518 profiles APRIL 2026

PUBLISHER / FOUNDER

Stephanie Sittnick

COPY EDITOR

Elisabeth Allen

WEBMASTER

Tony Graveheart

ADVERTISING SALES

Stephanie Sittnick - Director of Sales ( 860) 227-8199 advertising@518mag.com

CONTRIBUTORS

Carol St.Sauveur Ferris, Karen Richman, Rona Mann

Chandler Stevens, Lawrence White, Susan Brink, Crystal Cobert Giddens, Chef Armand Vanderstigchel, Alan B. Richer, Kirsten Ferguson

COVER

Eggshells in various stages of completion by Elisa

Sheehan

At the heart of every thriving community is creativity — and at the heart of that creativity are our local artists. From painters and sculptors to musicians, writers, photographers, and performers, local artists give voice to our shared experiences. They tell their stories with honesty and imagination, and transform everyday spaces into places of inspiration.

This publication is proud to spotlight the talent, dedication, and passion of artists who live and create among us. We encourage our readers to explore their work, attend exhibitions and performances, and continue fostering an environment where creativity can flourish. Supporting local artists is more than an act of appreciation — it is an investment in culture, identity, and connection. Their work reflects who we are, where we come from, and where we are going. Each brushstroke, lyric, and handcrafted piece carries the unique imprint of our community.

As always, we’re grateful—to our contributors for their trust, to our readers for their curiosity, and to the broader creative community for your co ntinued embrace of 518 Profiles. We hope this issue keeps you company as the season shifts, and maybe nudges you to look again—at your work, your surroundings, or the possibilities just beginning to show.

Stephanie Sittnick Founder / Publisher

Kris Gregson Moss: No Moss Grows Under Her Feet!

pg. 6

Peel Back the Layers and Find Munson

pg. 14

Monica Miller Link

A Lifelong Obsession Helped This Artist Find Her Niche

pg. 24

Kate McDonnell

Unique From The Start

pg. 32

Kris Gregson Moss: No Moss Grows Under Her Feet!

By Carol St.Sauveur Ferris

When you are the oldest child in a large family, especially if you are a girl, you become an in tegral part of caring for and keeping of your younger siblings. And if you live in a rural set ting, your responsibilities extend beyond indoor household chores. There are gardens to tend and animals to feed. For Kris Gregson Moss, all of this was true and more.

A post-WWII baby and the first of seven children born over the course of 17 years, Kris’s primary roles in her household were childcare and helping her mother. She shares that she never played with her siblings – she just managed them. And when asked if she was creative as a child, she jokes that her specialties were herding goats that got out of their pasture, babysitting, rounding up kids, and sweeping floors!

That may be true, but resourcefulness and cre ativity were a staple in her household, as much borne of necessity as of natural talent, beginning with her parents. Together they

designed and built the family home from architectural plans drawn by her mother, a skill she learned from years of drafting during WWII. Her mother, who was deaf, was a gifted artist who had also taken many art classes in Seattle at a school that just happened to offer lipreading classes, which was a great help to her. Kris’s father, who, like Kris, came by his artistic talents naturally, was of fered a scholarship to a Manhattan art school but declined the opportunity because they didn’t have a baseball team! Together, the couple fearlessly un dertook many creative projects, including designing and hand-building their home in Chestertown, NY, from foundation to chimney. Years later, they also built a campground in Schroon Lake called Above and Beyond. Kris inherited their resourcefulness, eye for design, and willingness to get the job done.

According to Kris, when her mother was asked how she encouraged her children to be artistic,

she would reply that she just stayed out of their way! Plenty of art supplies were always available around the house, while the outdoors offered other creative opportunities. She and her siblings built treehouses, forts, and more on their property. In fact, as a child, Kris was very proud to have successfully built a double teepee on a little island in a nearby brook using long sticks and fabric rags. Who knew that those materials would eventually become part of her adult works of art?

After graduating from high school, Kris attended Albany State University and Cortland State, earning a BA in Elementary Education in 1968. She followed that by earning an MA in Special Education from the Col lege of St. Michael in Rutland, VT, in 1973. Years later, she also earned a Certificate of Advanced Graduate Study in Educational Administration from Castleton State College in 1992.

When asked if she ever took any formal art classes, the surprising answer was absolutely none; however, she did admit to taking several art quilt classes at Quilting by the Lake in Central NY, two sculpture classes at Adirondack Community College, and a two-week summer art class.

After 23 years of teaching, Kris happily retired and began to do what she loved – making fiber art. In the early days, she created in various studios she rented for 13 years. Today, both she and her husband are happily ensconced in their beautiful home with a 270-degree view of the Green Mountains, hills, and valleys. Much to her delight, her husband transformed their two-car garage into a magnificent studio where she can work however and whenever she likes.

Given her background and quite a bit of cross-country RV travel under her belt, it’s no surprise that Kris is inspired by nature and her surroundings. She has collected many fabrics and bits of this and that along the way, providing her with an endless supply of materials for her fiber art. And with no particular routine beyond just showing up in her studio and no preconceived idea of what she will create next, she finds that her art begins with a simple piece of fabric.

“I just get into my studio as soon as possible and see what goes with what. I have quite a collection, including fabrics of all sorts, threads, a variety of ribbons, yarns, and trims, clothesline, along with embroidery floss, crochet cottons, and macrame cords. Then there are the reeds, beads, wires, sticks, and stones, and shells picked up from as far away as Tierra del Fuego, Alaska, and New Zealand.”

In the early years, Kris’s art and medium of choice were the exception in the art world, not the rule. Because of her use of fabrics, people tried to categorize her work as quilting, but that couldn’t be further from the truth. As a result, she found it challenging to be accepted into the realm of fine art and into galleries; however, that resistance has never deterred her, and it finally seems to be changing.

Describing Kris’s creations as a point where both art and geometry inter sect, her pieces are both 2-dimensional (2-D) and 3-dimensional (3-D). At first glance, people often assume her 2-D pieces are quilts. Yet when viewed up close, one can see how she might have beautifully in corporated stones, beads, and shells that give rise to a 3-D quality in reality, quickly dismissing the notion that the piece is a functional quilt and quite possibly an abstract work of art. They hang flat, depicting a scene or view that inspired her, not unlike a traditional painting or wa tercolor. And they are not functional in the sense that they can be used as blankets. Not even close.

As mentioned, at the start of a piece, Kris will select a fabric that may come in many colors. Then she pulls other fabrics that look good with it. From there, she steps back and looks at them as a group, then begins eliminating what does not feel right. Next, she pins up her original piece of fabric with smaller pieces of complementary fabric, placing them to ward or away from the focal point of her evolving composition, which is typically off-center.

Giving the studio another look, Kris then selects fragments of wood, stones, yarns, and more that will become essential parts of the composition, either complementing the color palette or creating movement. When the piece is done to her absolute satisfaction, she then staples it to a canvas-

covered art frame and sews down the corners, making it ready for hanging.

