Pine Plains library to seek crucial budget increase

From left: Library director Alexis Tackett, intern Hannah Johnson, and library assistant Annie Mallozzi at the Pine Plains Free Library.
Photo by Elias Sorich

PINE PLAINS — Come November, voters in Pine Plains are likely to see a question on the ballot asking them to increase the budget of the Pine Plains Free Library. The library plans to ask for $166,900 through a mechanism called a Chapter 414 initiative, after a chapter of education law passed in 1995 that allows libraries to pursue voter-directed funding.
This will create a special library tax and assure that the library will get a certain amount of funding each year that is not subject to increase or decrease by the town. And if the library needs to increase its budget again, it will have to run another Chapter 414 initiative to do so.
Currently the library receives a budget of $99,500 from the town of Pine Plains which, after grants and fundraising, puts its total budget at $148,000. That amount, according to both Alexis Tackett, director of the library, and Claire Gunning, president of the library’s board of trustees, is inadequate to meet operating costs and community demand.
Already, the library is having to make use of funds set aside for emergencies, planned Americans With Disabilities Act-accessibility improvements, and community space upgrades to meet its operating costs. For this year alone, Tackett shared the library had to use $30,000 of that money to keep afloat.
Unless the library is able to secure an increase in funding, Tackett and Gunning indicated that it will have to undergo drastic changes to its hours, offerings, staff and programming in as little as three years. What that would look like, according to Tackett, is a reduction to 20 hours per week, becoming a single-staff library, and a slashing of programming.
These changes would result in the library’s failure to meet the New York state minimum standard, as well as the loss of its connection to the Mid-Hudson Library Association, both of which grant the library access to resources, databases and other amenities.
In the current phase of its initiative, the Pine Plains Free Library is collecting signatures of support, which must total at least 108 in order to make it to the ballot. To Gunning, at this stage, supporting the initiative is primarily about supporting the democratic process.
“Signing this does not guarantee you’re voting yes, it’s just saying that we get to vote on the question,” said Gunning. “But the hope is that we don’t break everybody’s heart. If the town keeps funding us in the same way, we won’t be able to continue to do our jobs. That’s the reality.”
A common necessity
Far from an uncommon step, according to Rebekka Smith-Aldrich, executive director of the Mid-Hudson Library System, over half of the libraries in the Mid-Hudson system use the Chapter 414 mechanism to get their funding. Those initiatives are successful roughly 95% of the time—and Smith-Aldrich has advised over 100 of them during the course of her 25 years at Mid-Hudson.
“I really worry about the libraries that don’t have voter directed funding,” said Smith-Aldrich. “We really see that the libraries that don’t have [it], they just fall behind every single year. When they’re able to make their case directly to the voters, and say, ‘Look, this is what community demand is for the library, this is how much it costs to do that work, do you find that reasonable?’ 97% of the time voters say, ‘Yeah, that makes a lot of sense to us.’”
The Pine Plains Free Library is one of only two libraries out of 26 in Dutchess County that do not have voter-directed funding. And though the library is not permitted to spend any money in pursuit of the initiative, putting its budget to a public vote represents a significant commitment of time and energy on the part of the all-volunteer board, and other volunteer groups like the Friends of the Pine Plains Library.
If they aren’t successful this year, Gunning stated they will just have to try again the next.
Regional success stories
The Clinton Community Library in Rhinecliff is close to Pine Plains in terms of its size and demographics, and in 2017 and 2022, it pursued voter-directed funding initiatives to roaring success. According to Carol Bancroft, director of the Clinton Community Library, those efforts were “a lot of work for the board and staff” but deeply necessary, as the library had previously gotten its funding through a “patchwork quilt” of grants, town funding and fundraising.
What that patchwork method meant for the Clinton Library was funding insecurity—when grants were depleted, the library would take a serious hit to its programming capacity.
Receiving $115,000 in 2017 and $149,800 in 2022 through voter-directed funding, the Clinton Library was able to ramp up its programming, build support and goodwill in the community, and solidify its role as a gathering space for the town. In 2017, 60% of voters voted “yes” on the initiative, and in 2022 that support increased to 73%, an indication of the success the community has viewed that first initiative as having.
