Feeds:
Posts
Comments

Archive for the ‘art’ Category

IMG_0580

From: Gerry DeCusatis
Date: Fri, 29 Aug 2014 15:22:21 -0400
To: Office of the Mayor, Richard Leggiero, Ed Russo, Ron Barone, Valerie Beekman, Diane Hatzenbuhler, robert spagnola
Cc: Susan Alibozek
Subject: Fwd: resolution request

All:

The requested resolution appears to be an attempt to direct city employees in their day to day actions.  The direction of city employees is an executive power belonging to the mayor.  This power cannot be changed by a resolution. A charter amendment would be required and such an amendment would be subject to a mandatory referendum.

There is no “legalese” that will cure this proposed resolution.

Perhaps it would be helpful if I were provided with more details of the actual events that this is attempting to regulate along with some communication of the goals of the resolution from the requester.

G DeCusatis

_______________________________________________
On Fri, Aug 22, 2014 at 3:20 PM, Susan Alibozek wrote:

Gerry – below is a resolution draft requested by Alderwoman Hatzenbuhler.  The request stems from the removal of the fence at Milton Avenue, painting of murals on City owed property, etc.   There may be a Committee of the Whole at 6:30 on September 2 to discuss this resolution therefore if you can provide more legalese to the resolution it would be most appreciated.

WHEREAS, in the past City-owned property has been removed, used, painted etc. without the knowledge or consent of the Common Council.

RESOLVED, no city employee shall use, remove, paint, deface any City-owned property without the written knowledge and consent of the Common Council.

Susan Alibozek, City Clerk
City of Amsterdam

Read Full Post »

EDIT:
SURPRISE! The Recorder editorial board does not agree with me about the mural, just as they hadn’t about the $20M re-purposing of the Chalmers building (that’s the empty lot on the South Side now), beautification efforts downtown and at City Hall (oh, maybe they’re on board now?), demanding fiscal accountability from the Golf Course, or about just about anything else I’ve attempted to change in the name of responsible progress.

I guess they are in the business of expressing their opinion (though the “news” seems to get mightily slanted by their bias). The thing that disturbs me the most about the Recorder is its persistent pandering of misinformation; i.e., that “HUGE” parts of the mural are lifting or missing (not) and that my attention is holding up the project (not.) The mural can easily be stabilized and repaired to a point that there is time for more improvements.

They also claim that I won’t “play nice.” How condescending and incorrect. I have repeatedly asked to have a group of interested folks do a walk-through to suggest creative usages of the room and discuss marketing the building. Throw fundraising into that scenario. The AIDA Buildings and Grounds Committee is disallowing our entry because of political reasons and personal avarice. One might wonder why the Recorder isn’t on top of that?

For those of you that have not had the pleasure of personally visiting (or viewing on my FB page) the MURAL that has been the topic of recent radio and newspaper fodder, I post the following photos. Please note, the “house” referred to in the Recorder is actually Historic Ft. Johnson.

This mural is on the third floor of AIDA’s building on Main Street. Through my prompting, representatives from the State Historic Preservation Office visited the site to recommend preservation strategies. The mural, original light fixture and medallion that had graced a prohibition speak-easy are pictured in the photos below. They are stunning and photos don’t do the space justice. The little money it will take to stabilize and keep this treasure pales in comparison to the huge gain we realize in protecting our history.

When AIDA made me aware of their interest in the building, I was pleased, as I had indicated then that the mural was to be considered an irreplaceable piece of our history and strongly advocated for its preservation. I had anticipated their cooperation in this matter. My stance has never changed over the decade since I first saw the mural or in the two years since AIDA had become involved.

