houses two theatres encased in a domed, egg-like concrete structure that took 12 years to construct and was completed in 1978. The Egg presents music, art, theatre, comedy, dance, and family entertainment year-round.

“The Egg is a meeting place for New Yorkers and visitors looking to immerse themselves in the thriving creative industries that are integral to our state’s bold identity,” Governor Kathy Hochul said. “As part of Downtown Albany’s revitalization, this long-awaited renovation modernizes one of the Capital Region’s most distinct cultural landmarks. This new chapter of The Egg showcases the value of spaces where the arts and culture converge...”

OGS (New York State Office of General Services) oversaw a project that modernized the interior of the building while honoring its original design and mission. Work included replacing seating and carpeting throughout both the Kitty Carlisle Hart and Lewis A. Swyer theatres and all public areas; installing a state-of-the-art, fully automated LED theatrical lighting system; and adding new dimmable LED house lighting that better showcases the building’s unique architecture.

The Egg : Hart Lobby Before Renovation | Photo: Megan Mumford
The Egg : Hart Lobby After Renovation | Photo: Megan Mumford

“The Egg is a place where art happens with no straight lines, and these renovations make it possible for us to serve Albany and all of New York in a bigger way. We are deeply grateful to Governor Hochul for believing in this building and making this investment in the arts possible ” said Diane Eber :Executive Director The Egg

The renovation also expands accessible seating in both theatres, upgrades restrooms, and adds an induction loop assistive listening system to improve the experience for guests who use hearing aids or cochlear implants. Public spaces have been refreshed with restored mid-century finishes and new custom furniture designed to complement The Egg’s ellipsoidal structure, aligning the interior with the boldness of the exterior for the first time since the venue opened in 1978.

“Updating The Egg reaffirms the importance of the arts scene in the Capital Region and supports our efforts to reconnect Downtown with its residents and visitors. ” Senator Patricia A. Fahy

The Egg : New Seating and Carpet | Photo: Megan Mumford

The renovation supports a renewed vision for The Egg as a statewide performing arts center and destination, where the building itself is an integral part of the artistic experience. The upgrades will enable more complex productions, improve comfort and accessibility for audiences, and ensure the venue can continue to serve as a gathering place for decades to come.

“When people come to visit our great City of Albany, The Egg is the first building they see on our skyline. This exciting renovation helps to solidify this structure as an icon of our downtown, and I am thrilled to celebrate its completion. ” Albany Mayor Dorcey Applyrs

WEB: theegg.org | IG: @theegg | ADDRESS: EMPIRE STATE PLAZA

ALBANY CENTER GALLERY | MORE ART EVERYWHERE (ALBANY NY)

Albany Center Gallery : Ribbon Cutting Event for the New Digs | Photo: Provided

Located in the old Pizza 54 space on North Pearl Street (Known by many back in the day as Pizza Timmy’s!). Albany Center Gallery has significantly expanded their space from 1700 sqft at their previous location to 6600 sqft. The new space features offices, storage, a kitchen, a larger education space that can also be used as a secondary gallery, and a large street front main gallery that currently is showcasing over 200 works in it’s annual member show.

Jankow Companies oversaw the fit up in conjunction with Platt Construction. This was partially funded with a grant from Capitalize Albany for build out costs. Additional funds to underwrite the move where funded via specific donations and / or were covered via a specified funding campaign.

Albany Center Gallery : New Location Opening Night Crowd | Photo: Michael Joyce

“With more space, we are able to support more artists, present more ambitious exhibitions, and bring even more of the community together under one roof. Our new home at 48 North Pearl Street allows us to expand our programs, activate the gallery with evening events, and create dynamic, welcoming experiences where art becomes part of everyday life in downtown Albany.” stated Tony Iadicicco, Executive Director at Albany Center Gallery “It’s a big step forward for ACG and for the artists and community we serve. As we move forward, we remain committed to our mission, uplifting, showcasing, and advocating for the creative community while ‘Bringing Art Everywhere.’”

Albany Mayor Dr. Dorcey Applyrs marked January 16, 2026 as “Albany Center Gallery Day” inaugurating the day in City of Albany history.

Albany Center Gallery : Tony Iadicicco Executive Director | Photo: Corey Aldrich

WEB: albanycentergallery.org | IG: @albanycentergallery
ADDRESS: 48 N. PEARL ST.