Her 3-D pieces are a feast for the eyes, exploring movement and dimension in a very different way. They are fascinating examples of sculpture that once again do not fit neatly into a traditional category. Rather than creating her pieces in media like clay, stone, papier mache, and metal, Kris creates and shapes her 3-D sculptures using an armature of wire, wood, and reeds, allowing her to attach fabric, yarn, beads, and more. It may be suspended or sit on a pedestal. Amazingly, she never has a precon ceived idea of what she will sculpt but al ways starts her sculptures in the same way she does her 2-D pieces - one piece of fabric at a time. She then patiently and intuitively sculpts her pieces until she feels they are complete.

Hudson Falls Gallery owner, Kendall McKernson, described her as a person who “ looks at color, movement, form, and negative space differently than most. She examines the tiniest parts of nature from the inside out as well as the outside in.”

Kris’s work has been exhibited in a number of places. In the early 90’s, she showed in quilt shows but found her work somewhat misunderstood. In 2005-2023, she was a member of Fiber Revolution, an art quilt group that met online and showed both nationally and inter nationally. Incredibly, one of her pieces was shown in Saint Petersburg, USSR, and later it travelled with the Fiber Revolution group to Botswana. In 2005, she also became a

founding member of the Adirondack Regional Textile Artists’ Alliance and was juried into the Valley Artisans Market in Cambridge, New York. Most recently, she was invited to join the Guild of Adirondack Artists and is now one of their first three-di mensional artists.

Kris has exhibited at the Lower Adirondack Regional Arts Council (LARAC), Blooming Artist in Clifton Park, NY, Ticonderoga Arts Gallery in Ticonderoga, NY, Valley Artisan’s Market in Cambridge, NY, and Southern Ver mont Arts Center in Manchester, VT.

She has also taught many workshops, which she thoroughly enjoys and sees a future filled with more fiber artmaking. When asked the question why she creates the type of artwork she does, she responds, “Because it’s fun!”

We are hard-pressed to think of any better rea son than that!

To see more of Kris Gregson Moss’s work and learn where she is exhibiting, visit her website at www.krisgregsonmoss.com for more infor mation. You can also enjoy her work on Facebook at Kris Gregson Moss and on Instagram @krisgmoss.

Peel Back the Layers and Find Munson

by Rona Mann

Behold! The perfect onion.

Cylindrical. Flavorful. And most important for a perfect onion, del icately layered.

Perhaps 10 to 15 layers, each with a different appearance, each bringing a different flavor to the palate.

But this story is not purely culinary; it is about art. Just as the word “art” is singular in nature, it conjures up completely different things to every person who contemplates the word. Thus, the perfect onion and the often imperfect perfection that is art share a greater similarity than you may think. Both are composed of flawless layers, each layer designed to deliver something different.

Behold! The perfect multi-faceted venue that is a joyous and ongoing celebration of and journey to the arts.

In Central New York, within the confines of downtown Utica, there is such a glorious, multifaceted venue, quite simply known as Munson. You may have previously known it as the Munson-Williams-Proctor

Arts Institute, a mouthful of confusion indeed, because al though it was founded in 1919 as the artistic vision of one family, there were many who really didn’t know exactly what it was, what its place was in the world of art, or even what to call it.

“Eleven syllables, plus hyphens,” said Anna D’Ambrosio, the President and CEO of what, since 2023, has been rebranded as simply “Munson.” But while the name may have been made less confusing, the art museum will forever be that perfectly layered onion, and it is that we ardently urge you to visit, explore, and return to again and again because it is way more than just that one layer!

First, a bit of history, for great museums are usually con ceived from great history, and Munson is no exception. It was born of the artistic vision and philanthropy of three generations of one Utica family. Although there were three generations, there was never any confusion about its purpose: not just a place to collect art, but an institution that would grow into a cultural hub for the region, combining museum exhibitions, performing arts, and arts education all under one roof. The history of the family, who begot whom, and who was involved in fine art, philanthropy, investment ventures, and the community can all be found on the website (munson.art). We want to tell you what you will find within.

Munson is three distinct programs occupying some 24 buildings over 10 acres...hardly a one-building dusty, old museum. No, this is a place teeming with life. It’s a Museum of Art, it’s a vibrant Performing Arts Program, and it is a School of Art in partnership with the Pratt Institute downstate in Brooklyn. It’s a place where things are happening

every day, with activities for those of preschool age, right up to those who are retired or seniors looking for some zest in their lives. Munson peels away yet another layer and adds the zest of classes, tours, lectures, and more.

Like those seemingly never-ending layers of an onion, the Art Museum was the first to evolve. In the post-war period, the art collection grew as did the need for additional exhibition space. An architect was hired by the trustees of Munson to design a new art museum, which

is today the glorious home of the Munson Museum of Art. Known both nationally and worldwide for its permanent collection, it holds more than 12,000 works of both American and European painting, as well as American sculpture, decorative arts, and photography.

Anna D’Ambrosio points with considerable pride to the original set of Thomas Cole’s Voyage of Life series. Cole is a founder of the Hudson River School (considered a mid-19th-century American art movement focused on landscape painting), and has his work per manently exhibited in the main building of the Museum at Munson. This exhibit, in particular, continues to draw visitors from across the United States.

The museum’s installations appeal to all au diences and tastes, spanning American Realism, Abstract Expressionism, Minimalism, and Pop Art, with visitors marveling at the work

have one of the strongest collec tions of American Art from the late 18th cen tury

to contemporary works,” says D’Ambrosio, “with three floors of gallery space.”

While you are on this fantastic arts journey, you must spend some time at Fountain Elms, the 1850 Italianate former home of the founders It features within galleries of decorative arts and is connected to the main Museum.

Wind back yet another layer, and you will be stunned by how Munson performs and extends beyond the galleries to the greater community. There are ongoing programs in live music and film for the visitor as well as for Munson members and residents of the greater community. Keyboard Conversations, Concerts in the Court, Live Opera direct from the MET via movie theater transmission, a unique Food & Art Experience. It’s all art, and it’s all happening all the time at Munson!

Almost from the first time they opened their doors, Munson has made art education a pri ority, and they have exposed a giant layer of their never-ending onion to a college program called Pratt Munson, a bachelor’s that begins at the art institute in Utica and culminates with a BFA from the famed Pratt Institute in Brook lyn. Students complete their first two years surrounded by a wonderful education of

learning, studying, working, and experiencing all Munson in Utica offers. Specific programs include graphic design and illustration, paint ing, drawing, printmaking, sculpture, jewelry, photography, and teacher preparation for certification in art and design education. Their junior and senior years are then complemented and enriched through a seamless

tran sition to Pratt’s main campus in Brooklyn, where they complete everything needed for a bachelor’s degree in Fine Arts. It is a true bridge between regional education and a world-renowned and respected international art school. What a wonderful way to combine initial exposure to and educate in the arts, with a culmination that seriously puts them on the path to a bright future.