Some comments by local historians:

“Had a nice chat with Bruce Conover, whose father used to own the building. The mural long predates the Seely Conover Company presence. In the day that room had been the home of one of the Red Men fraternal groups that were popular at the turn of the last century, so the mural likely originated with them, or at least that was the Conover family understanding.”
– Bob Going

“Once again, please satisfy yourselves by consulting http://www.fultonhistory.com under “Worley Moat” 4/25/1894. “Artist Worley Moat is giving the interior of the new hall of the Kenneyetto Red Men in the Morris Hall block a realistic appearance, now being painted to represent numerous portions of the Mohawk Valley so dear to the red men of years ago.” Moat’s father owned a brewery on Washington St… End of question I think, since it came right out of the 1894 Amsterdam newspaper.”
– Peter Betz, Fulton County Historian

That the AIDA Board is waffling about its preservation at this late date is a disgrace. They should have had a plan in place from the start, but it seems that planning is not a strong suit of the AIDA Buildings and Grounds Committee. The building has not been marketed and I have seen no evidence of an articulated budget or plan for the building, or any other of their holdings.

Unfortunately, this committee has also disallowed a few folks (realtor, historic preservationist, general contractor, city staff and me) from walking through the building to assess the mural and make recommendations about repurposing the room and marketing.

Just what is it that AIDA does, anyway? I’ve requested a Strategic Plan for their organization for years. So far, nothing but silence. How does the board progress its purpose and goals if they don’t have any?

AIDA was created as an economic development tool for the city, to work collaboratively with and strengthen city government. It certainly was not meant to be an separate, unaccountable government. I have requested that the agency supply the Council with all financial and organizational documentation necessary to get an exact picture of the agency’s true condition. I have been promised these documents by August 15th. I’ll update you as to receipt of this information. I’m sure you’re just as interested as I am to see what this group is up to.

And now, the photos:

IMG_3436

IMG_6036

IMG_3437

IMG_3438

IMG_3439

IMG_3440

IMG_3441

IMG_3442

IMG_3443

IMG_3446

WORLEY MOAT, THE ‘CHICKEN ARTIST’ OF AMSTERDAM
by Peter Betz

When I read that Gloversville’s Common Council is considering once again allowing city residents to keep chickens, I immediately thought of Worley Moat, Amsterdam’s long-forgotten ‘chicken artist’. Because his story mainly belongs to Montgomery County rather than Fulton, I was almost ‘chicken’ to write about him, since, as Fulton County Historian, my general obligation is to keep my historical eggs in Fulton County’s basket. I hope ‘crossing the road’ by writing about someone who lived ‘to the other side’ of the county line won’t lay an egg with readers.

Two other recent events also brought Worley Moat to my attention. First, a local ephemera collector recently found and shared a scrap book filled with Moat’s artistic drawings of prize-winning chickens with me and second, Amsterdam Mayor Ann Thane on her Facebook page recently shared photographs of some rediscovered 19th century wall murals of Mohawk Valley scenes located on the top floor of an old downtown Amsterdam building presently used by the Amsterdam AIDA organization which I and Amsterdam City Historian Rob Von Hasseln both think are probably Moat’s artistic work.

Just who was Worley Moat, why do we think he may have painted these lovely old murals, and what else did he do to cause him to be remembered? Starting a generation earlier, Worley’s father, Charles Moat, a coppersmith, immigrated to America from Hatfield, Yorkshire, England sometime in the 1850’s. According to a retrospective July 7th 1945 Amsterdam Evening Recorder article, Charles erected a brewery on Amsterdam’s Washington Street in the late 1860’s. The style of beer he brewed proved very popular with the many English émigrés working in the Sanford and other early Amsterdam factories. Charles Moat then invested in Amsterdam real estate and was president of the British-American “Sons of Albion” social club. He also served as President of the Board of Education, as a member of the Amsterdam Water Board, and as a village trustee, dying at 75 on February 11th, 1895.

Charles sold the brewery to son Walter on May 3rd 1886. Meanwhile Charles’ other son, Worley, followed a career path that seems based on his athletic and artistic abilities, plus his life-long involvement with poultry. He was first employed in the Amsterdam Daily Democrat’s Printing Department. Shifting careers, he became a member of Sanford’s rug pattern design team, probably a better outlet for his artistic abilities.

Worley’s greatest passion, however, was both raising and drawing prize-winning chickens, not surprising considering he grew up at a time in America when many very serious ‘poultry men’ engaged in breeding, cross-breeding and creating dozens of varieties of superior chicken varieties. Competitions at fairs and poultry shows, in which birds were judged via a very demanding list of criteria, were very serious business and significant prizes for breeding improved varieties were awarded. There were also a number of poultry magazines and journals promoting all this, and in these publications Worley Moat found his artistic niche as a sought-after, well-paid illustrator.

