Land trusts gain ground through collaboration

Julia Rogers of the Housatonic Valley Association recently gave a presentation to the Warren Land Trust on strategic land protection priorities.
Photo by Connie Manes

Editor’s note: This is the first of a two-part series focusing on how land trusts in Northwest Connecticut are working in concert to tackle conservation challenges.
The nearly two dozen land trusts in rural Northwest Connecticut may be small, but they are mighty when it comes to collaborative conservation efforts.
A first-of-its-kind research project examining the pace and scale of conservation in the state’s Northwest Corner illustrates the extent of this collaboration.
Working with 19 land trusts, the Kent-based Northwest Connecticut Land Conservancy (NCLC) has collected and documented data showing the total amount of land that has been conserved each year in the region over the past decade.
The publication’s findings, said Catherine Rawson, executive director of NCLC, will serve as a roadmap to future conservation efforts.
“It’s not every day that we release a publication that demonstrates that work. It’s a fantastic vantage point from which to look out into the future and gauge how much land we expect to protect by 2023.”
Northwest Connecticut, said Rawson, is the first and only region in the state to track and prepare data on the pace of its collective conservation efforts.
“We are grateful to work in this community of strong conservation partners. It is so exciting to share the collective summaries of the region’s land trusts and what they are all able to accomplish together,” said the NCLC executive director.
Tim Abbott, Housatonic Valley Association’s (HVA) regional conservation and Greenprint Collaborative director, said he views the new NCLC report, titled “The Pace and Scale of Conservation in Northwest Connecticut” as a much needed “call to action.’
“It’s sobering and inspiring,” said Abbott. “It supports data that is coming in from beyond our region. And that is that we need to be doing more and on a wider scale” to meet the pressures of the changing climate and adverse human impact on the environment.
“If we do it piecemeal,” he said,” that won’t be up to the scale of the threat. You need partners.”
Joining forces
Collaboration among state and Litchfield County land trusts, said those in the field, has gained momentum in the past decade.
In increasing numbers, land trusts have come to realize that partnering with other agencies or larger entities can allow for greater transaction expertise, increased funding opportunities, enhanced credibility, more organizational capacity, shared resources including staff and technology, cooperation on easement stewardships, positive publicity, and increased land protection overall.
“The addition of professional help for land trusts has been huge,” said Bart Jones, president of the 35-year-old Cornwall Conservation Trust, Inc. (CCT), who credited collaboration as a game-changer and said professional help “makes fundraising for conservation work critical.”
He noted that the trend away from all-volunteer land trusts started in earnest about 15 years ago through shared resources and resulted in a heightened level of professionalism and credibility.
“We couldn’t have acquired as much land as we have without it,” said Jones of his organization.
Accreditation, too, has upped the game for land trusts.
“The other thing that has shifted is the emphasis on land trust standards and practices,” said HVA’s Abbott. More than half of the state’s 30 or so accredited land trusts are in the Northwest Corner and belong to the Litchfield Hills Greenprint Collaborative.
“Northwest Connecticut land trusts have taken accreditation very seriously. It gives us a common language and helps us feel comfortable that we are all talking about the same things,” added Connie Manes, Greenprint director and executive director of the Kent Land Trust (KLT).
Regional partnerships
As land conservation becomes more urgent, complex and expensive, land trusts are being creative in expanding their leverage and capabilities by forging regional conservation partnerships with entities like the Cornwall-based HVA, Northwest Connecticut Land Conservancy and others.
For instance, HVA’s Follow the Forest initiative unites land trusts and communities against the persistent threat of forest fragmentation. Important woodland species need room to roam, and unbroken stretches of forested land act as a “wildlife highway,” providing safe habitat and food.
“None of us lives in isolation, which is quite clear when you look at the extensive wildlife corridor of which we are smack in the middle,” noted KLT’s Manes.
“Animals and birds don’t stop at town lines and people don’t either,” said Manes, who owns a private equity consulting firm and chairs the Kent Conservation Commission.
Manes, like many other land trust members interviewed, wear several “hats” in their capacity as conservationists often serving on town land-use boards in addition to volunteering or directing at various nonprofit groups, or as private consultants.
Community outreach targets students