SARATOGA ARTS | YOUR COMMUNITY ARTS CENTER (SARATOGA SPRINGS NY)

Saratoga Arts : Re-Opens After Upgrades | Photo: Spencer Sherry

I recently caught up with Amy Bloom, Executive Director at Saratoga Arts in Saratoga Springs, NY for an update on their renovation efforts. They just finished up a $2M+ space renovation / upgrade and recently re-opened to the public after a 6 month build out period. Funding sources included $1M from the City of Saratoga Springs, $766K through a capital grant from NYSCA (New York State Council of the Arts) with the remainder fundraised by Saratoga Arts’ board members, donors and a few other local foundations.

The renovation has resulted in several key improvements – a new gallery with programmable, energy efficient lighting, 2 renovated bathrooms, an upgraded theater (including a sound booth and new projector/sound equipment), and replacement windows throughout much of the building — in particular the curtain wall (The windows that face the carousel in the back of the building).

Saratoga Arts : Shown Allan Weatherwax (Board President), Amy Bloom (Executive Director) and Spencer Sherry (Grants and Community Outreach Coordinator) | Photo: Corey Aldrich

On the lower level you will find new lighting and ceilings throughout most of the classrooms, including a door from the main classroom providing direct access to Congress Park. To follow, a patio will be installed in collaboration with the City of Saratoga, slated later in spring 2026. The printmaking studio has new plumbing and a new sink was added in the smaller classroom. Additional improvements include upgraded wifi (especially on the lower level where there was none prior), a new boiler, new gutters, and electrical panels throughout much of the building.

“As a supporter of Saratoga Arts for over 30 years, NYSCA is proud to be a part of this extensive renovation project, which has created a multi-use facility to serve thousands of visitors. This new sustainable space will serve as a catalyst for creativity and collaboration for the entire region. Congratulations to the entire Saratoga Arts team, we look forward to decades more of your innovative and accessible programming.” Erika Mallin : Executive Director of NYSCA (New York State Council of the Arts)

Per Amy, the renovations will significantly improve Saratoga Arts ability to fulfill their programmatic mission to the community and provide an enhanced experience for community engagement.

WEB: saratogaarts.org | IG: @saratogaarts | ADDRESS: 320 BROADWAY

Religious Buildings and Historic Tax Credits: Time for a New Approach

November 24, 2025 By Corey Aldrich

I run into Julian Adams frequently in downtown Troy, usually at his favorite coffee haunt, Jacob Alejandro. A jovial chap and a significant informational resource for all things historic preservation, I recently reached out to him for the deets regarding the ongoing saga with the Holland Avenue Tudors in Albany as a friend of mine was wondering what it would take to repurpose a few of them as a professional live work campus for their small health practitioner / creative based collective. In our discussion, Julian mentioned this recent article he wrote and it has significant relevance to me as I see so many amazing structures in our region decaying away from lack of adequate reuse planning. I dropped in a few images of some vacant church spaces that have been on my radar for years.

Julian Adams : Director of Historic Preservation at Carmina Wood Design | Image: Provided

AUTHOR: Julian Adams
Director of Historic Preservation at Carmina Wood Design. Past experience includes Director of Community Services and Programs and Senior Historic Sites Restoration Coordinator at New York State Historic Preservation Office (NYSHPO)

I have worked in Historic Preservation for almost 40 years. Over that time, I have interacted with federal government historic programs using federal standards and guidelines for rehabilitation projects, restoration projects, reconstruction projects, historic resource surveys, National Register listings, building documentation, and preservation/restoration grants. However, of all the treatment standards in the Secretary of the Interior’s Standards for the Treatment of Historic Properties, the Standards for Rehabilitation are the ones I have most used and still use almost every day.

That set of treatment standards has guided many projects to a balance between project needs and the historic resource and continues to do so. However, over my career, there is one building type that can give state level reviewers pause in applying the Standards in an adaptive reuse project: Religious buildings, particularly Sanctuary buildings.

St. Joseph’s Church in Albany, New York | Image: Google Maps

As preservationists and many communities know, the reuse of religious properties can face significant challenges that often lead to their long-term abandonment, decay, and unfortunately, demolition. Although it’s not the only reason for their loss, the Standards for Rehabilitation, as currently interpreted, can add to the difficulty of retaining and finding a new life for these purpose-built structures, as funding through Historic Tax Credits (state and federal) can be crucial to the success of a project. Perhaps it is time to find ways under existing or new programs to allow them to remain as historic and physical landmarks in their communities, serving in a new way.

Historic religious buildings are typically specific use-built structures, many with unique decorative interior and exterior features and open interior volumes. Constructed in a time with different demographics and community density, they can represent a very early point in local history, or a high-water mark of the local economy, sometimes both, with redecoration, additions or alterations marking the time. Many are physical visual anchors of the area: They can be in the center of the city or village, or a major landmark visually and culturally, or in a part of a city or village associated with an important period of growth or immigration. In any event, they are all associated with a specific community identity and history.