When I first heard of Worley Moat I immediately wondered where his unusual first name came from. A little research provided the answer. The NY Daily Tribune of October 1857 contained a tiny legal notice. Under the headline, “Nathan Worley, Cooking Apparatus, Plumbing and House-Heating” is found the statement, “The partnership heretofore existing between Nathan Worley and Charles Moat has been this day dissolved by mutual agreement, Nathan Worley having purchased the interest of Charles Moat, who retires from the business.” What Charles Moat did between leaving Worley & Moat in 1857 and appearing in Amsterdam circa 1867 doesn’t matter: Worley’s first name was obviously derived from his father’s former partner’s last name, probably given as a sign of affection and appreciation of Nathan Worley.

On January 28 1919, the Amsterdam Recorder published an old photograph taken in 1874. Among other early buildings shown is Moat’s Washington Street Brewery. In the foreground is a large brewery delivery wagon showing several men including Worley Moat. On June 17th 1939, it published a photograph taken in 1887 that also includes Worley, showing members of the J.D. Serviss Steamer and Hose Company, which frequently placed first against other hose companies around the state in running competitions. These were all proud, athletic young men in their absolute prime, stripped down to the bare essentials of what was then acceptable male clothing, white tights with black trunks, deadly serious about the business of “running out line and connecting nozzles” with their hose truck faster than their challengers.

Earlier on September 10 1884, the Amsterdam Daily Democrat headlined, “Victorious Once More”, declaring, “When the 6:35 train on the Central shot into the station last night, Worley Moat stood on top of the first car waving a small banner like a crazy man. In five minutes, more than 200 persons had swarmed off the train and up Main Street escorted by the Thirteenth Brigade Band to the Service Company’s house. Service Hose Company has returned victorious from a running contest for the third time within as many weeks.”

Other notices point to Worley Moat’s athletic abilities. On March 28 1930 Hugh Donlon in his Recorder column recalled, “It was only by a slender margin that Lincoln Eldredge, foreman of our composing room, lost a foot contest 45 years ago to Worley Moat, thereby depriving himself of glory and the newspaper editor who backed him of his ten dollars.” Another reference refers to Moat as “among the best oarsmen on the Mohawk River.” Yet a third notes that during July 1905, Moat and a companion, Peter Doran, lost a bet and had to walk from Fonda back to Amsterdam. He was also, of course, a member of the Amsterdam Wheelmen’s Club. Who during the 1890’s wasn’t?

Returning to our chicken saga, the earliest newspaper reference to Worley Moat appears on September 9th 1883 when he was 26 years old: he is listed as receiving First and Second Prize for his ‘Dominique’ variety leghorns at the New York State Fair.

But what connects local artist Moat with the recently-rediscovered murals painted on the walls of downtown Amsterdam’s AIDA building’s top floor? As usual, it’s just a matter of research. The connection is made with the discovery of an Amsterdam Recorder article printed April 25, 1894. “Artist Worley Moat is giving the interior of the new hall of the Kenneyetto Tribe of Redmen in the Morris Hall block a realistic appearance, now being painted to represent numerous portions of the Mohawk Valley which were so dear to the red men of many years ago,” exactly what the rediscovered murals show.

Worley Moat died prematurely aged only 51 on July 26th 1908. His passing received generous coverage in the Amsterdam Evening Recorder when he accidently fell down the stairs in his home at 131 Market Street, breaking his neck. His daughter Dolly discovered him at the bottom of the stairway in the morning. Reviewing his life, the Recorder reporter concluded, “A lover of poultry, he painted original sketches of first class birds used in leading poultry journals.” Worley, his wife and daughter are buried in Amsterdam’s Green Hill Cemetery, and no, his grave marker does not have a stone chicken carved on it.

Read Full Post »

To all of the wailing and negative curmudgeons that said converting this plot of land below City Hall into a rose garden to save the retaining walls was a tremendous waste of money, this is what it looked like today.

It isn’t even in full bloom yet… and yet, it is fully magnificent with blooms.

