AMENIA — Seeking to build on the legacy of commitment to inter-racial progress that underpins the significant history of the Troutbeck conference center in Amenia, the 2023 Troutbeck Symposium was held over three days, celebrating the year-long work of 14 local schools.
Students in area independent and public schools had set out to explore the many aspects of the history of racial, religious and ethnic divides, the forgotten narrative of the marginalized. This was the second symposium following last year’s event.
Over three days from Sunday, April 30 to Tuesday, May 2, the students’ work was a focal point of the symposium that also presented lectures by renowned educators who explored the well-known, little-known and forgotten narratives of the American experience for Black citizens, Native Americans and other minority populations.
Troutbeck’s early owners, Amy and Joel Spingarn, had engaged with and supported the early history of the NAACP, when their estate had hosted the Amenia Conferences of 1916 and 1933, establishing the enduring legacy of social reform.
“I’m trying to learn this history along with my students,” said Rhonan Mokriski, history teacher at Salisbury School at the opening session on Sunday, April 30, adding that he and his students are engaging with themes of accessibility and sustainability, amplifying the stories of all people who contributed to the building of our country.
“Why do we still have these inequalities,” asked Christina Proenza-Coles of the University of Virginia, speaking at the Sunday opening. “We are trying to retell the narrative of American history to illustrate the best of our ideals.”
Helping to establish context and a definition of place, Proenza-Coles provided an outline of the centuries of the history of the Western Hemisphere and its substantial population of indigenous peoples, nations and tribes. She also covered the influx of the Spaniards and their influence on the Caribbean culture, the migration of Africans to South America and the history of slavery in North America.
Many of the early western cowboys were Black or Hispanic, she noted.
How people over history strive for and achieve their freedom was a focus of the narrative, Proenza-Coles said.
“White people are trapped in a history they don’t comprehend,” she said, suggesting that people reach toward the freedom achieved by knowing more, paying attention to the detail afforded by historical reality.
A feature of the Sunday session was “Cotton,” a documentary created by Sharon Center School students to tell the story of local artist Katro Storm’s guest teaching at their school about cotton as a plant, cotton as a crop, and the relationship between cotton and slavery in the history of the southern states. He also guided the young students in interpreting that history in individual art projects.
“This work is not academic; it’s the work of recovery,” Mokriski told the audience. “Students sought the ignored stories seeking a more open story, a new vision of history,” he added.
The Civil Rights Act of the 1964 was not the end result, Mokriski said, explaining that there was then an obsession with the idea of racial integration, the idea that proximity to white people was the overarching goal. It was not, he said. The goal was equal treatment and the rights afforded by freedom, a struggle that continues to the present day.
“We will be looking to you,” Mokriski told the students. “Take this project experience and reimagine your space and you will see that it shapes the trajectory of our nation.”
Student-produced documentaries were part of the “Coloring our Past” project initiated through The Salisbury School and now extended to all 14 of the participating schools. Topics explored local stories linked to Black and Indigenous narratives where students interacted with local and area historical societies to uncover fragmentary evidence and do the detective work to piece those puzzles together, shaping the stories of courage and commitment.
A highlight of the symposium was the participation of Prof. Hasan Kwame Jeffries of The Ohio State University who offered his thoughts on each of the schools’ presentations.
Jeffries said, “We need to teach the true history of the past. It has to be taught across the curriculum. People need to study the place of activists and their positive effect over time.”
One documentary produced by Housatonic Valley Regional High School students had explored the local connection to the 1958 state action to close schools in Little Rock, Arkansas, rather than to integrate them, leading two Black students to be invited into a Lakeville home and welcomed into HVRHS to continue their high school years and graduate.
On Monday, May 1, students from The Salisbury School presented the story of “someone who was meant to be forgotten.” The story of Rachel Cesar, an Algonquian sachem needed to be told, but it was made difficult by “the elusiveness of the lost detail of the historical narrative.” A sachem was a high-ranking representative, a king, elected by the tribe rather than by inheritance or appointment.
In a departure from the documentary genre, the young students from Cornwall Consolidated School had chosen to create a “Crankie Theater,” telling their story of Cornwall’s Foreign Mission School using a scroll powered by a hand crank. It proved to be a crowd favorite.
Both guest educators offered high praise for the Troutbeck Symposium. Proenza-Coles proclaimed it to be the best symposium she had ever attended in her entire career of attending innumerable symposia, and Prof. Jeffries said that he intended to brief his brother, House Minority Leader Rep. Hakeem Jeffries (D-N.Y.), on the whole Troutbeck Symposium experience.
“It’s an example of what can happen when a community gets behind and supports its teachers,” Jeffries said. “This is a model of possibility,” he added.
Region One Superintendent Lisa Carter spoke on Tuesday, May 2, praising the project.
