Upstate Art Weekend brightens Wassaic and beyond

Abstract art display in Wassaic for Upstate Art Weekend, July 18-21.
Photo by Mia Barnes
Abstract art display in Wassaic for Upstate Art Weekend, July 18-21.
WASSAIC — Art enthusiasts from all over the country flocked to the Catskill Mountains and Hudson Valley to participate in Upstate Art Weekend, which ran from July 18 to July 21.
The event, which “celebrates the cultural vibrancy of Upstate New York”, included 145 different locations where visitors could enjoy and interact with art.
On Saturday, July 20, The Wassaic Project hosted numerous community events. Will Hutnick, the director of artistic programming, said “We’ve been a part of it since the beginning, this is the fifth year of UPAW.”
Most of the action was based at Maxon Mills, the seven-floor grain mill located in the heart of Wassaic. On exhibit was work from 30 artists, 18 of whom were past residents of The Wassaic Project. “Artists can come and do a residency here, meaning they live and work with one another for a couple months at a time,” Hutnick stated.
The first floor held work by Petra Szilagyi, who uses dirt and linseed oil to construct images of paranormal concepts, most of which include bats. They reflected that a recent trip to a fifth sense competition in Vietnam was the influence behind the exhibit.
Across the floor was Tiffany Smith’s interactive installation which incorporated plants and wicker chairs, all of which were objects associated with her Carribean upbringing. “The room being filled with plants is symbolic of hurricane prep which often included bringing the plants from outside into the house,” Smith said.
As visitors made their way up the narrow wooden stairs, music could be heard from behind the walls. The echoing music was Daniel Shieh’s installation, entitled Mother’s Anthem, which played a recording of the American Anthem in 30 languages. The languages ranged from Spanish and Italian to Navajo and Bengali.
Each floor was filled with artwork of all mediums, including painting, fibers, collage and photography. Rachel Bussières, who switched her concentration after watching the 2017 solar eclipse, uses varying light sources to produce lumen prints. During the wildfires, she recounted that she “made a new exposure each day to capture the changing air quality”.
Luciana Abait also incorporates the natural world into her pieces, instead using maps. An environmental activist originally from Argentina, Abait’s work highlights “environmental fragility, specifically the impacts it has on immigrants.” Her installation that is currently on display at Maxon Mills, takes the form of a mountain range built solely from maps of the US and Argentina.
Throughout the day, visitors could “Arm Wrestle 4 A Popsicle”. Winners had the choice of 3 playfully flavored trout-inspired popsicles - Nightcrawler, Power Bait, and Salmon Roe. Artist Katie Peck, who spent the day in costume as a rainbow trout, encouraged guests to step up and try their hand at an arm wrestle.
Shibori Indigo dyeing, group meditation, and dance workshops were open for community members of all ages as well.
While the daytime activities fostered appreciation of fixed art, a dance party until midnight at The Lantern Inn offered guests a space for performative art.
When describing the environment of The Wassaic Project, Smith emphasized, “It’s all community, it’s all love.”
Christine Gevert, Crescendo’s artistic director, is delighted to announce the start of this musical organization’s 22nd year of operation. The group’s first concert of the season will feature Latin American early chamber music, performed Oct. 18 and 19, on indigenous Andean instruments as well as the virginal, flute, viola and percussion. Gevert will perform at the keyboard, joined by Chilean musicians Gonzalo Cortes and Carlos Boltes on wind and stringed instruments.
This concert, the first in a series of nine, will be held on Oct. 18 at Saint James Place in Great Barrington, and Oct. 19 at Trinity Church in Lakeville.
For those unfamiliar with Crescendo, the award-winning organization was founded in 2003 and brings lesser-known works from the Renaissance and Baroque periods — along with contemporary fusion pieces — to new life. Its performances often blend classical composition with nontraditional instrumentation for a refreshing new take on an established body of work.
Gevert, who is German, Chilean and American, is a conductor, keyboardist and musical scholar. As the multi-national, multi-lingual (German, Spanish and English) creative director, she is a veritable whirlwind of talent, professionalism and inspiration who conceives of new musical treats for her audiences. She also hires and nourishes local talent, sources internationally known vocal and instrumental professionals, and provides her audiences with well-researched program notes for each concert, packaged in lush, full-color programs that resemble illuminated manuscripts.
“It is the excitement about and dedication to the music, along with the prerequisite vocal and instrumental talent, that characterizes a Crescendo member,” said Gevert. “I don’t care about things like how old or young you are or where you’re from — it’s all about bringing these performers together to provide unforgettable musical experiences for its audiences.”
“Traditional audiences for classical music performances tend to skew older,” Gevert continued. “For that reason, I’ve embarked on an effort to reach younger listeners, and have done things like taken a Crescendo choral group to perform at Housatonic Regional High School. I’ve also launched an effort to recruit and train young singers in Baroque singing techniques so they can perform with our existing choral group.”
The upcoming 2025-26 season includes, among other performances, a solo recital and benefit concert on Nov. 22 by the international Baroque opera star and countertenor Nicholas Tamagna. The curated program will include works by Handel, Vivaldi, and Monteverdi.