To Bancroft, the Chapter 414 process is both both labor-intensive, and yet ultimately fulfilling: “As a director, it can be frustrating. But it’s also very democratic. You put it to your community, and if they see the value, they say yes.”
Rising costs
The necessity for a library to pursue a Chapter 414 initiative can arise from any number of regional challenges, but it often boils down to the common factor of rising costs. Though the town of Pine Plains increased the library’s budget in 2017, 2019 and 2022, the increases were relatively small (from $96,550 in 2021 to $99,500 in 2022)—and in the intervening time, the Pine Plains Free Library has seen a dramatic uptick in usage.
If that alone weren’t enough, the rising cost of inflation, wages and price-gouging from publishers on digital assets have all contributed mightily to the Pine Plains Free Library’s funding insecurity.
To purchase a physical book to be used in-perpetuity, the cost for a library runs at about $14. For a digital copy of that same book, that cost is often closer to $60, which might make sense if that digital copy could be used by multiple people at the same time. But that $60 buys only one digital copy. If a library wants to lend that ebook to more than one person at a time, it has to purchase another $60 digital copy.
And books are just the beginning of a library’s digital asset woes—programs like Microsoft Word and Adobe as well as access to academic magazines or databases are often only available through yearly digital subscriptions. Moreover, costs for physical materials have skyrocketed.
As an example, the library’s copier, which is in need of replacement, cost $2,500 before the pandemic—now the same model costs $6,000. Ink for that model has also gone up, from $300 to $600. According to Tackett, these inflated costs stack up quickly and mean that the library’s current funding is essentially “the same equivalent funding we were at in 2013.”
While the voter-directed budget increase is directed largely at stabilizing the library’s funding sources, Tackett also indicated that the amount that’s being asked for is intended to increase the library’s offerings to meet community demand.
“If it passes, what people will see is the increase in hours that they’ve been asking for, they’ll see an increase in materials that they’ve been asking for, both digitally and physical, and they’ll see more programs and services offered,” said Tackett.
By way of hours, Tackett’s hope is to increase from 32 hours per week to 40 and to keep the library open on Mondays, bringing its open days to six per week.
What good are libraries, anyway?
If you were to think of a library, chances are you might imagine the libraries of yore, stacked with books and silent reading. And while books have remained central to libraries, as times have changed, what a library must offer a community has evolved.
Along those lines, to Smith-Aldrich, they are perhaps better framed as centers of information: “I think there’s a common fallacy that that the role of libraries is changing. But I honestly think that the role of libraries has always been the same, which is to be an educational portal for folks to understand the world around them. The problem is how information has been monetized in our society, and libraries have been on the frontlines of defending people’s right to access.”
Beyond that, to Tackett, a library is also a place where community member can come to get access to centralized resources in times of needs: “If somebody comes in and says ‘my house burned down last night, and I don’t know what to do,’ I can probably list four organizations right off the bat to get them in contact with. Libraries are often the first safety net for people, which can start funneling them into all the other economic safety nets out there.”
To Gunning, the ways in which a library can serve as a foundation to a community are often connected to those basics of survival.
“Food insecurity exists in our town,” said Gunning. “People might still have a house over their head, but they’re worried about feeding their children. People can’t always afford to go and just get what they need, whether it’s mental health, or help filing a request, or leaning how to use their cell phone, or getting access to internet. During the pandemic, people would come and park in the parking lot at the library to use the internet. Those are real services that people need.”
Gunning also emphasized the degree to which a library is not only a resource for those in need, but also an amplifier for community. The Pine Plains Free Library provides a wide slate of programming, from story hours for children to tech assistance and tech literacy training, and any of the other 300-plus programs offered annually. When those programs exist, Gunning stated, people come together and communities remain connected.
The board of trustees are available to discuss the proposed Chapter 414 budget initiative and take signatures. They’ll keep collecting signatures until they get past the 108 mark, with a safety goal of 200.