Now for a bit of housekeeping as you make plans to visit Munson this late spring, summer, or fall.

The ride from Albany to downtown Utica is just 90 miles or a little more than an hour and a half (traffic at different times of day can add or subtract from this time).

You cannot see it all in an hour or two, so come early and stay late; or best of all, stay overnight. Anna tells us there are many hotels in the immediate area in all price ranges.

Hungry? Utica is known for great Italian food (try the Utica Greens!), but there’s everything from fast food to fine dining and everything in between. The Cafe at Munson is perfect for lunch...it is undergoing renovations now, but will be ready for you to take a break from oohing and aahing by late spring/early sum mer. Make sure you enjoy the fresh air and sunshine on the terrace.

Handicapped accessible? Absolutely! Any questions? Simply call (315)797-0000, and someone will be happy to assist you.

Parking? Plenty of it! They have their own parking lot.

***THE BEST LAYER OF ALL!

Admission to the Munson Art Museum is FR EE year-round! This does not include special exhibitions a nd events, but where

else can you go for a benefit like this?

We asked Anna D’Ambrosio what was so special about Munson and why pe o ple should make the trip. She answered in an enthusiastic rush of words, which, when summed up, translates to: it preserves art and history through deep collections. It has landmark architecture that is art in it self. It ed ucates generations of artists and art lovers. It invites community participa tion by hosting concerts, workshops, and events that bring people together. And per haps most important of all, it pro motes dialogue in the arts, keeping the Munson family vi sion alive and evolving. Continuing to en circle generations around the corner and around the world.

So the multi-layered onion never ends.

Ready to visit Munson? Set your GPS for 310 Genesee Street, Utica Phone: (315) 797-0000  www.munson.art

Monica Miller Link A Lifelong Obsession Helped This Artist Find Her Niche

by Carol St.Sauveur Ferris

Art may be in the eyes of the beholder, but it is also in the heart of the artist. Their reasons for creating are as varied as they are diverse. Some use the canvas to create a visual memoir of what they see, while others offer visual suggestions for you to decide what you are in fact seeing. Many make a political statement with their art, recording moments in history or sharing their views, while others invite you to simply enjoy their work. It is a visual language without barriers, and while all of their reasons are legitimate and powerful, artists leave the ultimate response and interpretation of their work up to you.

It can take years of living for an artist to truly express, understand, and appreciate what compels them to create art. For Monica Miller Link, her passion for drawing and painting has been a lifelong obsession with interesting twists and turns along the way. Born and raised in Utah, Monica was the last of seven children, born to a very creative mother who fostered and encouraged their love of the arts. Of the seven, two are painters, another a playwright, a third is a musician, and another is a ceramist.

In keeping with her siblings’ creative pursuits, Monica studied filmmaking at the University of Utah and was quickly hired as a television assistant. Soon, it was a wideeyed Monica who left Utah behind and headed east to pursue the arts. After moving to New York in 1976, she interned for independent filmmaker Bruce Baillie.

“When I came by train, I was shocked by how all the way from Washington, D.C. north it was like one continuous metropolis, so populated with little gaps of green. Where I grew up, you could just start walking, and because it’s a high plateau desert, you could just keep on walking. I was kind of dazzled.”

At the time, the 518 area code was alive with an artistic fervor that ran one block down Central Avenue, four blocks along Lark Street, then curled back onto Madison

Avenue. At its center was historic Washington Park. According to Monica, there was palpable excitement and joy running throughout and within Albany. It was a multicultural epicenter where a profusion of music-making, art-making, collaborations of all kinds, and longterm friendships were formed. She quickly became fully engaged in the scene, which laid the groundwork for her evolving artistic career and success.

Dazzled though she may have been, she was also very hardworking. Her time with Baillie culminated in the completion of an animated film, Push Comes to Shove Hellbent for Leather, in 1980. It was screened at sev eral film festivals, including the San Francisco Art Institute Film Festival and the Bilbao International Festival of Doc umentary and Animated Film in 1981, and the Ann Arbor Film Festival in 1982. In addition, she had her first gallery show in 1979, featuring animation cells from the same film at Mountain Top Gallery in Windham, New York. And she was just getting started.

According to Monica, she has been drawing ever since she was a child and calls it her lifelong obsession. In fact, while working on the film, she was also doing watercolors on paper and exhibiting in and around the Capital Region and the Hudson Valley. Her work was wellre ceived, resulting in frequent sales and commissions.

Somewhere in the mix of painting, filming, and exhibiting, Monica married and had a family. She continued making art, but by the late 80’s she turned her

attention to politics as well. She lobbied the New York legislature on behalf of patients’ rights, which helped usher in a law signed by Governor Mario Cuomo in 1994. Multiple campaigns followed, which led to her role as a legislative associate for the Assembly Health Committee in 2006.

The legislative process often meant long hours waiting, sometimes into the wee hours. Ever the artist, Monica found it was a perfect time to take out a small sketchbook and draw whatever captured her attention. She loved drawing the architectural elements of the Capitol building

and often sketched people working there. However, as soon as the meeting or debate began, the sketchbook was tucked away, and she was all business. For Monica, it was wonderful to be part of that conversation, but truth be told, it was even more wonderful to head home at the end of the day and create in her studio in the woods.

Over the years, the government’s ethics rules tightened, and by 2013, she could no longer exhibit or sell her more valuable artwork. Oddly enough, the ruling gave Monica unexpected freedom. Freedom to

explore, experiment, and express without pressure, and she did all of that and more in her beautiful studio. With a front-row seat to a wan dering brook sheltered by statuesque trees, Monica’s view offered a daily meditation on nature and allowed her to capture the subtlest changes and render them in oil. In 2023, she retired from the legislature and embarked on a full-time creative adventure in painting.

Her approach to painting is quite interesting and is as much about trial and error as it is about absorbing and channeling the advice of

artist friends she learned from over the years. When explaining how she paints, she first references them, pausing and reflecting a moment on their influence in between.

“Willie Marlowe is an Albany painter with an indomitable spirit. She taught me that color moves the eye, not only in terms of composition on the page but also in your mind.”

“And then there’s Wendy Williams, another local artist who taught me that a good painting is a realm. And that the eye will move through the realm and slip out, but good composition catches you and brings the eye right back in.”

“Lori Lawrence taught me that color is an invitation to play. That you should leave some traces of play in the beginning that started your curiosity about what you’re going to do on this particular piece – and that basically the beginning is as important as the end.”

“And finally, there’s Bruce Stiglich, a wonderful painter. He taught me to trust the paintbrush and how it plays. He also encouraged me to indulge paint pigments with all their strengths and weaknesses, letting them do their best.”

In the early days of her career, Monica shared that she worked in watercolor but grew tired of the reflections that appeared on the glass covering the artwork when framed. They were very distracting, often distorting the composition and de tracting from the piece's experience. As a result, she moved on to oil, which is never covered in glass, and has enjoyed the medium ever since.