St John’s Church in Albany, New York | Image: Google Maps

The fact that many of these buildings were “constructed in a time with different demographics and community density” is where the problem can stem from. Many larger cities have entire areas that have emptied out due to the loss of major employers, the pull (push?) of suburban development, the impact of urban renewal, or loss of population due to many other factors. In some cases, the neighborhoods that built these landmarks have been abandoned or demolished, but somehow many of the religious buildings and their associated buildings remain. Even in more intact or smaller communities, demographic shifts and the simple fact that people aren’t attending church as they once did have left many of these buildings empty.

In some of those complexes, former schools, athenaeums, convents, etc., have been converted into housing or other needed programs. However, the major uniting structure, the sanctuary building itself, can remain unused. Some have found uses as event spaces or galleries; however, in an area with several such resources there are only so many of these uses that can be supported; some are so large that the size alone can be daunting.

Saint Mary’s Church , Troy New York | Image: Google Maps

In trying to reuse a religious building, I have seen many different proposals: While some of these would make a preservationist shudder, and rightfully so, I think that it may be time to talk about what can be achieved under a more flexible reading of the Standards or review processes when it comes to the adaptive reuse of this building type and how we might work towards that.

A federal official once told me that if a project was denied due to their interpretation of the Standards, no worry, the right developer would come along and do a “better” job. For those who know upstate NY this is not always a reality. The closing and abandoning of religious buildings and complexes rapidly accelerated in NYS and nationwide over the last 15–20 years; this represents a crisis that preservationists cannot ignore.

Many states have a state tax credit; however, many of these tie that credit’s approval to the federal approval, damning projects from getting the state credit as well as the federal credit. For those that have independent state approval, the level of that credit alone may not be enough to make the project successful by itself.

Saint Peter’s Church, Troy New York | Image: Google Maps

I don’t have a quick and easy answer for this, but I do know that a high-level review (federal) of these properties might not be close enough “to the ground” to understand the challenges facing them.

I would hate to think that part of the problem is the Standards themselves, particularly when the preamble includes: “The Standards will be applied taking into consideration the economic and technical feasibility of each project”.

In the case of religious buildings, I am not proposing a laissez faire approach to review, such as allowing total “gutting” or removal of all character defining features. What I am advocating is a more balanced approach to working through the issues, including the building, its condition, the threat, the local need, local economy, and the impact its loss would have on the community.

In speaking with colleagues, it has been proposed that it may be time for legislative action on this issue. One approach would be to demand federal rule change in the Standards, emphasizing the preamble’s direction for the review of difficult property types.

Saint Patrick’s Church, Troy New York | Image: Google Maps

A second approach would be to allow those states with Historic Tax Credit programs to operate independently from the existing concurrent federal review process. Perhaps a periodic “check in” would be undertaken to keep the communication between federal and state reviewers ongoing, and to share questions, best practices, new ideas, or any concerns. This could also be done within national regions to encourage cross border collaboration and sharing of information, challenges, and approaches to review. However, the final approval of projects would rest with the states, who know, as stated above, the building, its condition, the threat, the local need, local economy, and the impact its loss would have on the community.

Changes to review processes have been mentioned from time to time, with federal officials typically being hesitant to “open up the rules”, fearing loss of the tax credit program or the federal/state partnership due to an administration or Congress that is seen as hostile to historic preservation. Even with that fear, it may be time to get more serious about this tactic, given the recent impacts to the federal preservation work force and the more-than ever need for funding assistance for significant adaptive reuse projects. States have traditionally been seen as “laboratories” for new approaches and programs within the United States, and it may be time to open the labs.

In closing, I would have what was built as record of faith, history, and a community’s aspirations remain in a streetscape, a skyline, on a town square rather than losing it when there can be alternative approaches to review.

AMY GRIFFIN CREATES A THIRD SPACE FOR PUBLIC GATHERING

August 26, 2025 By Corey Aldrich

If you have ever had the privilege to work with Amy Griffin, you know what I do…that she is probably the most easy going, kind and light hearted person that you could hope to meet. Underneath the surface – a talented, creative and highly collaborative arts professional that is really finding her stride in her current role as Director at the Opalka Gallery in Albany. After years of working with her on one of my all-time favorite projects, it felt like high time to sing her praises a bit and share her ideas with the community at large.

