MILLERTON — The Millerton Zoning Board of Appeals rejected two variance requests for 7-9 Main Street with a unanimous vote on Tuesday, June 3.
The decision closes the book on a process that began more than two years ago when building plans were first submitted to the board seeking to increase the building’s allowable residential density and waive parking requirements.
The latest rejection followed a public hearing on May 6, during which architect Ray Nelson of Earthwise Architecture in Millerton presented revised 9-unit and 6-unit proposals — both scaled down from the original 12-unit plan. The applications were reviewed under village zoning code, which requires at least 5,000 square feet of lot area per unit and 1.5 parking spaces per unit — standards the updated plans still did not meet.
“I think this is a mistake,” said Nelson, who has represented the building’s owner, Gvkgne Realty Inc., in front of the zoning board since 2023. “The village wants more apartments.”
“We are constrained to the zoning laws as written,” board member Ed Stillman said, emphasizing that the board’s role is not to decide what’s best in theory, but to apply the law as it exists.
Nelson disagreed, arguing, “Your job, in my opinion, is to rectify an onerous zoning law. We know the zoning law needs to be changed.”
The Village of Millerton Zoning Board of Appeals met on Tuesday, June 3 to decide on a 7-9 Main Street case. Photo by Aly Morrissey
At the start of the meeting, the board entered an unplanned executive session to review new information, followed by a required State Environmental Quality Review. In a roll-call vote, the board determined the requested variances would not result in significant environmental harm.
The board then worked through its formal Record of Findings, applying five legal criteria meant to balance the applicant’s needs with potential impacts on the community. These included whether the project would change the character of the neighborhood or harm nearby properties, if alternative options were considered, the magnitude of the variances requested, potential environmental and community impacts, and whether the applicant’s difficulty was self-created.
While board members acknowledged that added density and new apartments could benefit the village, they concluded that the proposed variances were too substantial, the parking impact would be negative, and that the applicant failed to do proper due diligence regarding zoning laws before purchasing the property.
“Considering the factors in the Record of Findings, and weighing the benefit to the applicant versus the health, safety, and well-being of the neighbors in our community, we deny the applications for the two variances,” said Stillman.
As for next steps, he noted that there would be paperwork to complete but confirmed the “matter is closed.”
The meeting adjourned at 7:00 p.m.
“Once Upon a Time in America” features ten portraits by artist Katro Storm.
Part of what became a capstone project for Wolgemuth, she left behind a comprehensive guide to help future student interns manage the gallery effectively. “Everything from who we should contact, the steps to take for everything, our donors,” Wilbur said. “It’s really extensive and it’s been a huge help.”
Art teacher Lilly Rand Barnett first met Storm a few years ago through his ICEHOUSE Project Space exhibition in Sharon, “Will It Grow in Sharon?” in which he planted cotton and tobacco as part of an exploration of ancestral heritage.
“And the plants did grow,” said Barnett. She asked Storm if her students could use them, and the resulting work became a project for that year’s Troutbeck Symposium, the annual student-led event in Amenia that uncovers little-known or under-told histories of marginalized communities, particularly BIPOC histories.
Last spring, Rand emailed to ask if Storm would consider a solo show at HVRHS. He agreed.
And just a few weeks ago, he arrived — paints, brushes and canvases in tow.
“When Katro came to start hanging everything, he took up a mini art residency in Ms. Rand’s room,” Wilbur said. “All her students were able to see his process and talk to him. It was great working with him.”
Perhaps more unexpected was his openness. “He really trusted us as curators and visionaries,” Wilbur said. “He said, ‘Do with it what you will.’”
Artist Katro StormNatalia Zukerman
Storm’s artistic training began at New Haven’s Educational Center for the Arts. His talent earned him a full scholarship to the Arts Institute of Boston, then Boston’s Museum School, where he painted seven oversized portraits of influential Black figures — in seven days — for his final project. Those works became the backbone of his early exhibitions, including at Howard University’s National Council for the Arts.
Storm has created several community murals like the 2009 READ Mural featuring local heroes, and several literacy and wellness murals at the Stetson Branch Library in New Haven. Today, he teaches and works, he said, “wherever I set up shop. Sometimes I go outside. Sometimes I’m on top of roofs. Wherever it is, I get the job done.”
His deep ties to education made a high school gallery an especially meaningful stop. “No one really knew who these people were except maybe John Lennon,” Storm said of the portraits in the show. “It’s really important for them to know James Baldwin and Shirley Chisholm. And now they do.”
The exhibition includes a wide list of subjects: James Baldwin, Shirley Chisholm, Redd Foxx, Jasper Johns, Marilyn Manson, William F. Buckley, Harold Hunter, John Lennon, as well as two deeply personal works — a portrait of Tracy Sherrod (“She’s a friend of mine… She had an interesting hairdo”) and a tribute to his late friend Nes Rivera. “Most of the time I choose my subjects because there are things I want to see,” Storm said.
Storm’s paintings, which he describes as “full frontal figuratism,” rely on drips, tonal shifts, and what feels like emerging depth. His process moves quickly. “It depends on how fast it needs to get done,” he said. “Sometimes I like to take the long way up the mountain. Instead of doing an outline, I just start coloring, blocking things off with light and dark until it starts to take shape.”
He’s currently in a black-and-white phase. “Right now, I’m inspired by black and white, the way I can really get contrast and depth.”
Work happens on multiple canvases at once. “Sometimes I’ll have five paintings going on at one time because I go through different moods, and then there’s the way the light hits,” he said. “It’s kind of like cooking. You’ve got a couple things going at once, a couple things cooking, and you just try to reach that deadline.”
For Wilbur, who has studied studio arts “ever since I was really young” and recently applied early decision to Vassar, the experience has been transformative. For Storm — an artist who built an early career painting seven portraits in seven days and has turned New York’s subway corridors into a makeshift museum — it has been another chance to merge artmaking with education, and to pass a torch to a new generation of curators.
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