In addition to heeding the advice of some of her fellow artists, Monica also listens to her own voice as she observes and follows the seasons just out side her windows, noting how they evolve, merge, then separate year after year. She typically pays close attention to two consecutive seasons, which helps her make sense of what she is working on and, in turn, gives rise to what she might paint next. Her magical landscapes speak to her sensitivity, observation skills, and ability to capture what she senses may lurk beyond.

For her current process, Monica decided that the creative realm for an extended series would be two-foot square boards. No more. No less. Interestingly, though she works in oil, her long-loved watercolor

brushes remain her tools of choice despite their softness and tendency to hold too much pigment. Because of that tendency, she diligently cleans her brushes each day, emptying them of all pigment as you might expect. Rather than brush and dab them on a newspaper or card board to be tossed, she randomly dabs and moves the brushes across her next blank board, leaving helter-skelter marks of color that will somehow give rise to her next painting. It’s a process that aligns with more sage advice she received early in her career. Specifically, that the beginning is as important as the end, and with this way of thinking, the transition from one painting to another is continuous.

“It starts as a puzzle. It’s crazy. It’s like mayhem. And in this way, one painting leads to the next painting, which leads to the next and next and so on.”

Her process keeps Monica forever engaged with her surroundings and supports her view that you evolve in response to your environment, which she most certainly has. And just as the seasons come, go, and change from year to year, her work will do so as well.

Monica Miller Link is currently ex hibiting at the Laffer Gallery in Schuylerville, NY. To learn more about future exhibits and view her artwork, visit www.monicamillerlink.com. Her current body of work can also be seen on Instagram @monicastudiolink.

Kate McDonnell Unique From The Start

by Lawrence White

“But I am just a tiny flower, And this season I’m upon Forces me to spend my colors, And I ache to give each one, But if I did not ache this way I’d ne’er be picked for some true love, And I’d fade and wither unfulfilled In the palm of winter’s glove.”

“If I Knew” – Kate McDonnell

The moment Kate McDonnell walks onto the stage with her long flowing hair and fiery confidence in her eyes, you know that you’re in for something special. Her custom acoustic Taylor 912 guitar, with an intricate “Lucinda” inlay on the body trim and neck, is comfortably worn on a strap, upside down and backwards. Unlike Jimi Hendrix's guitar, the strings are in the original configuration. As she begins a song, her long, delicate fingers form patterns and chord designs up and down the neck that are fascinating to observe, while her rich, passionate so prano voice rings out the vividly written poetry in her dynamically rhythmic arrangements.

Kate comes from generations of musicians. Her maternal grandfather and greatgrandfather performed with the National and Baltimore Symphonies. Kate's father sang operettas in his younger years, and her mother continues to play piano. All three of Kate's siblings are also musicians, and they all often enjoyed

singing at the table after dinner or dur ing family gatherings in their hometown of Baltimore.

When only four years old, Kate, who is normally right-handed, heard a Joan Baez album in her mother’s col lection, picked up her mom’s guitar, and started teaching herself to play left-handed, up side down, and backwards. Her parents were amazed and did not try to dissuade her. Eventually, Kate began listening to guitar

players like Leo Kottke, Mason Williams, Steve Howe, Duane Allman, and others, which expanded her skills and enthusiasm.

Kate studied English lit in college from 1979-83 and was in New Haven 1985-95 to support her husband while he attended medical school/training. At the same time, she worked for 3 science publications, sometimes all at once. Yet, she still had time to meet guitarist Freddie Tane, who had been a touring member of Bill Haley’s Comets. Kate quickly partnered with Freddie, and McDonnell-Tane cut two selfreleased albums in their 3-1/2-year career. They had the opportunity to open shows for Bob Dylan, Willie Nelson, and Judy Collins. Kate also formed an all-female trio, Colossal Olive, which played out in the New Haven area.

Kate is sitting in her Voorheesville studio as I ask her to relate to those years, and she recalls, “Kathy Mattea was very friendly, and we were able to hang out with her quite a bit. She was delightful. I also remember telling Alan Jackson that he had the longest legs in country music, which gave him a good laugh. Arlo Guthrie was quite friendly and chatty. Leo Kottke is a terrific person and became a good friend.”

In 1989, Kate was named a New Folk Finalist at the Kerrville Folk Festival in Texas and a Falcon Ridge Folk Festival Showcase Final ist in New York State. In 1992, she released her self-produced debut album, "Broken Bones," on her own Dog-Eared Discs label (reissued by Waterbug in 1994) and was voted the #1 singer-songwriter in New Haven in the New Haven Advocate’s poll.

The CD was praised in prestigious folk periodicals. Sing Out! called her a "strong vocalist and guitarist with an outstanding ability to write excellent first-person songs," and Dirty Linen described "Broken Bones" as "a striking showcase for her skills as a songwriter and performer" and called Kate’s voice "flexible, adventurous and moving" and her songs alternately "playful . . . and profoundly moving."

Those reviews are right on. Kate tells stories with her songs. Unlike much of modern music, every word Kate sings is clear and keeps the listener involved. For instance, her song, Ballad of a Bad Girl, co-written by Anne Lindley, Kate’s frequent writing collaborator, would make an excellent theme for a film. A dark tale of abuse in

a family, solved by two sisters who save their mother by helping to “end” their father’s horrid abuses. The song unfolds like a nar rative drama, and the conflicted ending has the audience cheering for the girls.

In 1998, Kate released her second album titled "Next." Well-known singer/songwriter, Jonathan Edwards, called Kate "one of the pre mier female solo acoustic acts around," and respected folk musician, Bill Staines, was quoted as saying, "Kate is one of the finest writers and performers I’ve heard in a long time.”

In 1999, Kate appeared on the internationally syndicated "World Café" radio show and performed at the Kennedy Center in Washington, D.C. Another career high point followed in 2001 after the release of her third CD, "Don’t Get Me Started," and she performed at the Newport Folk Festival. The Village Voice review stated, "You get the feeling you may see others covering her tunes in the future, as she is a gifted writer." The Swiss label, Brambus Records, picked up "Don’t Get Me Started" for overseas release, and it went to the top of the list for U.S. and international folk airplay.

In 2005, Kate released her 4th album, "Where the Mangoes Are.” She was accompanied by award-winning composer, producer, engineer Scott Petito on bass, Sam Zucchini of the famous Zuccini Brothers on drums, and the late, much-loved and highly regarded singer/songwriter and multi-instrumentalist, Mindy Jostyn on fiddle and vocals. The song from that CD, "Mercy," received frequent airplay in the US and internationally.

It is easy to see why the song was so well-received. Mercy starts with a deep throbbing whispering groove with lyrics that express anger at war, “do we have to kill them all to make their country free,” and ends in a plea for compassion, peace, and yes, mercy. Kate’s voice delivers the lyrics with tender intensity as the production enhances her passion with a warm sonic embrace.

