PINE PLAINS — Motivating New York Democrats in 2024, a conversation with U.S. Sen. Kirsten Gillibrand and state Sen. Michelle Hinchey was held Sunday, March 3, at the Stissing Center for Arts and Culture.
Kenya Gadsden, who is running on the Democratic ticket for Dutchess County clerk, talked briefly about the importance of this year’s political contests, asking if the audience understood the enormousness of the outcome of the vote.
She introduced Hinchey, saying that she had been voted “Advocate of the Year 2022” for her work in affordable housing, and also noted her work on aging water infrastructure and other environmental issues.
Gadsden introduced Gillibrand by saying that she was originally voted into Congress in 2006 and, in 2009, was appointed to fill the seat in the Senate left by Hillary Clinton. In 2010 she was voted into the Senate, where she has served since, advocating for health care, the environment, jobs and equality.
The discussion centered on the need for the Democrats to mobilize, to come together working toward the 2024 election.
Upstate priorities
Hinchey said that in many matters, the interests of upstate New York are left on the table. Reliable internet, accessible health care and other interests are left wanting because the communities are small. Getting the message out is imperative and can make a difference, she said.
Getting free breakfast and lunch to schoolchildren was a priority, she said; last year, that goal was 88% attained.
Chris Drago, county legislator for Dutchess County District 19 — which includes Stanford, Pine Plains, North East/Millerton — cited the need for change. In particular, he underscored the need for broadband accessibility and emergency services in the area.
Gillibrand said that violence is one of the main problems facing New York, but that while people think it is being caused by gun proliferation, the actual problem is illegal gun trafficking.
She also brought up some of the problems including sexual abuse in the military and the lack of equality for transgender and LGBTQ people.
She is sponsoring a bill that will provide free college tuition to 1,000 students, provided they serve the government for five years in a cyber-related discipline after their education.
About 25 protesters, some carrying signs, disrupted the discussion at the Stissing Center in Pine Plains Sunday, March 3.Judith O'Hara Balfe
War in the Middle East, division at home
Shortly after she began to speak, several audience members rose, some holding signs, chanting, “No cease fire, no vote,” referencing the ongoing devastation in Israel and Gaza. Some of the signs stated, “Stop the genocide.”
Gillibrand acknowledged that there was a need for discussion on the subject because it is a situation everyone cares deeply about. She tried to speak to the protestors while they continued to chant.
Gadsden began to sing, “There’s a train coming, you don’t need a ticket, you just get on board.”
Pine Plains and state police escorted the protestors out. Gillibrand said that the Middle East situation is dividing us. She summarized that on Oct. 6, a plan had been devised to allow for a two-state solution, that Jordan was providing support for the process, and that the attacks on Oct. 7 ended that plan.
She said that Hamas are not freedom fighters, but are paid by Russia. She said that the money the United States gives to Israel is for defense purposes, and that Biden is pushing Israel to the peace table.
At this juncture, the Rev. Peter Cook, executive director of the New York State Council of Churches, rose and questioned the accuracy of her statements. Gadsden offered to see him afterward and exchange phone numbers.
Hinchey, like Gillibrand, encouraged everyone to work for the reelection of President Joe Biden and Vice President Kamala Harris, naming the accomplishments of their administration, and adding, “The House of Representatives is a s— show. They don’t want to stop assaults on the LGBTQ community, don’t want to help kids with food or college,” she said.
Both Hinchey and Gillibrand agreed that the party has to be united and lift up the Biden and Harris team. Gillibrand said, “The great protector of our nation is democracy, but,” she admonished, “to be strong, democracy must be exercised” by voters.
Climate crisis
Hinchey said that we are not talking enough about the ongoing climate crisis, and that we’re not doing enough to mitigate it.
“We need to have sweeping change,” she stated, “or our kids and grandkids won’t have a future. This is uncomfortable, but necessary. Young people are asking, ‘Can we have a family?’ We have to make changes.”
She added, “If we lose next year, we’ll be asking, ‘How do we stop the damage?’”
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KK Kozik in her studio
It is a particularly fitting philosophy for an artist whose paintings often begin with the world around her but rarely end there. There might be something recognizable — a stone wall, an apple tree, a crow — but then there is something less certain. Something that appears to be one thing becomes another upon inspection. Memory gets involved. So does imagination. So does time.
Since moving from New York City to Sharon, Connecticut in 2006, the landscape around her has become increasingly important to that process.
“I just saw things differently,” Kozik said.
The change was not immediate. She remembers an earlier version of herself driving through Vermont without paying much attention to what was happening beyond the windshield.
“I didn’t have the means to see what was happening around me,” she said. “I just sort of la, la, la, la, la, driving to Vermont.”
