• Skip to primary navigation
  • Skip to main content

ACE

Upstate Alliance for the Creative Economy

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

ACE

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.

Tapping Into Creative Community Design with TAP’s Barb Nelson

October 8, 2025 By Corey Aldrich

If you have spend time in Troy in the arts scene you know her work. Breathing Lights, Uniting Line, Creative Crosswalks, Troy Alley Action…the list goes on. Barb Nelson is more than just a public arts instigator and supporter. Her firm TAP Inc has been at the forefront of the arts and affordable housing for decades. I caught up with her to hear about what she has percolating currently and it’s impressive. A public recreation space in Troys Little Italy neighborhood, an affordable for purchase condominium project, and a month long riff of NYC’s ARCHTOBER…a Troy Edition! with over 25 events in October ranging from lunch and learns, hard hat tours, TAPpy hours and a killer art exhibition. And this is just a small sampling of the projects currently in process, all done enthusiastically and with an on eye on community building.

Barb Nelson : Executive Director at TAP Inc in Troy, New York | Image: Corey Aldrich

Please state your name, company, title. Can you give us a bit of your back story as well? Education, the path to how you got here? Interesting tidbits welcome!

I’m Barb Nelson. I became the Executive Director here at TAP Inc. exactly 10 years ago. I first worked at TAP as an intern right out of school RPI from 1980 to 1986. I managed my own practice from ’86 to ‘91 then returned to RPI to work in Campus Planning. I spent 24 years with RPI as an architect, planner and adjunct professor. But I had never wandered far from TAP’s community development mission and as such, I jumped at the chance when they needed a director in 2015. Along the way I’ve married, raised 2 daughters, renovated 2 homes, painted a dozen public murals, produced some circus shows, and served on a dozen boards, task forces and commissions. I like how easy civic engagement is in Troy.

TAP Inc Office Building in Troy, New York | Image: Provided

What does a typical day look like for you?

What’s a typical day? Some days are quiet, focused on the work of running a business. Some days are anxious grant deadlines collecting and formatting data for applications. We are a storefront so someday’s are busy with unscheduled walk-ins. I spend a lot less time on project sites measuring or monitoring construction work these days. we have a strong focus on place-making through participatory public art so on any given day we could be painting bridge abutments! Whether I’m designing a stair detail or connecting a client with grant funding, every day involves creative problem solving. TAP is like that, there’s always something different to take care of.

Barb Nelson Review Plans with Stakeholders | Image: Courtesy of Breathing Lights

How many staff do you have and what disciplines do they represent?

We have an amazing team of eleven ‘Totally Awesome Professionals!‘ 3 architects, 1 construction admin specialist, 4 license track designers, 1 sustainability director, an operations wizard, and a director of finance. Among us we have dancers, musicians, runners, builders, makers, artists, cooks and performers!

The Arts Center of the Capital Region Facade Project | Image: Provided
Habitat for Humanity Housing Plan Rendering | Image: Provided

What is the mission at TAP and as a NFP architectural firm, how do you fit in compared to other architectural and design professionals, the overall ecosystem?

TAP has been restoring, rebuilding, and revitalizing historic structures and urban neighborhoods since 1969. Many architects develop specialties, like schools, hospitals, homes, or retail. TAP’s niche is bringing vacant, damp, burned, and deteriorated structures back to life. When you do that, you bring life back to a neighborhood. We are partly funded by NYS so we can reduce our fees for qualified clients. We also can help neighborhoods envision change through community design. We can assist other non-profits in accessing grant money for their facilities. We’ve helped Habitat for Humanity build about 90 homes in the region. We’re big on collaboration with other organizations. We believe that ‘Together Anything’s Possible.’ TAP is one of 8 regional non-profit partners that make up the Capital Region Clean Energy HUB, managing energy saving upgrades for low income homeowners, and promoting clean energy job training.

Left to Right: Mayor McCarthy (Schenectady), Mayor Sheehan (Albany), Barb Nelson, Mayor Madden (Troy) and Adam Freland | Image: Courtesy Breathing Lights
Breathing Lights Installation in Schenectady, New York | Image: Courtesy Breathing Lights
Uniting Line Project | Hoosick Street Bridge in Troy, New York | Image: Provided

Any projects you are especially excited about right now?

We have so many! We are working with Affordable Housing Partnership in Albany to disseminate hundreds of home improvement grants for Low to Moderate Income Homeowners. In Schenectady, we have vacant homes being renovated by Better Community Neighborhoods Inc.