In 2020, Kate recorded her 5th album, "Ballad of a Bad Girl," with world-class musicians Jerry Marotta (drums) and Tony Levin (bass). Produced by Kate and recorded in Dreamland Stu dios near Woodstock, the CD included cover songs by Cree dence Clearwater Revival and Richard Thompson.

Kate tells me of the experience. “We recorded during the COVID lockdown. I had been working as a social worker and felt it was time to make some new music. Tony and Jerry were in lockdown like everyone else because all of the headline acts they normally work with were off the road. Tony lives near Dreamland Studio, so we were all able to get together and record.”

In 2024, Kate released her sixth album, Trapeze. Marilyn Rea Beyer of The Midnight Special and Folkstage, WFMT in Chicago, review stated," the music is just so GOOD and so REAL and so NOW! The melody just sticks right be tween my ribs and my heart."

Kate just finished a concert at Caffe Lena at the time of this writing, and I asked her what she is planning next. “The plan is to go back and tour the UK and the Germanic countries in Europe in 2027 because it has become sort of a home base for my music. I also hope to release a new CD this summer. Maybe two, who knows?” she says with a laugh.

Yes, Kate is a unique, original artist right from the start, and she con tinues to “spend her colors” for all those fortunate enough to see and hear her perform.

April Meant Warm Weather, Flowers Blooming, & Dr. Horowitz!

by Karen Richman

Growing up in the Northeast often meant long winters.

Snow, ice, cold, slush, gray skies, and sunsets that came before 4:30. I didn’t much like winter, so each year I looked forward to April, because by April, we knew we were pretty safe. Sure, there were a few colder days here and there, but there were many more sunny ones, too. The sun was undeniably warmer, and flowers started popping up where just a week or two before there had been snow mounds. Spring was just around the corner!

The only thing I didn’t like about April was that it was the month that marked my annual visit to Dr. Horowitz... the dentist! Actually, Dr. Horowitz was a very nice, soft-spoken, bespectacled gentleman. But he was still a dentist! He had a drill, two of them actually, the high-speed drill, powered by belts and pulleys that roared into action, sounding like a thousand mosquitoes and frequently delivering the same kind of sting, and the dreaded low-speed drill with a reverberation that rattled me from the insides of my mouth down to my toes. What Dr. Horowitz didn’t have back then that is commonplace now was a dental assistant, so he did it all. Cleaned my teeth, took the x-rays, checked for cav ities, and then if there were any, he’d fill the of fending craters with silver, although I tried to talk him out of it by saying with childish prattle, “Cavities? I don’t think so. They don’t hurt a bit. Maybe we should wait till next time.” But Dr. Horowitz didn’t believe in “next time”; there was only “this time,” and “this time” was when the fillings would be addressed.

The dental chair was the throne of the experience, upholstered in vinyl with a great mechanical sun looming large over it…the examination light. Dr. Horowitz could make that light swing into position from every direction, signaling we were about to begin the procedure. His tools gleamed on a nearby tray, all lined up and arranged with precision.

Dr. Horowitz always did his best to try to get my mind off what lay ahead. When he cleaned my teeth, he attached cotton balls to the drill and told me to watch the bunnies race. That worked great until I was about eight or nine, then I was having none of it.

Pain management was not then what it is now. Although Novocaine existed, it was administered

with a syringe that was beyond formidable in appearance, and was accompanied by that ongoing lie of “Just a little pinch.”

In the 1950s, dental hygiene education often began at school. We were taught proper brushing tech niques by the school nurse, reminded not to eat too much candy, and were shown posters in the hallways promoting fluoride as a scientific shield against decay. But we were kids, and I don’t remember anyone rushing off to the boys’ room or girls’ room after lunch or graham cracker and milk times to brush their teeth.

No matter how old we got, fear was always front and center in the drama surrounding the nervous anticipation of an upcoming dental appointment. Kids on the playground would tell each other stories of extractions and fillings, one more frightening than the last. A loose tooth that wiggled at home with the anticipation of the tooth fairy and something wondrous under the pillow was diminished when another story, woven with great detail, involved an extraction performed with for ceps and ended with a twist and a wad of gauze, drenched with blood.

Looking back, dental visits in that era were shared experiences we all wished we didn’t have to share. The office was both clinic and classroom, and seeing “Dental appointment” written on the kitchen calendar started a dull ache in my stomach weeks in advance. Even though my parents and Dr. Horowitz constantly reassured me that discomfort was temporary, but good teeth were forever, it did little to lessen my fear. Yet there was a promise that once it was over, I would have survived something important. Even feeling numb and slightly disoriented felt like another plateau attained toward adulthood, though I would rather have had any challenge that wasn’t quite so anxiety-producing.

Dr. Horowitz and his 1950s-era dental office were a snapshot of postwar America. White coats, con fidence in the machinery of the day, and stoic dignity to endure the experience. I always left his office clutching a small paper cup and being told not to spit too vigorously. Then it was only a short car ride to Strubbes Ice Cream Parlor. Dr. Horowitz told me it was a prescription for soothing my gums, but I always caught the wink he gave my mother.

I just never let on because it hurt to smile.

Dear Earth, We’re Ready for Spring Now

By Crystal Cobert Giddens

Dear Earth,

It’s April 1st and we made it! We made it through lots of snow (so much snow), cold and more cold, wind and negative 30 wind chill that took down trees and wiped out power for hours and hours and HOURS and soup.

So. Much. Soup. We came together for coat drives and checked on our neighbors. We shoveled and snow plowed, snow blew and snow eye rolled more times than we could count.

After a winter like that, stepping into a new month feels significant. The snowbanks are gone but there’s snow piled in the parking lots. Our snow boots are still by the door. Our heavy coats are still within reach. We want to believe. But we know you.

You like to begin April with Fake Winter. A brilliant blue sky. Sun pouring through the windows so convincingly we leave the house without gloves. And then, thirty-five degrees. Wind with teeth. A reminder that winter hasn’t fully released its grip.

The flowers don’t know what to do with such conflicting information. You warm the soil just enough to wake them, then cool it again. They hesitate underground, unsure whether to commit. So do we.

Usually you follow that with Fake Spring. A few muddy afternoons. A softer breeze. Birds returning as if they’ve read a more optimistic forecast than we have. We crack open the windows. We breathe dif ferently. Something steady in the body begins to stir. And then the temperature dips again.

Forty degrees. Thirty-three degrees. Frost in the morning. Maybe even a little sleet for 5 minutes just to keep us humble. It’s part of your rhythm. But after a winter that long, snow piled high, gray days stretching endlessly, wind that cut through even the good coat, we’re ready for something steadier. We endured. We layered. We conserved. Winter demanded resilience, and we gave it.