Maria Grace, executive director of the 300-member Sharon Land Trust (SLT), which boasts nine public preserves with 24 miles of hiking trails and includes Kent and Salisbury in its area of operation, stressed the importance of community outreach programs aimed at adults and children.
SLT is a partner of Follow the Forest, a regional initiative that seeks to protect and connect forests and promote the safe passage of wildlife throughout the Northeast, from the Hudson Valley to Canada.
Grace spoke enthusiastically about recent field trips and outdoor adventures held jointly with the Salisbury Association Land Trust (SALT) and HVA’s Paul Singer.
“We educate people about our forests and how they need to better connect them,” said the SLT executive director. Field trips with students include training on how to access connectors and collect data.
Strength in numbers
Land trusts are finding creative ways to support each other.
For example, Kent and Warren conservationists recently joined forces with the purchases of their adjoining preserves, Kent Land Trust’s East Kent Hamlet Nature Preserve and Warren Land Trust’s soon-to-be-open Cunningham Road Preserve.
SLT’s Grace pointed to the 52-acre Tory Hill property, near the Lakeville/Sharon border, as a prime example of successful collaboration with SALT.
Tory Hill was a joint project involving several landowners, the state of Connecticut, and others to preserve a prime scenic vista obscured by rampant spread of invasive plant species.
Working in tandem, the two land trusts collaborated, raised funds and closed on the open space, which is managed by the Salisbury Association.
Double protection on easements
Holding conservation easements on each other’s preserves is also a way land trusts join forces.
“Sometimes it’s desirable to have double protection on a property, where a land trust owns the property, and another land trust holds the conservation easement on it, so both are monitoring the property and making sure it stays preserved,” explained Shelley Harms, a private land consultant since 2014 who serves as executive director of both the Salisbury and Cornwall land trusts.
Harms also volunteers as co-president of the Norfolk Land Trust (NLT) and has assisted several other groups with acquisition grants and accreditation projects.
Speaking of collaboration, she said, “Norfolk Land Trust owns a property that Winchester Land Trust holds the easement on, and Norfolk Land Trust holds an easement on property owned by Colebrook Land Conservancy, also on property owned by Aton Forest, also on property owned by Great Mountain Forest.”
A regional organization like NCLC, Harms pointed out, also has capacity to work in a town where there isn’t a local land trust. She also credited NCLC for hosting Green Drinks, where land trust officials meet informally to discuss various topics, and by hosting the small area land trust meetings.
Shared mapping, monitoring systems
Several land trust leaders also pointed to NCLC’s technology assistance in the form of its shared LENS aerial photo monitoring system.
“Both HVA Greenprint and the Northwest Connecticut Land Conservancy have been helpful to the smaller land trusts,” said Harms. “HVA has a terrific map person, Stacy Deming, who does our conservation maps.”
SLT’s Grace praised the value of a shared satellite monitoring system. “We have about 50 parcels, so it allows us greater flexibility,” particularly when it comes to annual inspections required under the accreditation process, she noted.
“We now have 11 land trusts who use our purchased satellite software to inspect their properties,” reported NCLC’s Rawson.
‘A tightly-knit, collegial group’
The sharing of staff is vital to success, said Manes. Land trusts share not only administrative staff, but also summer interns, bookkeepers, and AmeriCorps teams of service youth.
“We share information about what works in our organizations, examples of policies, procedures and grant applications. We co-sponsor trainings and public educational programs, and we conduct public outreach.”
At one point, she noted, HVA was sharing an administrative person with three different land trusts.
“It may seem byzantine when one first encounters the many organizations working in land conservation in New England, but the people, the countless impassioned volunteers and professionals who work on conservation in our region and throughout Connecticut are a tightly-knit, collegial group.
“We have a head start on collaborative efforts because the trust, relationships and infrastructure for collaboration are already here, built over decades to a place of great strength and opportunity.”
Coming up: Northwest Corner land trusts bear the burden of region’s conservation future.
Cornwall Conservation Trust
(860) 248-3255
cornwallconservationtrust.org
Housatonic Valley Association
Cornwall Bridge
(860) 672-6678
hvatoday.org
Kent Land Trust
(860) 488-9185
ketlandtrust.org
Norfolk Land Trust
(860) 307-8380
norfolklandtrust.org
Northwest Connecticut Land Conservancy
Kent – (860) 927-1927
ctland.org
Salisbury Association Land Trust
(860) 435-0566
www.salisburyassociation.org/land-trust/
Sharon Land Trust
(860) 364-5137
www.sharonlandtrust.org

