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?’”
Want more of our stories on Google? Click here to make us a Preferred Source.
Dan Baker, left, and Daniel Latzman at Barrington Hall in Great Barrington.
The partnership behind Barrington Hall began long before the building itself. Both Baker and Latzman grew up on Long Island, spent more than a decade in New York City, and eventually found their way to the Berkshires, drawn by the desire for something different. What they didn’t realize at first was just how closely their lives had already mirrored one another.
They were born in the same hospital, a year apart. Their families had distant connections. They even played on the same soccer team — never meeting, but moving through the same spaces. It wasn’t until they became neighbors in Egremont about five years ago that those parallels came into focus.
“In hindsight, it feels inevitable,” Latzman said. “But it was actually extremely random that we ended up here.”
From the beginning, Barrington Hall was meant to be a place people return to, not for any one event, but for the experience of being there. On any given week, the space might host a jazz performance, a dance party, a songwriter circle or a children’s event. Some nights bring in touring acts. Others highlight local creatives. The variety is intentional and so is the atmosphere.
“It’s about people,” Baker said. “It’s about being present.”
Inside Barrington Hall.Provided
Baker and Latzman are keenly aware of the world outside with its constant barrage of information, political conflicts, a culture that pulls people deeper into their screens. Barrington Hall offers a way out of that noise.
“A little bit of a bubble,” Latzman said. “A place to step away from everything else.”
During a recent event, they noticed something telling: a full room of people dancing, talking, engaged — and almost no one on their phone.
“That’s when you know something is working,” Baker said.
Taking over a beloved local space comes with responsibility, one Baker and Latzman have met by honoring the building’s traditions while also expanding them.
“We didn’t feel obligated,” Latzman said. “We felt honored.”
Part of what makes the space distinct is its versatility. Large enough to host more than 250 people, yet intimate enough to feel personal, it fills a gap in the local landscape, serving a wide range of people and bringing different groups together in the same space.
“We want people to feel like, if something’s happening here, it’s worth checking out,” Latzman said.
They are carefully balancing community access with the realities of running a business, with an eye toward the long term.
“We want this to be here in 20 years,” Latzman said.
Inside Barrington Hall.Provided
That vision extends beyond the building itself — future collaborations, expanded programming, a growing role in shaping the cultural life of the Berkshires. But at its core, the mission remains simple: to create a place where people can gather, a place that feels alive.
And perhaps most importantly, to create a place where, if only for a few hours, people can step away from the noise of the world and enjoy being together.
When asked who they’re most excited to host next, their answer was immediate: The Mammals on April 10 and Lee Ross, a one-man party band from Massachusetts, scheduled to perform on May 1.
For more information and tickets, visit
barringtonhallgb.com
Gail Rothschild with her painting “Dead Sea Linen III (73 x 58 inches, 2024, acrylic on canvas.
Her work begins, often, with something small: a scrap of linen from the Judean desert, dating “to a time before the notion of ‘Israel’ or ‘Palestine;’” a fragment so diminished it barely registers as an object; or a rare indigo-dyed child’s head cloth from Tutankhamen’s tomb.
“I call them portraits of ancient linen,” she said.
Rothschild grew up in Greenwich and studied drawing and painting at Yale University. “That was kind of my first love,” she said. But she quickly veered toward something more collective, working with Peter Schumann at the Bread and Puppet Theater, building papier-mâché puppets and participating in a kind of performance-based activism that blurred art and politics.
“After Yale, I got out of school and thought‘Wait a second. I don’t want to paint anymore. I need to work with people in communities and make things.’”
She moved to Brooklyn and began working in public schools, developing projects rooted in collaboration and local history. The projects were ambitious, research-driven, and often confrontational. At the University of Massachusetts, she recalled asking students: “Did you know that Amherst was named for Jeffrey Amherst, who was responsible for giving blankets infected with smallpox to Native Americans? Why don’t we look into that?’”
There were sculptures, letters to watchdog groups, installations. She worked on four such projects a year, she said, until the pace became unsustainable. “At some point I just said, ‘I’m exhausted. I’m going back to the studio.’”
What brought her back was a book, “Prehistoric Textiles ” by Elizabeth Wayland Barber. Inside, she encountered an image of a 7,000-year-old textile, unraveling.
“It said to me, ‘this could be a great big abstract painting’,” she said. “What does it mean that this textile, this thing that used to be a Cartesian grid and over time has gone back to nature?”
That question became a kind of axis for her work. “There is this cusp between nature and culture,” she said. Early on, she avoided textiles with imagery, drawn instead to the raw language of fiber itself. But eventually, even that boundary softened. A project with the Godwin-Ternbach Museum introduced her to Egyptian textiles — Christian, pagan, Greek, Roman influences colliding in woven form.
Gail Rothschild’s “Esquina Decorada” (52 x 52 inches, 2022, acrylic on canvas)Gail Rothschild
What followed was a deepening relationship with museums and, crucially, with conservators. Institutions like The Metropolitan Museum of Art and collections in Berlin and Paris began sending her images of textile fragments, sometimes pieces she has still never seen in person.
“It’s almost easier for me to transform it when I haven’t seen it,” she said.
Her process is both precise and intuitive. She grids the canvas and the source image, drawing freehand to “honor what the object is.” For a time, she works closely from the photograph. Then something shifts. “At some point I’ll say, ‘It’s a painting. It’s got to talk to itself,’ and then I stop looking at the photograph.”
What emerges is layered, luminous and muscular. “Sometimes people say, ‘Do you miss making sculpture?’ and I say, ‘I never stopped.’”
You feel that in the surfaces: the tension of threads pulling apart, the sense that something is both forming and dissolving at once. Even the backgrounds — often ambiguous, atmospheric — are not neutral. “It’s really more about feeling the space around the object,” she said, especially as she considers how ancient fragments are mounted on modern fabrics. “I get to invent an entirely other language.”
Some of her most arresting work is on the monumental textiles of The Met Cloisters, where medieval tapestries, some towering more than a dozen feet, are slowly, painstakingly conserved. It’s in the conservation labs that Rothschild has observed the physical reality of these works: their own weight pulling them apart, threads breaking under centuries of strain. Conservators insert new threads to stabilize them and Rothschild documents this process. “There’s a kind of poignancy to their work,” Rothschild said, “because as hard as we work to conserve the objects of our past, in the greater cosmic scheme of time, it’s only temporary. There’s something beautiful about that.”
Time operates on multiple levels in Rothschild’s work. There is the time of the object —thousands of years, in some cases — and the time of the painting, which unfolds over months. “Once I start working on something, I can’t stop,” she said. “But then it’ll rest for a while and I may change it, add layers.”
And then there is the time of attention itself, the way looking can tip into obsession, into pattern-seeking that doesn’t quite turn off. Rothschild is aware of that edge.
“I have to make myself stop or I just see patterns everywhere and I can’t stop, really,” she laughed. “That’s why I’ve built in other things I need to do in my life like take the dogs for a hike or, you know, volunteer at the Sharon Land Trust… otherwise I go a little nuts. And it wouldn’t be good painting either.”
A painting session, for her, has its own its own arc. “There’s kind of a trajectory for every work session. I might be repeating something and suddenly it looks linear. The language I started painting with may change by the end and I think, ‘Oh God, I’m gonna have to go back and repaint that.’”
But then, she said, there is a pause.
“I kind of step back and say, ‘No, this painting can hold both. That’s part of its history. There’s the history of the object but then there’s the history of the painting.’”
Want more of our stories on Google? Click here to make us a Preferred Source.