Now it’s April. And we’re ready for the next chapter. We understand that spring does not arrive all at once. You don’t flip a switch. You gather it. Degree by degree. Root by root. Light stretches a little longer each evening. The air smells less like ice and more like soil. Water begins to move beneath the surface long before we can see it. The body feels that shift.

Sleep adjusts to the lengthening light. Energy rises in waves. There is restlessness, an urge to open windows, clear closets, walk the long way home. Even our skin recalibrates to the changing air, reminding us that we are not separate from the climate around us. Nothing is malfunctioning. You are recalibrating.So are we.

April is never linear. It is a negotiation between what was and what is coming. One afternoon feels like promise. The next feels like retreat. Flowers hesitate. Trees stall. We humans check the weather app obses sively. And yet beneath all of it, something steady is happening.

Which is why Earth Day matters. Not as a slogan. Not as a square on the calendar. But as a reminder that regeneration is already underway.

Roots are reactivating. Soil ecosystems are rebuilding in ways we can not see. The planet does not wait for perfect conditions to begin again. It starts anyway. And we wake up with you. Not dramatically. Gradually.

Shoulders soften. We linger in sunlight. Our coats stay unbuttoned a little longer. The windows stay open, even if only for a few hours. Re-entry is rarely graceful. Growth is muddy. Inconsistent. Full of false starts. But it is happening. By the end of April, the massive temperature swings soften. Grass deepens in color. The new leaves are fully present and the air loses its edge. The chaos does not disappear. It steadies. And we steady with it.

You do not explode into spring. You assemble it. So on this first day of April, consider this our collective voice: We respected the cold. We endured the gray. We carried the weight of winter. Please. We’re ready…

Ready for open windows without hesitation.

Ready for sun that lingers.

Ready for warmth that does not vanish overnight.

We are ready for spring now.

And we are standing here, together, hopeful and waiting to meet it.

Crystal Cobert Giddens is a Saratoga Springs–based writer and the founder of FACES New York. She approaches skin as a reflection of climate, time, and real life for the women who live here.

518 CULINARY DESTINATIONS: Exciting Discoveries

By Chef Armand Vanderstigchel

Lately in the news we are reading the longing to support local businesses and artisans who have bravely fought the long cold winter with high utility bills and diminished traffic. In our monthly column we like to highlight and support this mission of sup port, underscoring the importance that these small business gems bring to the table, making our region a travel destination.

Directly outside of Saratoga Springs on Maple Av enue in Wilton, there is a flurry of activity of new apartments, office buildings being built which will support the need for housing since the area is growing but also support culinary entities nearby and wonderful establishments such as Artisanal Brewery which we featured in a past issue.

Enter Canopy of Saratoga, a new exciting operation on US-9 in Wilton, an ingenious family-built Greenhouse Café, and Garden Center!

After two years in the making a prominent timberframed building on Route 9 in Wilton, creating ex citement across Saratoga County. Owner Todd Smith, graduated from Saratoga Springs High School in 1987, founded Mandy’s Spring Nursery more than 30 years ago with his Australian wife, Leonie. Today, the nursery is known for its landscape design, garden center, florist, and its event barn, Gables & Gardens, where the family hosts al most 40 weddings each year. With Canopy they are returning to Saratoga County to celebrate their craftsmanship and their community roots.

Canopy balances design, craft, and hospitality, merging retail, horticulture, and food experiences ingeniously under one roof. There is a Greenhouse Café at Canopy, a light-filled space surrounded by greenery where guests can enjoy Sandwiches, Bagels, Soups, Specialty drinks, Coffee, Quiche va rieties, and various Pastries. There is also occa sionally on weekends live music from 5-8 pm.

On a recent visit I enjoyed a cup of Tortilla Chicken Soup, a delicious Toasties (grilled Cheese Sandwich) made with aged Gouda Cheese and a Coconut Iced Latte. This is truly a great place for a quality breakfast/lunch in a serene casual setting-chef approved.

A Holiday Market is celebrated yearly from November and running through December featuring local ven dors from across Saratoga and Washington Counties offering handmade wreaths, candles, soaps, ornaments and a Christmas Tree Lighting with hot Cider and Cookies, and more in the spirit of the season. This is one of the main factors we are thrilled and supportive of the new venture because

of the strong support of local products. As I browsed through the store there were many local food and art displays featuring local artisan. In ad dition, there are some unique displays such as “The Plant Bar” in which you can create your own plant/pot design with soil at your disposal. A “Candle Bar” is also available for the craft lover in you! Occasional work shops are posted such as Terrarium Workshop. Canopy is conveniently located near may apartments and Adirondack college, which will accentuate a future of success supporting local.

On a recent Ski-trip to Lake Placid, the question was raised where to find a unique dinner destination on a snowy Monday night. Resorts and hotels usually opening their dining facilities 7-days a week and the brilliant plan was to visit the Whiteface Lodge which in addition to their fine dining room Kanu, opens their more casual restaurant Peak 47 to the public 7-days a week.

Arriving at the Whiteface Lodge is an impressive experience. There is a friendly valet service and entering the premise is a grand experience of beautiful architecture grandeur of rustic logs construction and Adirondack themed artwork. Cozy fire places are operational everywhere including in the dining room of Peak 47, accentuated with beautiful rustic furniture, a coper copper-topped bar creating a cozy atmosphere.

As with most large resorts, the staff is international on work visas encompassing many countries and it creates interesting conversations about their origins and as pirations. The bar offers local and regional beers, exciting cocktails a choice of an extensive wine list as a perennial winner of

Wine Spectator’s award. The culinarian on duty that evening Chef Shane was gracious and ensured great care in the array of dishes we ordered. The menu encompasses a carefully crafted choice of items to satisfy a large spectrum of palates for visitors and those lodging at the hotel.

We enjoyed the Winter Salad of roasted Beets, heirloom Carrots, whipped Chevre tossed in blood Orange Vinaigrette strewn with roasted pepitascreative and delicious. Finding an Onion Soup on a menu is always irre sistible such as this one made with bone-broth, caramelized Onions and melted Gruyere cheese-perfect.

Chicken Wings are here on the menu such as Jamaican Jerk, a must-try and certainly spot-on in flavor and juiciness. An entrée of Steak-frites was enjoyed featuring the flavorful-cut of a Bavette Steak, a cut pre-dominantly used in France and craftly sliced on the plate laced with a red-wine demi- glaze.Pizza varieties are available such as a Wild mushroom, Bechamel, and Fontina.

Cocktails are beautifully crafted and a delicious European Riesling wine was enjoyed. For dessert we enjoyed an Ultimate TripleChocolate cake and a beautiful Raspberry Almond Shortbread Torte.

Life is good in the 518 regionex plore and you will be rewarded!

“I have advertised with 518 Profiles since its inception. I am extremely happy with the lush colorful layouts and positioning of ads. The magazine has my best interest in mind; offering advice to make visual improvements when necessary. Customer service is exquisite. I highly recommend advertising with this magazine.”

