Ambulance response times to life-threatening emergencies in parts of northeastern Dutchess County were among the slowest in the county last year, according to newly released county data. Region 5, which includes Amenia, Dover, North East and the Village of Millerton, ranked last among the county’s seven EMS regions for the percentage of life-threatening calls reached within nine minutes — a benchmark widely used to measure acceptable response times.
The poor ranking comes even after Dutchess County spent roughly $4 million over two years on a supplemental emergency medical service program intended to improve coverage and response times.
In North East, ambulances reached Priority 1 calls within the nine-minute benchmark only half of the time, while in Amenia the rate dropped to 33%.
County-wide, ambulances reached those life-threatening calls within nine minutes 69% of the time.
In Pine Plains, ambulances took an average of nearly 13 minutes to arrive, and only 29% of critical calls were reached within nine minutes.
The response time data includes both municipal ambulance services that towns contract for — such as North East’s current contract with Empress, which will climb from $511,558 to $696,345 this year, a 36.1% increase — and the county’s supplemental EMS program, which adds ambulances, fly cars and technology to fill gaps in coverage.
But the data suggests rural communities in northeastern Dutchess received little direct support from those supplemental services. North East received just one supplemental EMS dispatch during the entire year, while Pine Plains and Milan each received 13, Amenia received eight, and Stanford and Millbrook each received fewer than 10.
Local legislators and municipal leaders say the numbers highlight an urgent need for short-term collaboration while the county develops a broader, long-term plan to address the region’s EMS challenges.
While the countywide average response time for life-threatening calls is just over eight minutes from dispatch to arrival, northeastern Dutchess towns see significantly longer waits.
The data comes on the heels of last year’s announcement that Empress Emergency Medical Services would absorb Northern Dutchess Paramedics, a move that further consolidates ambulance services in the area under a private provider backed by private equity. Empress EMS is owned by PatientCare EMS, a portfolio company of Grant Avenue Capital LLC, a healthcare-focused private equity firm.
Dutchess County Legislator Eric Alexander (D-25), who chairs the Public Safety Committee, and Vice Chair Chris Drago (D-19) invited Dutchess County Commissioner of the Department of Emergency Response (DER) William H. Beale to speak at last week’s Public Safety Committee meeting.
“We’re increasingly dependent on one provider of EMS,” Alexander said, addressing Commissioner Beale. He shared his concerns that the purchase of NDP by Empress is bordering on a monopoly.
Chris Drago — who represents the towns of North East, Pine Plains, Milan, Red Hook and Clinton — speaks about the struggle to afford quality emergency medical service in the rural area he represents during a meeting of the Dutchess County Legislature's Public Safety Committee on Wednesday, March 4.Photo by Aly Morrissey
“They see the growth of the market, an aging population, and I think they also see the opportunity to demand premium pricing and to defend it over the long term,” he said, adding that he doesn’t believe private companies think counties or towns will push back.
“The service is quickly growing beyond what is affordable,” Alexander added, pointing specifically to the Town of North East, which is expected to pay around $700,000 next year for its existing contract with Empress — one that was transferred from NDP.
Alexander and Drago asked Beale to address the state of EMS in the county and what the $4 million supplemental services program has achieved after two years.
Beale, who was appointed in August 2025, outlined his department’s efforts to date and shared next steps, acknowledging that residents in the northeastern parts of the county have seen limited support from supplemental services.
“It’s a multipronged approach,” Beale said of the county’s current efforts to improve EMS countywide. He said the Department of Emergency Response has expanded regional collaboration meetings with town officials and first responders, while also working to continue tracking and transparently sharing data across the county.
Beale pointed to workforce development efforts aimed at addressing a shortage of emergency responders, including initiatives to streamline EMT and paramedic certification.
The next step, he said, is preparing for a comprehensive countywide EMS plan now required by the state. Under legislation passed by Gov. Kathy Hochul earlier this year, counties must develop detailed EMS plans, while municipalities will also be expected to evaluate and plan for their own emergency response plans.
In an email to local municipal leaders, Town of Milan Supervisor Bill Jeffway said the region “needs to address immediate, short-term EMS needs as we all work with the County and State on longer-term solutions.”
Jeffway said an ad-hoc committee, advised by Dutchess County Legislator Chris Drago, was formed to support EMS services. The group will host a region-wide meeting to brainstorm ways small towns and villages can collaborate on short-term solutions.
The purpose of the meeting will be to hear from Jonathan Washko, Assistant Vice President Emergency Medical Services for Northwell Health — a company that some local leaders are hopeful could serve as a stop-gap option in the region. Washko, considered to be a leading industry expert, is expected to share what Northwell can offer locally.
Commissioner Beale said he and his team have met with Northwell Health recently and he is hopeful that Northwell’s ambulances and EMTs can be onboarded into the county’s existing dispatch.