If they’re able to secure the requisite support, the library will then begin a public information campaign, which will culminate in a public vote on the November 2023 ballot.
There are artists who make objects, and then there are artists who alter the way we move through the world. Tim Prentice belonged to the latter. The kinetic sculptor, architect and longtime Cornwall resident died in November 2025 at age 95, leaving a legacy of what he called “toys for the wind,” work that did not simply occupy space but activated it, inviting viewers to slow down, look longer and feel more deeply the invisible forces that shape daily life.
Prentice received a master’s degree from the Yale School of Art and Architecture in 1960, where he studied with German-born American artist and educator Josef Albers, taking his course once as an undergraduate and again in graduate school.In “The Air Made Visible,” a 2024 short film by the Vision & Art Project produced by the American Macular Degeneration Fund, a nonprofit organization that documents artists working with vision loss, Prentice spoke of his admiration for Albers’ discipline and his ability to strip away everything but color. He recalled thinking, “If I could do that same thing with motion, I’d have a chance of finding a new form.”
What Prentice found through decades of exploration and play was a kind of formlessness in which what remains is not absence, but motion. To stand before one of his sculptures is to witness a quiet choreography where metal breathes, shadows shift and time softens.
After Yale, Prentice co-founded the architectural firm Prentice & Chan in 1965. The firm designed affordable housing projects in New York City, work largely led by partner Lo-Yi Chan. Prentice also designed custom single-family homes and continued to develop sculptural ideas alongside his architectural practice. After leaving the firm in 1975 and eventually relocating full time to Cornwall, he undertook a range of local architectural projects while increasingly devoting himself to sculpture.
Prentice began producing larger-scale sculptural commissions in the 1970s, during a period of national expansion in public art funding tied to new building projects. His first major commission came in 1976 from AT&T, helping launch a career that would bring his kinetic installations to corporate, institutional and public spaces across the United States and abroad. While his work follows in the lineage of Alexander Calder and George Rickey, critic Grace Glueck observed that its “gently assertive character is very much his own.”
In Cornwall, Prentice established a studio devoted to designing and fabricating kinetic sculpture, where he continued working for decades. He had many assistants over the years including local artists David Bean, Ellen Moon and Richard Griggs. David Colbert worked with Prentice for many years, assisting with fabrication, installation and project development and in 2012, Prentice established Prentice Colbert Inc., helping ensure that fabrication and development of large-scale commissions could continue beyond his lifetime.
Colbert said Prentice could be imperious, but came to understand that he valued thoughtful critique over agreement. “That evolved into a free and easy give-and-take, along with some fierce arguments,” he said. “Our relationship was always developing, right through to the end.”
In the mid-1990s, Prentice was diagnosed with macular degeneration, a condition that gradually narrowed his field of vision. Rather than turning away from the visual world, he leaned further into it, focusing on movement, light and peripheral perception — on what could be felt as much as seen. The Vision & Art Project film documents this period of his life and the ways he adapted his creative process.
Even in his final years, Prentice continued experimenting. In the summer of 2025, he created a series of drawings titled “Memory Trees,” produced from recollection as his eyesight declined. The series sold out at the Rose Algrant show that August, offering a poignant example of an artist adapting and creating throughout their lifetime.
“He was interested in whimsy,” said Nora Prentice of her dad. “But he also worked seven days a week,” she said. “He’d come in for dinner and then go right back out.” His studio was known for its atmosphere of curiosity and play, with music often drifting through the workspace as sculptures moved overhead in careful, measured rhythms. His work reminds viewers how profoundly small movements shape perception, and how change itself may be the only constant.
In his poem “Among School Children,” William Butler Yeats asks, “How can we know the dancer from the dance?” Prentice offered his own answer. “I’m not making the dance,” he said. “The wind is making the dance.”
As Nora reflected, “I think that’s how he would want to be remembered: for making the wind visible.”
Hyalite Builders is leading the structural rehabilitation of The Stissing Center in Pine Plains.