Tom Myott, Artist - www.tmyottart.com

“Doing business with 518 profiles has been an absolute pleasure. Stephanie is extremely professional in designing and ex ecuting our print ads exactly as we envi sioned. She makes the process smooth and easy leaving my time free to focus on our employees and guests”

Michael J. Fortin, Owner/Executive Chef

MJF

Restaurant Group LLC, Cohoes

“Working with Stephanie at 518 PROFILES magazine is truly a pleasure. The magazine is so well written and designed. I feel I have gotten great coverage with my ads and featured article. The digital version reaches a wide readership as well. Stephanie is a true journalistic professional. I highly recommend this magazine to highlight and advertise your business.”

Ann Larsen, Larsen Studio

I am a longtime fan of 518 Profiles and con tinue to be impressed by content and presentation. I also appreciate that the magazine gives the small art entrepreneur exposure to a wide audience and provides a beautiful venue to showcase the galleries and shops of the Saratoga Springs Art Dis trict.I am proud to be among the artists and businesses included an d sincerely appreciate Stephanie Sittnick's support of the art community.

Susan Rivers, Greentree Fiber Arts

“Working with Stephanie and 518 Profiles has been a consistently exceptionally profes sional and positive experience. They are very easy to work with and have an un usual attention to detail that is ap pre ciated! The award-winning publication i s beautiful... an d my cu stomers look forward to picking up the new issue each month. We are proud to be among their advertisers!”

Amanda Magnetta Bear and Bird Boutique + Gallery, Schenectady

518 Profiles is a beautifully created magazine that people actually keep and read. The staff helps clients design ads which makes advertising painless. North Country Arts has chosen to advertise another year to reach the distinct audience that the magazine attracts.

Jacquiline Touba, Ph.D. Treasurer, NCA

“Saratoga’s finest magazine! A magazine you pick up and keep for its quality, feel and content. I have done many ads in newspapers and magazines in my carrier, and we literally have people walking in with 518 Profiles in their hands looking for us. Advertising with the magazine works well because the readers pay attention to the high quality and editorial.

Saratoga Saddlery & International Boutique, Saratoga Springs

“ G reat Magazine! Stephanie and staff do a great job in presenting the artist they feature each month. Great photos and in depth interviews.”

'What a beautiful Magazine!! It’s a pleasure to dis play it in my shop... my customers love it! Stephanie is a delight to work with in all of the facets! I am very proud to be part of this publication which has not only brought me sales but has connected me with very loyal and devoted customers from all over our region!'

Cornina Oberai Corina Contemporary Jewelry, Ballston Spa

Palma and I have been in the fashion and entertainment business for over 40 years. We have dealt with premier corporations and magazines and what Stephanie pub lishes monthly is their equal in quality, content, and style. She is a consummate professional and a joy to deal with.

Palma Kolansky & Joe Troiano, Lakeside General Store, Cossayuna

“We enjoy and take great pride in advertising with 518 Profiles magazine. It is a pleasure as a local business to be associated with a magazine that focuses on local talent, arti sanals, craftsmen and unique businesses who paint a beautiful broad brush enhancing the uniqueness of our region, giving visitors and local alike,a reason to be excited and proud to live and shop here in the 518 area. As an artisanal restaurant serving unique European cuisine, beers and wine, we feel that 518 Magazine targets the correct audience for those with a refined palate and the placement and distribution of the magazines are carefully curated by targeting the correct audience. We have had great feedback and really like the beautiful ads the designers create for us!

Chef Armand Vanderstigchel Brasserie Benelux, Saratoga Springs

“The Magic Moon is a small business that has grown with the community over the last 26 years, and as such, we ap preciate the efforts of 518 Profiles, a publication that consistently turns its spotlight on the lesser-known niche businesses in and around Saratoga Springs. From an ad vertiser's point of view, we're more than pleased with the personal attention we've received from the publisher, as well as the eye-catching presentation of the printed product each month.”

The Magic Moon, Saratoga Springs

“The cover, alone, of 518 Profiles draws me in, every time. I always wait for a block of time be fore opening it, so I can settle in and enjoy. The articles are in-depth portraits of a business or of a person and the photos are brilliant. Even the advertisements are quite spec tacular. I had looked forward to placing my own business ad, and finally have done so. Stephanie is easy to work with and I just love the ad that was created.”

Kathy Agneta M&P Gifts LLC / Merriman and Pfister’s Marketplace, Delmar

Month of April Glens Falls

• North Country Arts Gallery: "Here Comes the Sun"-  All media art by regional artists, with solo artist Phil Merlino photography through April 25th. Suite #120, The Shirt Factory, 71 Lawrence St., Glens Falls (Gallery open Thurs.-Sat. 12-5)

• NCA's 2nd Fl. Gallery: Featuring Art work by Heather VanDyke through June 26th at City Hall, 42 Ridge St, Glens Falls (Gallery Hours Mon.-Fri. 8:30-4:30)

• NCA Mezzanine  “Spring Show” Members art exhibition through June 26th at THE QUEENSBURY HOTEL, 88 Ridge St. Glens Falls (Open Daily)

For more Info about events visit: northcountryarts.org

April 1 - July 26 Glens Falls

Richard Deon: Lincoln’s Campaign to Defeat The Hudson River School. These six monumental woodcuts by Richard Deon, styled like nineteenth-century pe riodical illustrations, are witty, surreal, and convincingly “historical”even though they are anything but. An additional large-scale painting, al most 40 feet wide, by Deon will be on view in The Hyde’s Rotunda Gallery. Feb 14, 2026 - Jul 26, 2026. The Hyde Collection, 161 Warren Street, Glens Falls, NY 12801

April 1 - August 13 Ballston Spa

“How Now Brown Cow?” Dairy Bottles from Saratoga County and Beyond. Our latest exhibit traces the history of dairy farming in Saratoga County through bottles and “go-withs” created to carry products to the local populace. We’ll trace the evolution of regional milk bottles, the types of milk supplying cows found locally, follow the de velopment of Stewart’s Shops through the farms, bottles and glasses related to its creation, and remember the days when the milkman brought products directly from the farm to you. January 24 - August 13. The National Bottle Mu seum, 76 Milton Avenue, Ballston Spa, NY 12020. 518-885-7589

April 1 – April 12 Schuylerville

Rooted & Rising, a new exhibition of paintings and ceramics inspired by nature, seasons, and transformation, on view at The Laffer Gallery from March 7 – April 12. Featuring work by Monica Miller Link, Teri Malo, and Tim Jones, the show brings together luminous landscapes and expressive ceramic forms that feel both grounded and quietly powerful. The Laffer Gallery, 96 Broad Street, Schuylerville, NY 12817.