Two dazzling Christmas concerts follow: on Dec. 6 and 7, Crescendo presents J.S. Bach’s “Sweet Comfort” cantata and Mass in G minor, featuring the full chorus and soloists with a period instrument orchestra. On Dec. 21, the annual Holiday Concert will be presented: “A Tapestry of Traditions: Unraveling the History of Christmas Carols,” with the entire Crescendo vocal ensemble and Gevert on organ.
For the full schedule, concerts details and ticket information, visit: www.crescendomusic.org
Robin Crofut-Brittingham, a native of East Canaan, is an established artist living in Montreal. Her new book, “TheIlluminated Book of Birds” will be published Oct. 21 by Timber Press, and there is an accompanying art show at Berkshire Botanical Garden in Stockbridge, “Flock: Watercolor Paintings by Robin Crofut- Brittingham,” on view from Oct. 18 through Nov. 30.
The paintings in the book look as if they are from a 19th century book. In a phone interview with Crofut-Brittingham, the artist said the traditional look is intentional.
“I’m always combing over antique natural history books.”
In her travels around the world (including France and Russia), she has made a point of observing the local birds.
She describes herself as “an amateur naturalist.”
Now working as a full-time artist, and “selling enough to make it work,” it occurred to her that while regional bird guides are fine for their purpose, she could do something special with watercolor renditions of birds she has seen.
Hence the new book.
Provided
Crofut-Brittingham grew up in the East Canaan section of North Canaan, the daughter of artist Erica Crofut and the late Peter Brittingham.
There is a public opening reception on Friday, Oct. 24, from 4 to 6 p.m. at Berkshire Botanical Garden, and a special artist tour of the exhibition from 2 to 3 p.m on Saturday, Nov. 29.
A room that felt breezy in July can seem stark in October. Adding layers — pillows, rugs, curtains — grounds a space.
They are hard to miss — eye-popping mansions so large it takes a few seconds just to drive by as your eyes try to take it all in. Commanding? Absolutely. But the measure of a home’s success isn’t square footage. It’s the feeling a space creates.
I was reminded of that during a visit to a friend’s home in Ottawa last fall. He and his wife invited us over for what turned out to be one of the most memorable evenings of the season.
Their house sits on a tree-lined street not far from the downtown center — the kind of neighborhood perfect for trick-or-treating, where you could collect a good haul of candy in a short time. There’s no room for sprawling country estates here. These city homes balance history and charm while offering something even more meaningful: warmth.
Nelson is a self-taught pizza connoisseur. We arrived to his station of homemade dough and countless topping combinations he picked up earlier that day from a nearby Italian market. His setup included a large brick oven that glowed near a red-and-white checkered tablecloth, with soft Italian music playing. The table was set beneath string lights, and the night air carried that unmistakable mix of woodsmoke and autumn chill. Neighbors drifted by — one stopped after work for a slice — and before long, Nelson and Deanna’s little backyard felt like a scene from a storybook.
At one point, Nelson said, “You’ve seen my home…it’s not huge.” I cut him off immediately. “It doesn’t matter,” I said. “It’s how a home feels — and yours is off the charts with warmth!” That night crystallized a truth I carry into my work with clients here in Litchfield County, and specifically in Lakeville, where most homes are intentionally not McMansions. Instead, they are charming cottages and rambling older homes — smaller in size but bursting with character, history and heart.
I recently worked with a family in Canaan who wrestled with this very issue. Their home brimmed with treasures from abroad — textiles, pottery, artwork and sentimental mementos too precious to discard. Each piece told a story, but together they overwhelmed the eye. By editing and layering, we allowed their favorites to shine while storing others for later rotation. The result was a home that breathed. When they hosted friends, guests noticed not the size of the house, but the warmth of its atmosphere.
Creating that kind of feeling doesn’t require an interior designer — or a big budget, to be honest. It often comes down to intention. A well-placed lamp that softens the evening light. A textured throw across a sofa. A dining table, however small, always ready to fit one more chair. These touches whisper “welcome” in ways oversized square footage never can.
Fall is the perfect season to reassess. A room that felt breezy in July can seem stark in October. Adding layers — pillows, rugs, curtains — grounds a space. But restraint is just as important. Too many seasonal touches, and a home tips into clutter. Too few, and it feels unfinished. Somewhere in the middle lies the sweet spot, where comfort and style meet.
I often suggest what I call the “guest test.” Imagine a friend stopping by on a chilly evening. Would they feel comfortable settling in with a cup of tea or a glass of wine? If the answer is yes, you’ve likely found the balance.
Homes don’t need to impress physically. They need to express emotionally. Guests won’t remember if your bookshelf was perfectly styled, but they will remember how your home made them feel — cozy, cared for and welcome. That’s the magic.
My Ottawa friend’s city house proved it best. Under twinkling lights, with dough stretched by hand and endless laughter in the night air, it wasn’t about size at all. It was about warmth, generosity and connection — the true heart of every home. In Lakeville, that same spirit shines through smaller cottages and rambling homes, where charm, character and care create spaces people love to linger in.
Because in the end, a home isn’t measured in square feet, but in the memories it holds.
Kerri-Lee Mayland is an Emmy award-winning news anchor and designer. She lives in Lakeville.