Paul Singer of the Housatonic Valley Association and Diane Fitzmeyer Murphy of the Salisbury Association guided children from Salisbury Central School on a field trip earlier this year focused on habitat connectivity and wildlife corridors. Photo Submitted
KENT — Kent School's girls hockey team defeated Millbrook School 4-3 in a Valentine's Day showdown on the ice Saturday, Feb. 14.
There was no love lost between these Founders League schools situated on opposite sides of the Connecticut/New York border. Both teams had similar win-loss records, and both were eager to add to the "win" column.
Fierce action from both teams commenced right from the opening face-off, and it looked to be an equal battle. Dakota Boyle and Ainsley Moffitt scored quickly for Kent giving them a 2-0 lead after only six minutes.

The second period started, again with fast but equal aggression from both teams. The Millbrook and Kent goalies were sharp, turning away chance after chance for the bulk of the period.
Millbrook’s Brooke Ness found the net near the end of the second period, as did Lily Kennedy and the game was tied 2-2.

Excitement grew throughout the contest and the final period started with high hopes from both teams and fans. The two sides traded goals, only adding to the drama.
The deciding moment came when Kent's Abby Roberson scored the game-winning goal, securing a tough but deserved 4-3 victory for Kent.
Kent's record advanced to 7-12-1 and Millbrook moved to 6-10-3.

There are artists who make objects, and then there are artists who alter the way we move through the world. Tim Prentice belonged to the latter. The kinetic sculptor, architect and longtime Cornwall resident died in November 2025 at age 95, leaving a legacy of what he called “toys for the wind,” work that did not simply occupy space but activated it, inviting viewers to slow down, look longer and feel more deeply the invisible forces that shape daily life.
Prentice received a master’s degree from the Yale School of Art and Architecture in 1960, where he studied with German-born American artist and educator Josef Albers, taking his course once as an undergraduate and again in graduate school.In “The Air Made Visible,” a 2024 short film by the Vision & Art Project produced by the American Macular Degeneration Fund, a nonprofit organization that documents artists working with vision loss, Prentice spoke of his admiration for Albers’ discipline and his ability to strip away everything but color. He recalled thinking, “If I could do that same thing with motion, I’d have a chance of finding a new form.”
What Prentice found through decades of exploration and play was a kind of formlessness in which what remains is not absence, but motion. To stand before one of his sculptures is to witness a quiet choreography where metal breathes, shadows shift and time softens.
After Yale, Prentice co-founded the architectural firm Prentice & Chan in 1965. The firm designed affordable housing projects in New York City, work largely led by partner Lo-Yi Chan. Prentice also designed custom single-family homes and continued to develop sculptural ideas alongside his architectural practice. After leaving the firm in 1975 and eventually relocating full time to Cornwall, he undertook a range of local architectural projects while increasingly devoting himself to sculpture.
Prentice began producing larger-scale sculptural commissions in the 1970s, during a period of national expansion in public art funding tied to new building projects. His first major commission came in 1976 from AT&T, helping launch a career that would bring his kinetic installations to corporate, institutional and public spaces across the United States and abroad. While his work follows in the lineage of Alexander Calder and George Rickey, critic Grace Glueck observed that its “gently assertive character is very much his own.”
In Cornwall, Prentice established a studio devoted to designing and fabricating kinetic sculpture, where he continued working for decades. He had many assistants over the years including local artists David Bean, Ellen Moon and Richard Griggs. David Colbert worked with Prentice for many years, assisting with fabrication, installation and project development and in 2012, Prentice established Prentice Colbert Inc., helping ensure that fabrication and development of large-scale commissions could continue beyond his lifetime.
Colbert said Prentice could be imperious, but came to understand that he valued thoughtful critique over agreement. “That evolved into a free and easy give-and-take, along with some fierce arguments,” he said. “Our relationship was always developing, right through to the end.”
In the mid-1990s, Prentice was diagnosed with macular degeneration, a condition that gradually narrowed his field of vision. Rather than turning away from the visual world, he leaned further into it, focusing on movement, light and peripheral perception — on what could be felt as much as seen. The Vision & Art Project film documents this period of his life and the ways he adapted his creative process.
Even in his final years, Prentice continued experimenting. In the summer of 2025, he created a series of drawings titled “Memory Trees,” produced from recollection as his eyesight declined. The series sold out at the Rose Algrant show that August, offering a poignant example of an artist adapting and creating throughout their lifetime.
“He was interested in whimsy,” said Nora Prentice of her dad. “But he also worked seven days a week,” she said. “He’d come in for dinner and then go right back out.” His studio was known for its atmosphere of curiosity and play, with music often drifting through the workspace as sculptures moved overhead in careful, measured rhythms. His work reminds viewers how profoundly small movements shape perception, and how change itself may be the only constant.
In his poem “Among School Children,” William Butler Yeats asks, “How can we know the dancer from the dance?” Prentice offered his own answer. “I’m not making the dance,” he said. “The wind is making the dance.”
As Nora reflected, “I think that’s how he would want to be remembered: for making the wind visible.”

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Laurie Fendrich and Peter Plagens at home in front of one of Plagens’s paintings.
He taught me jazz, I taught him Mozart.
Laurie Fendrich
For more than four decades, artists Laurie Fendrich and Peter Plagens have built a life together sustained by a shared devotion to painting, writing, teaching, looking, and endless talking about art, about culture, about the world. Their story began in a critique room.
“I came to the Art Institute of Chicago as a visiting instructor doing critiques when Laurie was an MFA candidate,” Plagens recalled.
“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.”