I do hereby commit myself to making as many similar, small, significant changes to this City as I may during my time here. Peace out.

Double click on any image to enlarge.

IMG_4344

IMG_4343

IMG_4342

IMG_4341

IMG_4340

IMG_4339

IMG_4338

IMG_4333

IMG_4332

IMG_4331

IMG_4330

IMG_4329

IMG_4328

IMG_4327

IMG_4326

IMG_4325

IMG_4324

IMG_4323

IMG_4322

Read Full Post »

A Prayer among Friends

Among other wonders of our lives, we are alive
with one another, we walk here
in the light of this unlikely world
that isn’t ours for long.
May we spend generously
the time we are given.
May we enact our responsibilities
as thoroughly as we enjoy
our pleasures. May we see with clarity,
may we seek a vision
that serves all beings, may we honor
the mystery surpassing our sight,
and may we hold in our hands
the gift of good work
and bear it forth whole, as we
were borne forth by a power we praise
to this one Earth, this homeland of all we love.

– John Daniel, from Of Earth. © Lost Horse Press, 2012.

Read Full Post »

before and after

New mural at Vet’s Field. 🙂

Read Full Post »

More to do, but here’s today’s latest update to the mural.

Read Full Post »

The Board of Trustees of Amsterdam Creative Connections is pleased to announce that the cultural arts center initiative has made marked progress in recent weeks with formal adoption of articles of incorporation, application process underway for non-profit status and scheduling of the center’s initial series of special events including the LINK Art Show/Sale on August 18th from 6-10PM at Riverlink Park, Amsterdam.

The initial advisory committee had been charged with steering the formation of a cultural arts center and investigated the option of a city-run operation. With budgetary constraints realized, the advisory board offered the solution of incorporating as a private foundation by which to support the operations of a center in conjunction with the municipality so as to enable private fundraising, grant writing and membership campaigns.

The community’s efforts are also much lauded in the participation of the center’s naming contest. While “Creative Canvass” had been the initial selection, it became apparent that the name might have caused a trademark conflict with another agency. As such, the Board, in an attempt to respect the community’s initial suggestions amended the name for corporate filing to Amsterdam Creative Connections, which also pays deference to the centers vision “to inspire creative connection and spark community arts expression in a collaborative environment for the enrichment and unification of the community at large.”

Creative Connections will utilize space in partnership with the City of Amsterdam at 303- 305 East Main Street, providing compensation for utilities once operations have commenced. As the initiative maintains self-sufficiency, possibilities of location may warrant purchase of present space or even securing a larger venue based on success of operations.

The board of trustees represents a dynamic grouping of the community with a myriad of personal and professional attributes, whose sole purpose is to promote the vision and mission of Creative Connections in a positive and engaging atmosphere. Members include Thom Georgia, Julia Caro, Janet Tanguay, Gail Talmadge, Patrice Vivirito, Jessica Murray and Mandi Bornt.

Board President Thom Georgia is the former Director of the NYS Library Technology Opportunity Program at the Amsterdam Library.

Board Vice President Julia Caro presently serves as the Community Development Initiative Director for Centro Civico.

Janet Tanguay is a mixed media artist and Owner/Chief Creativity Coach at Art n Soul, Inc representing over 100 artists and works as Entrepreneurship Manager at the Albany-Colonie Regional Chamber of Commerce.

Jessica Murray is a mixed-media artist, painting instructor, serves as President/Co-founder of the Mohawk Valley Creative Alliance and works professionally as a legal assistant in a local law firm.

Patrice Vivirito brings with her 20 years of advertising and marketing experience and is a former Creative Director and VP of Copywriting in NYC before moving to Amsterdam where she is now a freelance copywriter.

Gail Talmadge is an Artist/Muralist who has owned and operated an antique and design business and is also a licensed realtor specializing in home staging and interior design.

Mandi Bornt joins the board from the corporate business sector where she currently serves as the Outbound Group Leader for Target Corporation.

Mayor Ann M. Thane serves as an ex-officio participant to the Board.

For more information, contact: contact@creativeconnectionsarts.org
This press release was written by Thom Georgia.

Read Full Post »

Older Posts »