But, she said, she started to pay attention differently.
“I became more sensitized as time went on,” she said.
Asked whether that change came with age, she said, “Age and so-called wisdom.”
There’s a sense of loss in her landscapes, but a particular kind of loss that also has a twinge of redemption. Specifically, what happens to a landscape when people leave it?
“When the people go away, the wildlife comes back,” Kozik said.
KK Kozik in her studio with her painting “Golden Delicious.”Natalia Zukerman
Kozik’s work has never settled into a single recognizable formula. She has painted landscapes, figures and still lifes, moved toward abstraction and returned to representation. Her subjects change, but the underlying impulse remains: to take what is in front of her and discover what else there might be.
Kozik describes herself as someone who is always trying to figure things out. Her paintings often have the feeling of a thought in progress rather than a conclusion. They have been called “single-line novellas,” a description that makes sense: They can contain the suggestion of an entire story without telling you exactly what happened.
The animals are part of that storytelling.
They arrived partly because of what was disappearing.
“They were like the new redemption in a way,” she said.
There is something almost funny about the way Kozik talks about this — not because the loss itself is funny, but because she refuses to turn it into a grand pronouncement. She observes something, considers it, and lets it complicate the work.
That same sensibility comes through when she talks about her own development as an artist. Her paintings make room for interpretation. They don’t always tell the viewer what an animal symbolizes, or why a landscape has been altered, or where a particular image came from. Instead, they leave enough evidence to make you curious and enough room for your own stories.
The effect is not accidental. Kozik has spent years thinking about how images work, both as paintings and as containers for ideas.
Her work is currently included in “The Naturalist,” a group exhibition on view through Sept. 13 at Kenise Barnes Fine Art in Kent, alongside Richard Klein, Sally Maca, Rick Shaefer and Tricia Wright. The exhibition brings together artists whose work engages with the natural world, including its forms, histories and mysteries.
Kozik is an especially apt fit for the exhibition. She is described by the gallery as a landscape painter, figurative painter and interiors/still-life painter whose work frequently moves toward painterly abstraction. Her practice, the gallery notes, is “fluid and continuous” — always searching for new pictorial problems to solve.
That search has also extended beyond her own studio.
For several years, Kozik ran ICEHOUSE Project Space, an 18th-century icehouse on Sharon’s town green that she transformed into an unusual venue for contemporary art. It opened in 2018 with Dan Devine’s “Inside-Out NASCAR” and went on to host site-specific projects by artists including Mark Dion, Eric Aho, Janet Biggs, Richard Klein, Kristin Jones, Lisa Hoke and Ryan Frank. The projects addressed everything from the decline of winged insects and native and invasive plants to Sharon’s iron industry, its gardens and its history as an ice-producing community.
The space is now closed, but its premise still feels connected to Kozik’s painting practice. Each project responded in some way to the physical location, turning what might otherwise have been a little historic outbuilding into a setting for contemporary art.
Kozik’s own work does something similar with the landscape. She takes a place and lets it become more than a place.
Kozik’s paintings tell us that something happened before we arrived, and that something will happen after we leave.
And then there is the question of what to do with the space in between.
Maybe Kozik’s paintings are less about that space and more about an idea, as she put it, of “which questions to think about.”
Jazzmine Bone and A Stitch in Tyme power through the Gambler’s Choice run during the 2024 Lakeville Open.
The event, which has been held continuously for 69 years, is open to the public with free admission.
Individual competitions will run from 8 a.m. to 5 p.m., and visitors can stop by briefly or settle in for the day.
A food truck, bake sale and portable restrooms will be available on-site.
The show is the primary fundraiser for The Lakeville Pony Club, with proceeds supporting young riders who need financial assistance to participate in lessons. Members and their families work throughout the year to create the event for both competitors and spectators.
Members of the Lakeville Pony Club and Echo the pony arrive for the costume class during the Lakeville Open in 2024.Caitlin Von Graf
For those new to horse shows, the day offers a chance to learn more about the sport and understand what happens in the ring. In equitation competitions, judges evaluate the rider’s skill, from beginners learning walk and trot to more advanced riders navigating cantering and jumping courses.
Hunter competitions focus on the horse’s style and smoothness over fences, while jumper classes emphasize accuracy and speed as horses and riders race against the clock without knocking down rails.
The day also includes a crowd favorite: the costume class, where horses and riders dress up in creative ensembles for a chance at the top prize.
Programs will be available onsite to help spectators identify competitors and horses. A full list of competitions, entry information and details for those interested can be found at rigameadow.com
Whether an experienced equestrian or simply curious about the sport, the Lakeville Open Horse Show offers a chance to enjoy a Hudson Valley tradition that continues to bring the community together.
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