SHARON — Local French pastry buffs do not mind a bit that the lines are sometimes long at the Blue Gate Farm Bakery in Sharon. After a few years of offering baked goods at a variety of area farmers’ markets, the bakery settled down and opened for business nearly a year ago.
Located on the Sharon side of the Housatonic River where Routes 7 and 4 meet, the bake shop is the work of pastry chef Bruce Young, along with his wife, Yobana, both owners of Blue Gate Farm in Warren. They paused for an interview on Thursday, March 21, after a busy day of preparation for Friday’s sales.
“We’re a small community in Warren,” said Bruce Young, who recalled the beginnings in 2020 at a farmers’ market behind the Warren General Store, later adding a similar farmers’ market in Washington Depot, and then others. Young grew up in Warren and he and Yobana still live there in his boyhood home that had been built by his father.
A Washington Montessori schoolteacher during the week, Yobana welcomes customers at the bakery on weekends. She also handles the bakery’s business details.
Transition from farmers’ markets to retail location came suddenly, according to Young, who recalled the day that he pulled into the gas station and convenience store that stands along Route 4 on the Sharon side of the river just west of Cornwall Bridge.
“I stopped for gas and ran into Liz Macaire, a long-time acquaintance,” he said. She pointed to the building across the road and recommended that he look at it. He remembered that she insisted that he needed to open his bakery there “immediately,” so 48 hours later, he was open for business.
“We haven’t had a slow day since we opened,” Young reported, pleased that the line of customers extends out the door, and that people are sometimes waiting in line before the bakery opens in the morning.
Baked goods are all baked on site. Breads include traditional, European, and the baguettes are done to French weight and size standards. Sourdough is naturally fermented. Multigrain and variations seasonally rotated.
Croissants are made on site. “I start with a scoop of flour, water and yeast, and very expensive French butter,” Young said. The French butter works the best for laminating pastry.
Hard rolls are made fresh every morning, Young said. “I cut and weigh and shape every one of them, about 85 each day.
“I’m pretty fast,” he added.
Young said that he arrives at the bakery each day at 3 a.m., working six days a week. The schedule is necessary in order to fill the bakery shelves with the variety that is sold on the busy weekends.
Area towns have their own designated rolls. “We always have a local roll,” he said. The Cornwall roll is topped with a pistachio ganache, for example.
On a Saturday, Young expects there to be seven types of breads available, and always baguettes. Blue Gate bakes varieties of tarts, and regional French specialty items, including short-crust pastry with black cherries, walnuts, or red plums as a few examples.
Delicate barquettes, shaped like small boats, are filled with lemon curd or fresh fruit as some of the choices. French caneles, local to the Bordeaux region, are a frequent feature.
“We have an astonishing variety,” Young said. “We do what we do best.”
The coffee comes from Sacred Grounds in Sherman. Choices include latte, cappuccino, or espresso. Hot chocolate is made with Lindt chocolate truffles topped with handmade marshmallows.
There is no indoor seating, but customers are welcome to find a spot outdoors to enjoy their purchases. Many summer season patrons walk over from the Housatonic Meadows campgrounds for warm pastries and coffee in the mornings, or some prefer the fresh breakfast sandwiches.
“I’ve been cooking since I was 14,” Young said. He lived in England for nine years working for a French chef whose father was a baker from whom he learned much. He noted that he has been largely self-taught and is always learning.
An unusual companion to a bakery operation, a design and décor note is added by Ivy’s Collective, stylishly occupying the other half of the building’s interior. In high spirits from having acquired pastry before the bakery sells out, visitors can shift gears and view an array of antiques and collectibles. Prices from a few dollars to higher. Ivy’s is owned by former New Yorkers, Ivy and Daniel Kramp, and managed by Liz Macaire, merging talents to create an ever-changing display in an unrushed country environment.
Both the Blue Gate Bakery and Ivy’s Collective are open Fridays, Saturdays, and Sundays, from 7:30 a.m. to 2 p.m. (the bakery closes earlier if things sell out).
Photo contributed
Sample baked goods offered by the Blue Gate Farm Bakery in Sharon. The rolls with the pistachio ganache (green) topping are called “Cornwall rolls.”
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.’”
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