APRIL EVENTS

April 3 Saratoga Springs

Ladysmith Black Mambazo, South Africa's Grammy award-winning choral group melds indigenous Zulu songs and dances with South African isicathamiya. Considered to be an inspiring cul tural force by Nelson Mandela, Black Mambazo was first introduced to the world via Paul Simon's Graceland. Since then, they've sold millions of albums worldwide, collab orated with Stevie Wonder, Dolly Parton, and Emmylou Harris, and performed for the Queen of England and Pope John Paul II. It is a tremendous honor and joy to give our audience this rare opportunity to see this ensem ble in such an intimate setting! Friday, April 3, Time 5:00 pm – 7:00 pm. Doors Open: 4:30 pm AND second show Time 8:00 pm – 10:00 pm. Doors Open: 7:30 pm. Caffè Lena, 47 Phila Street, Saratoga Springs, NY

April 4 Charlton

Exploring Freedom in Abstraction. Spend an afternoon discovering new ways to approach drawing, with an emphasis on spontaneous and personal creation, free from the doubt and frustra tion that can block your truest ex pressions. Artist Clarke Hingeford will guide you through fundamental drawing techniques and exercises de signed to free the mind and encourage a fresh approach to image making. Par ticipants will explore different ways of seeing and learn how to apply these concepts to the most elemental form of art-making: drawing. Saturday, April 4 from 2 PM to 5 PM at Main Street Studio. 786 Charlton Road, Charlton 12019. Register at www.mainstreetcharlton.com

April 4 Hudson Falls

Physical Graffiti - The Ultimate Led Zeppelin Tribute. Physical Graffiti started in 1986 with Matt & Doug. Gary joined in 1987 and John joined in '88 which makes 36 years together with the same four members. Matt Hethermann (aka Rex Cactus) was obssesed with Jimmy Page in his teens. Doug Putnam's voice just happened to have the range and power of Robert Plant's voice naturally. Gary Fox is a multi-instrumentalist like John Paul Jones, and Johnny Mack plays not only with John Bonham's power, but also his finesse. Physical Graffiti has performed in clubs, theaters, and colleges all over the U.S. and Canada, and toured Israel in 1992 and 1994. We enjoy doing our small part in keeping the legacy of Led Zeppelin's incredible music alive! Saturday, April 4, 2026. $25 general admission. Purchase tickets at The Strand Box Office; cash or check only. 8:00 PM 10:00 PM. Strand Theatre, 210 Main Street, Hudson Falls, NY

April 9 Glens Falls

APRIL EVENTS

The Gibson Brothers. There’s a reason why Ricky Skaggs pulled Eric and Leigh Gibson off the stage at the Ryman two decades ago and offered to produce their debut record. It is the same thing that led David Ferguson and Grammy Award-winning producer and Black Keys frontman Dan Auerbach to co-write and produce their 14th album, Mockingbird (2018), and release it on his own label, Easy Eye Sound, alongside cultural icons such as Hank Williams Jr. and Dr. John: the Gibson Brothers are the real deal. April 09, 2026. Doors: 7:00 PM - Show: 8:00 PM. The Park Theater, 14 Park Street, Glens Falls, NY 12801. 518-792-1150

April 10 Hudson Falls

Alice Frost - the music of YES, wsg Progeny. Alice Frost is an upstate New York band dedicated to the music of "Yes" and other prog artists. Formed by three friends in the late 70's, re-formed in 2013 and on-going. Band Members Frank Esposito, Matt Donnelly, Harold Reiser, Carl DeSantis Jr., John Eisenhart, Steve Hymowech. Progeny is a powerhouse ensemble dedicated to delivering highen ergy live performances of the greatest progressive rock songs of all time. With virtuoso musicianship, dynamic vocal harmonies, and a flair for both precision and showmanship, Progeny brings together the epic scope of the genre with the excitement of a modern live rock experience. From sweeping keyboard solos and thunderous drums to emotive vocals and driving bass-guitar interplay, they channel the spirit of Rush, Yes, King Crimson, Genesis and more—and make it their own. Friday, April 10, 2026 8:00 PM 10:30 PM. VIP Frist Two Rows/$30, Floor Seats/$25, Balcony/$20. Strand Theatre, 210 Main Street, Hudson Falls, NY

April 11 Gloversville

Stained Glass Workshop | Doug Hallberg, instructor. A beginnerfriendly intro to the art of stained glass! Join stained glass artisan Doug Hallberg for this 5hour intensive megaworkshop on the craft of working with stained glass! Each student will learn about the process of this timeless art form and make two stained glass feathers to take home. This workshop is for students ages 16 and older of any experience level. A lunch break will be provided - you can bring your own lunch or plan to visit one of our local restaurants. Advanced students are welcome to make a 12" clear glass window hanging with bevels. Saturday, Apr 11 from 10 am to 3 pm. Paul Nigra Center For Creative Arts, 2736 New York 30, Gloversville, NY 12078

April 18 Saratoga Springs Roomful of Blues. Horn-Powered. House-Rocking. Pure Joy. For more than 55 years, Roomful of Blues has been one of the most electrifying forces in American blues and R&B. Hailed by DownBeat as “in a class by themselves” and dubbed “the best little big band in the blues” by Blues Music Magazine, this worldrenowned, horn-powered ensemble delivers jubilant, foot-stomping performances that leave audiences smiling, dancing, and wanting more. Saturday, April 18.Time 5:00 pm – 7:00 pm Doors Open: 4:30 pm AND second show Saturday, Time 8:00 pm – 10:00 pm.Doors Open: 7:30 pm. Caffè Lena, 47 Phila Street, Saratoga Springs, NY

April 20 - 26 Clifton Park

4th Annual Clifton Park Restaurant Week. The Town of Clifton Park and Chamber of Southern Saratoga County are excited to announce our 4th Annual Clifton Park Restaurant Week! Enjoy our local restaurants, with each unique dining experience. Monday, Apr 20, 2026 until Sunday, Apr 26, 2026. Clifton Park, NY 12065

April 21 Saratoga Springs

Pint 'N Print: Print your own Tea Towel/Bandana with Christian Wechgelaer. Come enjoy a fun evening where you can try out printmaking! This event is an informal activity where you will the process of linocut. We will carve small blocks to print on a tea towel or bandana. Tuesday, April 21st, 2026 6:00-8:00 PM. All materials and tools will be provided for the class. BYOB! Feel free to bring a drink of your choice to the class. $32 member/$40 non-member Saratoga Arts, 320 Broadway, Saratoga Springs, NY 12866 p. 518.584.4132

April 25 Saratoga Springs

Spa Fine Art is pleased to present an exciting exhibition featuring the work of local artist Gary Zack. This vibrant show brings together Zack’s expressive paintings and striking glass sculptures, all unified by his bold and masterful use of color. The exhibition opens with a public reception, offering guests the opportunity to meet Zack and experience his work firsthand while he paints live throughout the afternoon on Saturday, April 25 from 12 to 4 pm at Spa Fine Art in downtown Saratoga Springs. Spa Fine Art, 376 B roadway, Suite 11, Saratoga Springs, NY