“If they have units available in northern Dutchess County at Northern Dutchess Hospital, or if they have units available at Sharon Hospital, they could potentially serve northeastern Dutchess County,” Beale said. “It may take some time, but we will be moving forward on developing that plan very quickly.”
Beale also said that Northwell Health does not contract with specific municipalities, which could be a welcome change from other private companies like Empress.
Legislator Drago said he is advocating for a pilot program in northern Dutchess County and will be attending the upcoming meeting with local municipal leaders.
Church’s status as an early environmentalist was mentioned repeatedly during the conversation. Shin’s sculpture “Fallen,” which graced the lawn next to the estate’s main house during last year’s event, featured a fallen hemlock tree trunk planted by Church over 150 years earlier which had been wrapped in tanned leather. She described the work as a direct reference to Church’s experience witnessing the eradication of the area’s hemlocks as the leather tanning industry wreaked havoc on the natural environment of the Hudson Valley in the mid-19th century.
The relationship between art and the environment wasn’t isolated at Church’s former home. Instead, it seemed to be found all over UAW.
Now in its seventh year, UAW works to take the art world out of the city. At its best, the weekend gives artists and curators the opportunity to interact with unfamiliar environments. Just as often, however, it serves as a literal escape, allowing New York City galleries to bring works to pop-up spaces assembled for the express purpose of displaying fine art. The “Loading…” group show in Hudson did just this.
Transplanting six New York City galleries into an intimate event space, “Loading…” featured a wide variety of artists from around the globe. Sheroanawe Hakihiiwe, an Indigenous artist from Venezuela, takes ancient practices and translates his observations of the Amazon into minimalist works. Michael Assif’s “Plant a Weed” highlights the human impact on a natural landscape while feeling like a marshmallow dream. And Margaret Curtis’ “ ‘S ” uses the backdrop of a Hudson River School-style sunset to highlight the chaos of today’s state of the American dream.
The flip side of this art-world field trip is the variety of makeshift galleries in the garages and barns of the Hudson Valley. Places like Ugly Mud Studios and Ten Barn Farm, both in Ghent, along with Foxtrot Farm and Flowers in Stanfordville, housed unexpectedly refined exhibitions. These venues all integrate sustainable practices into their business: Foxtrot is a regenerative flower farm, Ugly Mud uses locally sourced clay, and Ten Barn Farm operates a farm-to-table restaurant called The Kitchen.
But at the end of the day, UAW is about getting the art world into the wild. So it was no surprise to see a panoply of eye-catching outfits, and out-of-this-world works at Art Omi, the sculpture and architecture park in Ghent, on Saturday evening. Complete with avant-garde ambient operatic metal, the Summer Kickoff event served as a testament to the continued growth of UAW. It seems the seeds that Toomer and her collaborators planted seven years ago are flourishing, with no signs of slowing down.
Andrew Ingall
Artist Christy Gast with her sculptures at Friday Arts in Amenia.
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Benjamin Reynaert
His career began at Martha Stewart Living. A contributor to Architectural Digest, Elle Decor, House Beautiful and Veranda, Reynaert has also served as style director at Domino. He has worked with Farrow & Ball, Chairish, Neiman Marcus, Sunbrella, Anthropologie, Gap, Bunny Williams Home and Stella Artois. He shares his work on Instagram via @aspoonfulofbenjamin.
“I’ve been fortunate to travel the country and abroad for Elle Decor, covering design fairs and trade shows like Deco Off in Paris, London Design Week in England, Cersaie Tile Show in Bologna, Italy, High Point in North Carolina and the Kitchen and Bath Industry Show in Las Vegas,” he said. He is drawn to unique objects and textiles. “As a market editor, the pieces that stick with me are not the newest. They are the ones I stumble upon and imagine living with.”
Reynaert is also co-founder of Ticking Tent with Christina Juarez, president of Christina Juarez & Company. The biannual event has become a destination for collectors and designers seeking curated antiques and design objects.
“I met Ben about 15 years ago when he was a young design editor and I was early into my career as a design communications strategist having switched gears from the fashion world," Juarez said. “We immediately clicked. I was impressed by his multidisciplinary creative talents — styling, writing, vision and impeccable eye — and his passion for the thrill of the hunt. I could not ask for a better partner and friend — my brother from another mother — and a yin to my yang. Two creatively minded people with a love of old and new beautiful things, and the ability to curate what the luxury shopper doesn’t know they need and most definitely wants.”
Reynaert described the most recent Ticking Tent as the largest yet. “We hosted over 2,000 guests and transacted our most sales to date with 75 vendors,” he said. “The most exciting part is seeing friends and watching new connections being made. I’m excited for the next event, Nov. 13–14, in Bedford, N.Y.”