For homeowners overwhelmed by juggling designers, architects and contractors, a new Salisbury-based collaboration is offering a one-team approach from concept to construction. Casa Marcelo Interior Design Studio, based in Salisbury, has joined forces with Charles Matz Architect, led by Charles Matz, AIA RIBA, and Hyalite Builders, led by Matt Soleau. The alliance introduces an integrated design-build model that aims to streamline the sometimes-fragmented process of home renovation and new construction.
“The whole thing is based on integrated services,” said Marcelo, founder of Casa Marcelo. “Normally when clients come to us, they are coming to us for design. But there’s also some architecture and construction that needs to happen eventually. So, I thought, why don’t we just partner with people that we know we can work well with together?”
Traditionally, homeowners hire designers, architects and contractors separately, a process that can lead to miscommunication, budget overruns and design revisions once construction begins. The new partnership seeks to address those challenges by creating a unified team that collaborates from the earliest planning stages through project completion.
“We can explore possibilities,” Marcelo said. “Let’s say the client is not sure which direction they want to go. They can nip that in the bud early on — instead of having three separate meetings with three separate people, you’re having one collaborative meeting.”
The partnership also reflects an expanded view of design, moving beyond surface aesthetics to include structural, environmental and performance considerations. Marcelo said her earlier work in New York City shaped that perspective.
“I had a 10-year career in New York City designing townhouses and penthouses, thinking about everything holistically,” she said. “When I got here and started my own business, I felt like I was being pigeonholed into only the decorative part of design. With the weight of an architect on our team now, it has really helped us close those deals with full home renovations, ground up builds and additions.”
The team emphasizes what it describes as high-performance design, incorporating modern building science, energy efficiency and improved air quality alongside aesthetic goals.
“If you’re still living inside 40-year-old technology and building techniques, we haven’t really handed off the best product we could,” said Soleau. “The goal is to not only to reach that level of aesthetic design but to improve the envelope, improve the living environment within a home and bring homes up to elevated standards of high-performance building.”
This integrated approach has proven particularly useful for renovation projects, where modern materials and systems can be thoughtfully incorporated into older structures. The firms also prioritize durability and long-term functionality, often incorporating antiques, vintage elements and high-quality materials designed to support clients’ lifestyles.
“I’m very big on investing in pieces that are going to be quality and last you the test of time,” Marcelo said. “Not just designing for a five- to 10-year run, but really designing for the long haul.”
The collaboration is already underway on several projects, including a major renovation in Sharon that involves rebuilding a 1990s modular home to maximize views while upgrading structural and performance systems. The firms are also exploring advanced visualization technology that would allow clients to experience projects through virtual reality before construction begins.
“For me, as somebody who wants to take the project all the way from beginning to end and make the process as effortless as possible for my client, it’s easier to do that with collaboration and a team than to do it alone,” Soleau said. “Most clients, especially second-home owners, want a team that can lead the project from concept through completion; aligning design, budget, and construction.”
On Feb. 19, the three firms will officially launch the initiative at an invitation-only event at The Stissing Center in Pine Plains, where Hyalite Builders is leading the structural rehabilitation of the historic building. A limited number of “hard hat tour” reservations will be available by request, providing rare, behind-the-scenes access while work is actively underway. Those interested in attending may contact event organizer Lauren Fritscher of Berkshire Muse at hello@berkshiremuse.com.
Autumn Knight will perform as part of PS21’s “The Dark.”
This February, PS21: Center for Contemporary Performance in Chatham, New York, will transform the depths of midwinter into a radiant week of cutting-edge art, music, dance, theater and performance with its inaugural winter festival, The Dark. Running Feb. 16–22, the ambitious festival features more than 60 international artists and over 80 performances, making it one of the most expansive cultural events in the region.
Curated to explore winter as a season of extremes — community and solitude, fire and ice, darkness and light — The Dark will take place not only at PS21’s sprawling campus in Chatham, but in theaters, restaurants, libraries, saunas and outdoor spaces across Columbia County. Attendees can warm up between performances with complimentary sauna sessions, glide across a seasonal ice-skating rink or gather around nightly bonfires, making the festival as much a social winter experience as an artistic one.