Amy Griffin : Director at Opalka Gallery in Albany, New York | Image: Provided

Please state your name, title and organization. Can you also tell us a bit about your history including education, other jobs of note and other special accolades?

My name is Amy Griffin. I am currently the Director at the Opalka Gallery on the Russell Sage College campus in Albany, New York.

The road to Opalka Gallery was long and winding. I got my MFA from Hunter College in Photography and worked in publishing, teaching, and the NYC archives. From there I did college teaching. I also worked at the NY State Museum in the exhibitions department and wrote about art for the Times Union. I’ve been here for 10 years and moved into the Director position 3 years ago.

Seance Exhibit Gallery Performance with the Ellen Sinopoli Dance Company | Image: Provided

Can you share a bit about your mission at the Opalka Gallery? Maybe a little bit about how the program integrates into academic campus life and the general public.

We are always trying to raise the profile of the gallery to welcome the community in as much as possible, while supporting artists. We want people to feel comfortable coming to check out exhibitions and to participate in our free events, even if they don’t think they know much about art. There’s a lot of interest in “third spaces” and that’s what we want to be for the community–a place that’s not home or work but you don’t have to spend money. This goes for students, as well. Russell Sage‘s Albany campus is small–we want the students here to have a place to go for fun events or just to get away to some place quiet during the day. We also offer free music on most First Fridays, in addition to our September Pop-Up Beer Gardens and we’ll have a free map-making station in our fall exhibition. We’ve been offering a free kids’ art workshop each semester, organized and taught by Russell Sage College Masters of Art Teaching students. We also employ college work study students–so, we have lots of ways that we interact with both the college community and the community at large.

Music Performance at the Osi Audu : The Self in African Art Exhibition | Image: Provided

On the gallery side, would you share a bit about your curatorial philosophy? I have seen some amazing shows there, most recently the Osi Audu : The Self in African Art. I seem to remember there being an interesting back story on how you made that one come to life.

 Diversity matters–that includes the types of shows we do and the medium of the work we show. We’re committed to bringing in engaging contemporary art and design from all over, while also supporting the regional art community. We wouldn’t want to do all group shows of local artists or only painting shows from painters outside the region. We mix it up, looking for excellent work that can be linked to the programs and curriculum here at the college, as well as engaging the broader community. For the Osi Audu show, Pierre Brooks, a collector of African art, stopped by the gallery a few times, invited me to check out his collection down in Greene County. Since we emphasize contemporary art, I hadn’t thought of a way to work with Brooks and his collection until I came across the work of Osi, a painter based near Kingston who makes abstract paintings in direct response to African art pieces and then it all came together!

PechaKucha at the Opalka Gallery in Albany New York | Image: Provided

I know you are also running some other public facing programming as well such as PechaKucha and the annual Pop Up Beer Garden and Neighborhood Block Party (Note: ACE! has been a promotional partner of this series for several years now) How do you see that type of programming fitting into your strategic goals for the gallery?

These kinds of events are perfect for our strategic goals because they’re community-building events that bring people into the gallery who might not necessarily choose to come see an art exhibition. They help expand our reach and also support the creative economy, which, I don’t have to tell you at ACE!, supports the local general economy. For a PechaKucha event, we might get close to 150 people–those people typically are then looking for a place for dinner or drinks afterward.

The 2025 Screenprint Biennial at the Opalka Gallery in Albany New York | Image: Provided

Care to share a bit of the personal challenges and rewards of the job? Any mid term or long term goals you are looking to accomplish there?

I love seeing a crowd here for an exhibition reception or other event–it feels good to be helping make Albany a dynamic place to be. 

The challenge is, as with any art/non-profit job, that we always feel like we are short on staff. We always want to do more and more but that translates into more and more work and more money! We’d love to have an expanded gallery education program, for instance, or add more events. One smaller scale goal is to expand our Artist Registry. Right now, it’s just a page on our website–artists can upload their name, medium, and website URL and then curators can potentially use it to find artists. But my goal is to build it out to be a searchable database not unlike what White Columns in NYC has done–only tailored for artists based in the region.

Shameless Plug: What are you excited about that we should be putting on our calendar?

In addition to “Compass Roses: Maps by Artists–Albany“ which opens on Sept. 2, we’re in the thick of planning for our fall Pop-Up Beer Gardens–the first 3 Fridays in September! In addition to our whole slate of fall programming of course! 

WEB: opalka.sage.edu
IG: @opalka_gallery | FB: @opalkagallery

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

June 3, 2025 By Corey Aldrich

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

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

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

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

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

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

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

What is the mission of the organization?

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

Irish American Heritage Museum Performance Space | Image: Provided

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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