Butter Wakefield’s kitchen from“The Layered Home” by Benjamin Reynaert.Manuel Rodriguez
For Reynaert, objects are defined as much by narrative as by design. “An object is about the story — whether it’s passed down in your family, something you worked hard for, bought on a trip, or a friend gave you,” he said. “With that added narrative, it doesn’t need to be the most aesthetically pleasing thing. The memory attached makes it beautiful. I like the idea of simple, seemingly insignificant items having a ton of meaning. Treat a thrift store painting as you would a Picasso.”
Greg Domres and Peter Nichols’ residence in Litchfield, which they share with their miniature schnauzer, Bunny, is one of 15 homes featured in Reynaert’s book, “The Layered Home.” The couple hosted a book signing at George Home in Washington Depot. “I first met Ben at press events during my time at John Derian,” Domres said. “We became friends and stayed connected professionally over the years.”
The book spans interiors from Eric Goujou’s shop The Wolf Tile in Paris’ 5th arrondissement to textile designer Schuyler Samperton’s Litchfield farmhouse. “Sharing the stories of talented, stylish people I’ve met during my tenure in magazines has been a privilege,” Reynaert said. “The most inspiring interiors are layered — with personality, patina and the poetry of a life lived. This book is my love letter to that idea.”
Reynaert said he would like to travel to Japan and Australia and hopes to develop his own product line in the future. “Balancing work and life is a challenge,” he said. He spends downtime with his husband, Luis Illades, in Delaware, where they are renovating a Victorian home.
“I feel incredibly fortunate to blend my work and my life in the home I share,” he said. “Creating a home is, at its core, an act of love.”
Mickalene Thomas and Delano Dunn at Wassaic Project.
Thomas, an artist whose multidisciplinary practice spans painting, collage and installation, first met Dunn when she was his graduate adviser at the School of Visual Arts. “I think your work needs to be out there more,” she said, noting the urgency of this collection in the current socio-political moment.
Dunn’s layered collages often begin with an image unearthed from flea markets, used bookstores and forgotten archives.
“I go to secondhand shops, old bookstores, any place that looks like it has history in it,” he said.
Sometimes, he explained, an image becomes the centerpiece of a work. Other times it simply sparks an idea.
“There’ll be an idea that pops into my head. I’ll read something or hear music or a lyric, and then I’ll think, ‘I’ve got to find an image that matches that.’”
His color palette also carries its own history.
“I grew up in L.A. during the L.A. riots,” Dunn said. “I would sit on my porch as a kid. I was watching the neighborhood burn, but the sky was beautiful.”
He still paints with those saturated blues, reds and oranges.
“Color can transport you. Color can make you feel safe, or happy or scared,” he said. “Those colors made me feel safe.”
For Dunn, Troutbeck’s own layered history became an active part of the work. Learning that the estate had hosted W.E.B. Du Bois, Langston Hughes, Ida B. Wells and generations of civil rights leaders informed his direction.
Dunn was given access to Troutbeck’s archives and found handwritten notes by Langston Hughes, and writings by Du Bois and Wells that found their way into the exhibition.
“There was a letter between Amy Spingarn and Martin Luther King Jr.,” Dunn recalled. “To be in its presence and hold it... you don’t see communication like that every day.”
Delano Dunn’s “Echoes in the Margin” at Troutbeck.Natalia Zukerman
Much of Dunn’s work invites viewers to dig deeper into history rather than accept simplified narratives.
“I want them to look at it and go, ‘Wow, this is really amazing and interesting and colorful and beautiful,’” he said. “And then I want them to be terrified shortly after that.” He accomplishes this through bold, colorful, and often playful compositions that draw the viewer in before revealing their more complex historical underpinnings. As Thomas wrote, “Dunn’s compositions invite viewers to sit within that tension and take it in.” That impulse toward deeper investigation extends to Dunn’s own children, who are often his first audience.
“They’ll ask, ‘What is this? Why does this person look the way they look? Why are you using that color? Why are you using glitter?’”
Those conversations, he said, become lessons in looking beyond appearances.
Thomas framed collage itself as a kind of storytelling practice —“the gathering of information… piecing things together”—and praised Dunn’s ability to translate research, memory and visual pleasure into a unified language. She also underscored the importance of creative joy in the process. “If you’re going to your studio and you’re not having fun,” she said, “you shouldn’t be doing it.”
Dunn said one of the biggest misconceptions he hopes to challenge is the idea that there is a monolithic Black experience.
“There are so many different perspectives out there. This is just one of them,” he said. In the same breath, Dunn said he adopts the label “Black artist” because “it would make my Grandpa proud.”
The nearly two-hour conversation shifted seamlessly between humor and history, studio practice and social commentary, ultimately returning to what both artists believe art can accomplish: encouraging curiosity, complicating familiar stories and inviting viewers to question what they see.
As Dunn put it, “History is so much more nuanced than what we’re taught. There’s so much more going on below the surface.”
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