Closer to home, construction will start soon at Troy’s Little Italy Market Park, where TAP helped obtain grant money to transform the asphalt lot into a pocket park. We always have accessibility projects, making homes more livable for people with disabilities. We also just completed the restoration of 140 historic window sash at the Arts Center of the Capital Region in Troy.

Adler Place Site Plan : Future Affordable Condominium Project | Image: Provided

Finally, our biggest effort these days is the development of Adler Place, 32 affordable courtyard condominium units in Troy. Our plate is full for sure but there’s always room for more. Our project list proves out our mantra, ‘Trusted Affordable Proactive.’

Shamless Plug: Anything we should know about that you have percolating?

Yes, we just kicked off a new initiative called ARCHTOBER: Troy Edition! A month-long festival celebrating architecture, architects and all the creatives responsible for our built environment. Did you know we have over a dozen architecture firms in Troy? Most are within a few blocks of each other downtown.

To find out more about this exciting series go to the TAP website and see the robust calendar line up of TAPpy Hours, films, trivia, hard hat tours, webinars, book talks, lectures, and a great closing party that will see us form a collaborative event with fellow arts organization Collar Works and their annual Mad Collar Party. Collaboration is a big part of this series and we have partnered up with several for profit architectural firms, and arts and cultural organizations including the Troy Savings Bank Music Hall, the Arts Center of the Capital Region, Tech Valley COG, the Hart Cluett Museum, 518 Film Network, Picture Lock One, WMHT, Architecture +, Mosaic Associates, ME Studio, Lightexture, the North Eastern New York Chapter of the American Institute of Architects and more!

If you know a young person who’s curious about the profession please bring them to ARCHTOBER one of our events.

Kyra D. Gaunt PhD is Unapologetically Pushing Back and Taking Space

October 8, 2025 By Corey Aldrich

I recently attended an event hosted by the The New York Writers Institute with author Keach Hagey regarding her recent book on Sam Altman, The Optimist. Though I am not convinced of Sam’s motives I was pleasantly surprised at a post event dinner (that Paul Grandal and Elisabeth Gray were kind enough to include me in), to meet SUNY Albany’s AI and Society Fellow Kyra D. Gaunt PhD. Her perspectives on the AI tool set, her research on specific biases in the music industry, and in the roots of culturally driven video editing practices intrigued me so, I just had to find out more about this dynamic personality and pick her brain about the universe of things she has poured herself into.

Kyra D. Gaunt, PhD : University at Albany, SUNY | Image: Provided

Please state your name, current position(s) / organization(s). Can you also give us a bit of your educational background and personal path as well?

My name is Kyra D. Gaunt, PhD. I am an Associate Professor of Ethnomusicology in Music, Women’s, Gender, and Sexuality Studies (WGSS), and Sociology.

Going to a community college, I never expected to become a professor. I am a proud graduate of the University of Michigan in Ann Arbor, where I received my PhD in ethnomusicology specializing in black girlhood studies and hip hop as music. All of my previous degrees are in classical voice. I started pursuing a Doctorate of Musical Arts while studying with the famed tenor, George Shirley. I am a singer, songwriter and jazz improvisational vocalist. I released an album in 2007 titled Be the True Revolution, named after a line from the poem When I Die (1970) by Nikki Giovanni.

I’m originally from Rockville Maryland from a community founded in 1891 called Linkin Park. My great great grandfather was a freedom seeker from Portsmouth, Virginia, escaping the free labor slavery camps in 1855. He changed his name from Robert Irving to Sheridan Ford and landed in Springfield, Massachusetts where my grandfather and his two brothers were from before they moved to the DC Maryland area. My great great grandmother also escaped from enslavement dressed as a man around the same time and migrated to Springfield, Massachusetts as well.

I only learned this in 2014 cause it’s the kind of knowledge that isn’t passed down by word of mouth in most African-American families. So my ancestors trace their history back nine generations: see here.

You can find more information about my work on the TED Fellows Blog.

Kyra D. Gaunt, PhD : University at Albany, SUNY | Image: Provided

You have so much going on! Its hard to pick where to focus. That said, one of the areas that I have interest in is your writing. Can you talk a bit about that and how you came to be published? Are you still active as a writer?

When I was still young and naïve (a fledgling 19!), I had my diary invaded by my mother‘s boyfriend at the very moment I was coming-of-age sexually. I’ve never shared this publicly, but it’s what inspires my current research project for a book that will come out next year titled PLAYED: How Music, Mutes and Monetizes Black Girls on YouTube.

I suffered 20 years of stage fright. My love language became procrastination! (lol) Writers block of one form or another followed. I thought academia wasn’t for me and left to get my MRS Degree. After a 5 year adjunct with TED I ended up landing here at University at Albany.