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.
Hyalite Builders is leading the structural rehabilitation of The Stissing Center in Pine Plains.
For homeowners overwhelmed by juggling designers, architects and contractors, a new Salisbury-based collaboration is offering a one-team approach from concept to construction. Casa Marcelo Interior Design Studio, based in Salisbury, has joined forces with Charles Matz Architect, led by Charles Matz, AIA RIBA, and Hyalite Builders, led by Matt Soleau. The alliance introduces an integrated design-build model that aims to streamline the sometimes-fragmented process of home renovation and new construction.
“The whole thing is based on integrated services,” said Marcelo, founder of Casa Marcelo. “Normally when clients come to us, they are coming to us for design. But there’s also some architecture and construction that needs to happen eventually. So, I thought, why don’t we just partner with people that we know we can work well with together?”
Traditionally, homeowners hire designers, architects and contractors separately, a process that can lead to miscommunication, budget overruns and design revisions once construction begins. The new partnership seeks to address those challenges by creating a unified team that collaborates from the earliest planning stages through project completion.
“We can explore possibilities,” Marcelo said. “Let’s say the client is not sure which direction they want to go. They can nip that in the bud early on — instead of having three separate meetings with three separate people, you’re having one collaborative meeting.”
The partnership also reflects an expanded view of design, moving beyond surface aesthetics to include structural, environmental and performance considerations. Marcelo said her earlier work in New York City shaped that perspective.
“I had a 10-year career in New York City designing townhouses and penthouses, thinking about everything holistically,” she said. “When I got here and started my own business, I felt like I was being pigeonholed into only the decorative part of design. With the weight of an architect on our team now, it has really helped us close those deals with full home renovations, ground up builds and additions.”
The team emphasizes what it describes as high-performance design, incorporating modern building science, energy efficiency and improved air quality alongside aesthetic goals.
“If you’re still living inside 40-year-old technology and building techniques, we haven’t really handed off the best product we could,” said Soleau. “The goal is to not only to reach that level of aesthetic design but to improve the envelope, improve the living environment within a home and bring homes up to elevated standards of high-performance building.”
This integrated approach has proven particularly useful for renovation projects, where modern materials and systems can be thoughtfully incorporated into older structures. The firms also prioritize durability and long-term functionality, often incorporating antiques, vintage elements and high-quality materials designed to support clients’ lifestyles.
“I’m very big on investing in pieces that are going to be quality and last you the test of time,” Marcelo said. “Not just designing for a five- to 10-year run, but really designing for the long haul.”
The collaboration is already underway on several projects, including a major renovation in Sharon that involves rebuilding a 1990s modular home to maximize views while upgrading structural and performance systems. The firms are also exploring advanced visualization technology that would allow clients to experience projects through virtual reality before construction begins.
“For me, as somebody who wants to take the project all the way from beginning to end and make the process as effortless as possible for my client, it’s easier to do that with collaboration and a team than to do it alone,” Soleau said. “Most clients, especially second-home owners, want a team that can lead the project from concept through completion; aligning design, budget, and construction.”
On Feb. 19, the three firms will officially launch the initiative at an invitation-only event at The Stissing Center in Pine Plains, where Hyalite Builders is leading the structural rehabilitation of the historic building. A limited number of “hard hat tour” reservations will be available by request, providing rare, behind-the-scenes access while work is actively underway. Those interested in attending may contact event organizer Lauren Fritscher of Berkshire Muse at hello@berkshiremuse.com.
Autumn Knight will perform as part of PS21’s “The Dark.”
This February, PS21: Center for Contemporary Performance in Chatham, New York, will transform the depths of midwinter into a radiant week of cutting-edge art, music, dance, theater and performance with its inaugural winter festival, The Dark. Running Feb. 16–22, the ambitious festival features more than 60 international artists and over 80 performances, making it one of the most expansive cultural events in the region.
Curated to explore winter as a season of extremes — community and solitude, fire and ice, darkness and light — The Dark will take place not only at PS21’s sprawling campus in Chatham, but in theaters, restaurants, libraries, saunas and outdoor spaces across Columbia County. Attendees can warm up between performances with complimentary sauna sessions, glide across a seasonal ice-skating rink or gather around nightly bonfires, making the festival as much a social winter experience as an artistic one.
The Dark’s lineup includes several world and U.S. premieres. Highlights include Thomas Feng performing “Night Prayers,” a program of compositions by late Ethiopian composer and Orthodox nun Emahoy Tsegué-Maryam Guèbrou; Phil Kline’s outdoor participatory score “Force of Nature (February);” an audiovisual collaboration between composer David Lang and Academy Award-nominated filmmaker Bill Morrison; an interdisciplinary performance by Lee Ranaldo of Sonic Youth and multimedia artist Leah Singer; and “We Survived the Night: A Coyote Story in Four Parts” by Julian Brave NoiseCat.
For more information about The Dark or to purchase tickets, visit ps21chatham.org/the-dark

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