The Dark’s lineup includes several world and U.S. premieres. Highlights include Thomas Feng performing “Night Prayers,” a program of compositions by late Ethiopian composer and Orthodox nun Emahoy Tsegué-Maryam Guèbrou; Phil Kline’s outdoor participatory score “Force of Nature (February);” an audiovisual collaboration between composer David Lang and Academy Award-nominated filmmaker Bill Morrison; an interdisciplinary performance by Lee Ranaldo of Sonic Youth and multimedia artist Leah Singer; and “We Survived the Night: A Coyote Story in Four Parts” by Julian Brave NoiseCat.
For more information about The Dark or to purchase tickets, visit ps21chatham.org/the-dark

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Exterior of the Linde Center for Music and Learning.
The Tanglewood Learning Institute (TLI), based at Tanglewood, the legendary summer home of the Boston Symphony Orchestra, is celebrating an expanded season of adventurous music and arts education programming, featuring star performers across genres, BSO musicians, and local collaborators.
Launched in the summer of 2019 in conjunction with the opening of the Linde Center for Music and Learning on the Tanglewood campus, TLI now fulfills its founding mission to welcome audiences year-round. The season includes a new jazz series, solo and chamber recitals, a film series, family programs, open rehearsals and master classes led by world-renowned musicians.
“We have been thrilled and humbled to see the Tanglewood Learning Institute embraced as a year-round destination for a breadth of exceptional programming, including classical, jazz and family-friendly events,” said BSO President and CEO Chad Smith. “Our 2025–26 fall, winter and spring season reflects our deepening commitment to engaging the vibrant, year-round Berkshires community and to fully exploring the potential of TLI as a space where BSO programs make thought-provoking connections between music, art and society.”
TLI is once again presenting its Chamber Concerts series on Sunday afternoons, with small ensembles of BSO musicians performing familiar favorites and classic mainstays, as well as new music by contemporary composers. There are upcoming chamber concerts scheduled for Feb. 22, March 8 and March 15.

New this season is the TLI Jazz series, which continues March 20 with the Sullivan Fortner Trio, led by Grammy Award-winning artist and educator Sullivan Fortner, whose eponymous ensemble won the 2024 DownBeat Critics Poll for Rising Jazz Group. “Soul-sax sensation” Nick Hemp brings his free-blowing blend of “barroom excitement and modern jazz finesse” for a rousing night of soul jazz April 10. Rounding out the jazz series, and back by popular demand, is Grammy Award-winning trumpeter and singer Jumaane Smith, who brings his repertoire of jazz and American Songbook standards to the Linde Center on May 9.
Another season highlight comes April 12 with an animated live concert screening of the 3D stop-motion adventure film “Magic Piano.” Produced by the Academy Award-winning BreakThru Films production company in Poland, the film will be accompanied by a screening of “The Chopin Shorts,” a collection of animated films set to Chopin’s etudes, performed by pianist Derek Wang.
All performances take place in Studio E, the Linde Center’s 4,000-square-foot multiuse room that serves as TLI’s main performance and event space. It features retractable seating, acoustic and technical systems, flexible configurations, and is accessible and comfortable for all patrons.
The entire Linde Center for Music and Learning is worth a visit in itself. The complex, which also includes the informal Cindy’s Cafe (seasonal) for a quick bite, is conceived not as a single building but as a cluster of pavilion-like spaces connected by an outdoor covered walkway and arranged around a century-old red oak tree. The center promotes a welcoming and serene sense of place and continuity with the rolling Tanglewood lawn and surrounding woodlands.
Smith said, “This ongoing work is also a passion project for our musicians, who form deep ties to the area and are eager to remain active in the Berkshires beyond the summer months. We look forward to welcoming new and returning audiences to experience all that TLI offers — all year long.”
The Tanglewood Learning Institute is located at 3 W. Hawthorne Road, Lenox, Mass. For more information and to purchase tickets,
visit bso.org/tli.
Natural light can be a powerful tool for wellness.
Wellness is often framed as something we do — a dog walk, a yoga class, a healthy resolution. But as we retreat indoors in winter, we are reminded that wellness is also something we live inside. Our homes quietly influence how we breathe, sleep, focus and feel — sometimes for better, sometimes not.