“This symposium is really important, where all area students can come together as a community,” Carter said.
A selection of projects from the symposium will be on display in Salisbury Association’s Academy Building from May 6 to June 3. Representing the Salisbury Association at the symposium was Executive Assistant Lou Bucceri.
Students and faculty delegations representing 14 area public and independent schools assembled on Monday, May 1, at the 2023 Troutbeck Symposium in Amenia. Photo by Leila Hawken
A featured speaker at the final day of the 2023 Troutbeck Symposium was Michael Morand, director of community engagement, at Yale’s Beinecke Rare Book and Manuscript Library in New Haven, Conn. Photo by Leila Hawken
Laurie Fendrich and Peter Plagens at home in front of one of Plagens’s paintings.
“He was doing critiques with everyone,” Fendrich said of Plagens. “We met at one of those sessions and, well, what can I say. We fell in love instantly.”
Fendrich speaks candidly about the pressures that shaped her early life choices. “We both married the first time at 21, which a good number of women of my generation did without much thought.” Her first husband was a good guy, she says, but “we weren’t suited for each other at all, even though he suited my parents perfectly.” Her decision to get a divorce was seismic. “My mother didn’t speak to me for a year.” Time softened the rupture. “One day she told me, ‘I see now why you left.’”
Fendrich had a rigorous liberal arts education at Mount Holyoke. “I studied painting and drawing, but I also got interested in political philosophy. Plato, Aristotle, Machiavelli — Rousseau was my big guy — Tocqueville, everybody. And I still read them.” Plagens’s path was less formal. “I went to USC at 17,” he said, “and declared English as my major. It was a frat school, and I was in one for the first two years. Then I started doing the cartoons for the Daily Trojan, took a couple art classes, and thought, ‘Wait a minute, I like this.’”
Culturally, they diverged just as sharply. “I came from a fairly puritanical family that didn’t even go to the movies,” Fendrich said. Plagens, by contrast, grew up immersed in pop culture. “My father was an omnivorous reader,” he said, “and a jazz fan, and he shared these passions with me.” In 1966, Plagens walked into Artforum’s LA office and said, “I want to write reviews.” He was paid five dollars per piece. “Gasoline was 23 cents a gallon, so it went a long way.”
Over time, the couple slowly fused their educations. “He taught me jazz, I taught him Mozart,” Fendrich said with a laugh. “I’ve had a movie education from him; he read Jane Austen because of me.”
Plagens and Fendrich at home in front of some of Fendrich’s paintings. Natalia Zukerman
During their early years in LA, Plagens taught at USC, and Fendrich at Art Center College of Design. In 1985, they decided “our kind of abstraction would do better in New York,” as Fendrich put it. “So, we up and moved to Tribeca with $10,000 and a toddler.”
Both artists grounded their artistic careers in teaching and writing. “Teaching, which I loved, gave me the financial stability to be an artist,” Fendrich said, reflecting on her 27 years as a professor at Hofstra. “It meant that being an artist didn’t require I make money from every show. I didn’t start writing until 1999, but though I write for publication frequently, I make hardly any money at it.”
Artistically, they guard each other’s independence. “We have unspoken rules,” Plagens said. “You don’t comment on someone’s work while they’re in the middle of creating it.” Critique comes by invitation only. “He’s not mean, just direct,” said Fendrich. Over time, their aesthetics have subtly converged. “My work has gotten cleaner from looking at his,” she said. “He’s gotten more colorful because of me.”
The two have had several two-person exhibitions. At a recent duo show at the Texas Gallery in Houston “Laurie’s paintings flew off the wall,” Plagens recalled. “Me, well, not so much.”
Plagens’s parallel career in journalism shaped their lives in tangible ways. He worked as art critic at Newsweek from 1989 until 2003 and currently contributes reviews of museum exhibitions to The Wall Street Journal. “Being at Newsweek was one of the luckiest breaks I ever had,” he said. “They paid me to see things I would gladly pay to see.”
Their creative processes mirror their personalities. “I start with a specific idea,” Fendrich said, “and then modify things as I paint.” Plagens laughed. “I start with complete mush, just blurting it out and spending the rest of the time fixing it.”
In 2019, they made what Fendrich calls “a decision of contraction.” They left the TriBeCa loft they had lived in for three decades, sold their Catskills home with its large studio, and moved full-time to a former auto repair shop in Lakeville, now a house where each has a studio, and the ground floor retains the open feel of a loft.
What sustains them in life, art and love, decades in, are endless conversations — and arguments — about art, history, exhibitions, books and movies. That exchange, ongoing and rigorous, may just be the masterpiece of their shared life.
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Exterior of the Linde Center for Music and Learning.
“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.
Interior of the Linde Center for Music and Learning.Hilary Scott, courtesy of the BSO
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.
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