What has helped me find my voice has been my art and my artistry, my exploration of being true to the ancestral voice inside me that loves to sing and dance. Be silly and to teach others to free their voice. The root of my trauma has been emotional manipulation, so my work is often about that from research to teaching. If you ask me what I do as a teacher, I tell people that I teach emerging adults to own their own greatness, and their intellectual, emotional and social fitness.

Kyra D. Gaunt, PhD : University at Albany, SUNY | Image: Provided

One of the areas you explore as an ethnomusicalogist and professor is music videos on youtube, specifically in the area of black girlhood and musical blackness. You cover a number of areas but one was of specific interest to me. Can you share a bit about what ‘supercuts‘ are and maybe elaborate on that as a feminist practice that has a genesis that has been largely overlooked historically, and why it matters? Also, do you see a larger meaning or influence of this style of editing specifically in our current, larger cultural and political context as a communications style / tool?

I have a featured Vlog on my YouTube channel about the history of ‘supercuts.’ Most people don’t know that the vidding community of girls and women, invented the idea of ‘supercuts’ something that has taken over video culture since 2007. Vidding is when amateur content creators remix clips from their favorite songs and television shows together into an emotional narrative. It’s an underground scene that’s over 40 years in the making. As frequently is the case, the contributions of the most marginalized communities gets co-opted or gentrified by mainstream entities for profit, and the real influencers are left behind. The vidding community was primarily white and Latina. I’ve tried in my collaborative research with undergrads to change that. I prioritize emotional and effective labor with my students, who are emerging adults. In academia we focus a lot on STEM and book knowledge but not on helping students learn to have greater empathy for themselves and others. When we do that, we have more empathy for black girls and brown girls and disabled girls and other marginalized girls whose lives are often not represented by headlines about the harms of social media that have been in the news the last few years, even to the point of leading to congressional hearings. The black girl is the most disrespected user in the precarious and unregulated spaces of online content creation for kids and youth.

The aesthetic found in the female vidding community are similar aesthetics to most communities, but particularly the African aesthetic found from remix culture to dub culture and music. I argue with my first book that these aesthetics come from black girls game songs from hand club, games cheers and double dutch jump rope play. It’s the musicianship of gaming that is the hidden obvious as we like to say as ethnographers.

Still from TED TALK by Kyra D. Gaunt, PhD : University at Albany, SUNY | Image: Provided

You are also an ‘AI and Society’ Fellow at SUNY Albany. When we met, you had an interesting perspective on AI and how educators should consider approaching the tool with regards to student use…care to revisit that?

I found a new home thanks to Elizabeth Gray in the AI & Society Research Center at University at Albany. Most people on campus are pretty conservative about technology because our infrastructure really doesn’t help us explore new media and new emerging technologies. I recently spent two weeks writing a proposal for a Guggenheim fellowship in which I explore how the nonverbal sonic aspects of musical blackness cannot be read by AI’s large language models (LLM).

‘They tend to be text and visual based, but even when they do and code voice like Siri or Alexa, how do they translate in eyes and oops of African musical aesthetics?‘

I transcribed that last sentence by audio and you see what it produced. Let me transcribe that with human ingenuity: How does AI translate the aahs, the umms, the James Brown screams and field hollers, the Cardi B rolled kitten r’s or the moans from spirituals to jazz without a micro archive to develop systems of artificial intelligence consistent with ways of thinking, feeling, believing and behaving that are not from the term forms of knowledge associated with WEIRD nations (White, English Speaking, Industrialized, Rich Democracies).

I want to study with what Legacy Russell calls Glitch Feminism. The ghosts in the machine of artificial intelligence, the missing links, the faux pas that signal that you can’t read blackness. It begs the question: Does AI have any black and female friends? Like the old saying goes, ‘there’s truth in jest.’ Unless we have more ethnomusicologists interpreting non-western cultures in LLMs, more of us doing work with supercomputers like what’s available at the University at Albany, and having those systems made available to scholars like me – – a black women, brown women, people with disabilities, neurodivergents – the true revolution will be lost and left to only the most privileged in WEIRD Nations as we move into the age of post human AI intelligence. We are inhabiting the world that Octavia Butler imagined in ‘Parable of the Sower’. And I for one, will will do my best not to let that happen. I may be 63 years old and not considered somebody who is interested in new technology just because of my age. But my wisdom and ancestors who speak through me have so much more to offer than many of my students at a public university who have not been educated to trust their own thinking, take liberties and have compassion for people who are ‘not like us.’ (to riff off last summers Kendrick Lamar hit)

Presentation Board with Kyra D. Gaunt, PhD : University at Albany, SUNY | Image: Provided

In 2018 you had a TED video called “How the Jump Rope Got Its Rhythm” that has a total of over 7M views with translations in 29 languages. While covering the history of jumping rope and its importance as a tool of young female identity you also discussed how that playground practice then moved on to influence popular culture, specifically with black artists. Care to share a bit about this? I was intrigued by the concept of ‘Kinetic Orality‘ as a tool for memory. Please elaborate!