Interior design for wellness is less about color and style trends and more about intentional choices. Specialty designers create spaces aligned with the health-first framework of the World Health Organization’s guidelines. But with some basic knowledge, homeowners can borrow from that playbook and embrace wellness at home.
One of the most overlooked elements of a healthy home is air quality. In winter — especially this one, thanks to seemingly endless frigid temperatures — windows stay shut. As a result, heating systems run constantly and indoor air can become more than just stale. Many common household items — synthetic rugs, vinyl flooring, pressed-wood furniture, harsh cleaners and scented room sprays — release volatile organic compounds, or VOCs, that linger long after use or installation. Headaches, poor sleep and respiratory irritation are often traced back to what is quietly circulating in a home’s air.
Choosing natural materials makes a measurable difference. Wool rugs, for example, are naturally stain-resistant, biodegradable and free of the chemical treatments found in many synthetic alternatives. Wool helps trap airborne pollutants because it contains keratin, a naturally occurring protein that interacts with those particles, improving indoor air quality over time. Solid wood furniture, natural stone and low-VOC paints offer similar benefits, especially in bedrooms and living spaces where we spend the most time.
Light is another powerful wellness tool. Natural daylight regulates circadian rhythms, lifts mood and improves focus. Keep window treatments simple during the day. Trim back heavy drapery. Position seating to catch morning or afternoon sun. Even reflective surfaces — a mirror opposite a window or a lighter wall color — can amplify daylight without adding glare.
Just as important as letting light in is knowing when to shut it out. Good sleep thrives on darkness. Bedrooms benefit from blackout shades or lined drapery with minimal light bleed at the sides. Correctly measured and installed window treatments are key to blocking streetlights, early morning sun and winter glare off snow. Layering a rattan Roman shade with light-filtering drapery panels allows flexibility — bright and airy by day, cocooned and calm by night. This balance between exposure and protection is central to wellness-focused design.
Scent and atmosphere matter as well. Candles may seem like a small detail, but they play a significant role in air quality. Many are made from paraffin wax, a petroleum byproduct that releases toxins when burned. Beeswax or soy candles, especially those scented with essential oils rather than synthetic fragrances, burn cleaner and more slowly. I follow a simple, non-scientific rule: If a candle smells unbearably overpowering when the lid comes off, the ingredients are likely problematic. Price point can also be an indicator — not always, but inexpensive often means artificial and unsafe.
Sound and softness also contribute to well-being. Hard surfaces amplify noise, subtly increasing stress levels. Area rugs, upholstered furniture, curtains and bookshelves help absorb sound, making a home feel calmer. In open-concept spaces especially, these elements can dramatically improve comfort without altering architecture.
Finally, consider what you see first and last each day. Clutter increases cognitive load; calm visuals allow us to rest. Edit surfaces, simplify and restock nightstands and create intentional pause points — a chair by a window, a softly glowing lamp beside a favorite book, a clear kitchen table that feels welcoming in the morning.
Designing for wellness does not require a full renovation. It begins with awareness: what you breathe, what you touch, what you see in the quiet hours.
As winter lingers, summer is already taking shape at the Sharon Playhouse, with local auditions this weekend for the upcoming theatrical season under the watchful eyes of casting director Judy Bowman and artistic director Carl Andress.
“Every time you do a local search, new people crop up,” said casting director Judy Bowman. “People who have moved here, people who hear about [the Playhouse]from friends, people who started as actors and then raised families and want to come back into the business.”
The hopefuls will have five minutes and are asked to prepare a piece of musical theater (classical or contemporary). If all goes well, they could be asked back the following week for a dance audition.
Every second counts. Bowman’s process is simple and every second counts. “I really need to know how they audition, what they’re like as people when they come into the room and interact with the theater,” she said.
If it doesn’t work out this time around, Bowman encourages positivity.
“Sharon Playhouse isn’t year-round, but I am. I have plenty of other projects, and they should come in and put their best foot forward.”
For more information and to schedule an audition, visit sharonplayhouse.org

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