Kinetic orality and aurality is our first technology, both musical and otherwise. Hearing is the first sensory cognitive organ to develop in the womb. Nonverbal communication is our first language, it’s why in my opinion you should teach kids sign language before they can speak. There’s a gene in our DNA that prevents us from being able to say certain things with our tongue until a certain age. It’s just part of human development. However, kids can start to speak before they learn English by using sign language. We communicate all kinds of emotional knowledge and effective information by eye contact, tone, voice, facial expressions, gesture, timing, body posture, intensity, and our reactions to other human beings around us. Neuroscientist Daniel Siegel says that this is how you build an integrated brain in a child or in an adult. How does AI do this without hormones, without all of those factors of an integrated brain so that it can reproduce knowledge that I’d identify as African or African-American in tone, feel, touch and other sensibilities? Not just literate and visual communication?

Kinetic orality lives through the embodied action and percussion in games like telephone that we all remember from childhood. Black girls game songs have that added dimension of rhythmic intricacy and contrast expressed in polyrhythms, complexity and touch. We share hormones that keep us alive through touch, through hugs, through smiles and through laughter. AI doesn’t know how to tell a good black joke is my bet. It doesn’t know how to give sass and clap back to boys and men who think they can turn you into a joke or a punch line, whether it’s the Charlie Kirk‘s or the Drake’s of the world. Whether it’s the bullies or the sexual predators.

Kinetic orality is a term invented by Cornell West from 1989. He called it, the passionate physicality and embodied communication we used to survive and dream of freedom. I call it a technology, our first. Socio-biologists believe that music is our first technology. It’s what let us to walk upright to be able to sing a lullaby to a child swaddled on your back while you’re foraging or hunting. It led to how we language beyond the present to tell stories about the past and the future. Musical tone speech became the languages we all speak. Sets of pops and hisses as neuropsychologist Lera Boroditsky says turns into thousands of different languages among a single human race sharing 99.8% of the same DNA.

Embodied scripts of epigenetic or ancestral memory as behavior becomes part of our learned ways of being musical blackness. The earliest formation of a black popular music culture learned by kids, taught by girls, happens at a very young age; girls are taste makers of Black popular culture but they receive no royalties for them because they are children, they are female and they aren’t literate yet.

Kyra D. Gaunt, PhD : University at Albany, SUNY | Image: Provided

Finally, you also a singer songwriter in the jazz genre. How often do you gig and where can we find some of your music?

Right now I’m writing a memoir which I call a vocal memoir due to the fact that it’s based around several micro stories regarding my teaching after receiving hate mail my first year in the profession back in 1997, pertaining to various dimensions of my song life. A spiritual accompanies a story about why isn’t there a chapter on love in an anthropology textbook. The first song I ever wrote about meeting my dad at age 40 is accompanied by a story about daddy’s and daughters in the black community and the way people talk about deadbeat dads and won’t forgive the human experience. It’s my one woman show called Education Liberation: A Vocal Memoir. The tag is, ‘I know why the caged bird won’t sing.’

I performed it at University at Albany twice. The last time was in 2022. I sit in at a jazz jam sessions when I can, but now that I have arrived at having tenure, I can do more of the things I love. I’ve been cultivating the idea of doing an Albany First Friday event where I sing, tell stories and read poetry in the cozy lounge at the Argus Hotel in downtown Albany…

You can find my CD on all major platforms from iTunes to Spotify. But if you want me to make a few coins, then buy it on CDBaby. I love doing small gigs, parties or celebrations and I’m also a voice over artist. People love the voice that I was born with. I did the last national campaign for Planned Parenthood before Roe v. Wade was overturned. In fact, it was my first voice over gig ever.

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

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

July 10, 2025 By Corey Aldrich

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Collar City Coterie : recent Events Flyers | Images: Provided

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

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

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

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

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

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

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

“Do not assume what you may only suppose.”

To find out more or to get involved:

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

  • Page 1
  • Page 2
  • Page 3
  • Interim pages omitted …
  • Page 43
  • Go to Next Page »

Creative Economy Updates and Other Good Stuff!

STAY CONNECTED!

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

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

Design by Reach Creative