Research and development

The catch of the day for the Tangled column of the week.
Patrick L. Sullivan

The catch of the day for the Tangled column of the week.
Fishing trips are rarely straightforward propositions. Over 52 years of flicking the baited hook, I have learned not to make plans with rigid schedules, because something always goes awry.
Last week I traveled deep into the wilds of Greene County, N.Y., for some research and development with my fishing guru Gary.
This meant remembering where his house is.
In that part of the world, there is a Route 23, a Route 23A, and a Route 23C.
I have often wondered why the geniuses that assign numbers to roads couldn’t just call them Route 23, Route 24, and Route 25.
Maybe a sequential clump of numbers is too easily confused. How about Routes 23, 47 and 59?
Luckily Gary’s neighbor has hung a gigantic American flag a couple doors down.
Whoops, there’s the flag, turn around.
R&D project A was a town reservoir. I’m not going to name the town because everything about this adventure was highly irregular.
Acting on intelligence gleaned from unusually reliable sources, we drove past a series of increasingly unpromising signs.
First we were warned to keep out. Then it was no hunting, fishing, trapping or trespassing for any reason. Then the signs returned to the general “keep out” theme.
We finally got to a gate. It was open. There were two men talking about something.
Gary went over to them. He conversed with one. He returned.
“We’re good,” he said. He had been talking to the water supply boss, who said it was fine if we parked outside the gate, out of the way, and walked up.
“It’s only about a quarter mile,” said Gary.
Of course it was mostly uphill, and not a gentle grade, either.
At the midway point, we heard yelping and hollering from the deep woods.
Two men emerged. They did not look outdoorsy. They looked out of shape and frustrated. (I am, after all, a highly trained observer.)
They had lost two chihuahuas. The dogs had been in the woods all night. The plan seemed to be to stumble around the woods in haphazard fashion yelling variations on “Here doggy!”
There didn’t seem to be anything we could do so we soldiered on, eventually reaching a large pond of sorts which was the reservoir that supposedly held big rainbow trout.
We tried, but it was windy and squishy and I was wearing a pair of boat shoes, handy enough in the right context but next to useless here.
I caught two bluegills. Gary caught a shiner.
On the way back the rescue team had located one dog. The other one had gone silent. I suggested opening a can of the ripest dog food available, on the theory the rich scent might overcome the dog’s terror.
The R&D continued at Lake Colgate, which is really more of a pond, created by damming up the East Kill. There is another impoundment about a mile upstream, and in between is a nice-looking bit of stream that should contain brook trout.
There is another impoundment about a mile upstream, and in between is a nice-looking bit of stream that should contain brook trout.
On this day it contained shiners and nothing else.
We tracked it down to where it merges into the lake, and I caught another bluegill which was sitting in about three inches of water making faces at me.
I showed him.

The good thing about riding around with Gary is his catalog of amusing anecdotes and vivid character sketches. Also cigar smoking is allowed.
This time I learned about Cowboy George. A Brooklynite, George found himself in New Mexico, where he developed a taste for garish, stage cowboy attire.
Upon his return to Brooklyn, he developed the theme, with a twist.
George was also a cross-dresser. And a cocaine dealer, with a sideline in illegal guns.
Gary once asked him why he liked dressing like Dale Evans.
“When that buckskin hits my thighs, the years just melt away,” George replied.
Back in Phoenicia, I convened with my nomadic attorney, Thos., who was ensconced at the Woodland Valley Campground nearby.
I’m not sure how we got on the subject, but he explained his “layered defense” for personal protection that does not involve a firearm. His travels take him all over the place, and carrying a gun just isn’t practical for legal reasons.
The first item is pepper spray.
The second is a gas mask. “One of those World War One things, I want it to be terrifying.”
And the third is a spear.
He explained he had returned a custom made spear to the Japanese maker. It wasn’t pointy enough.
“I’d do more damage hitting someone with the handle.”
Thos. further explained that sometimes he finds himself bivouacking in less than ideal circumstances.
Thos. saw “The Texas Chainsaw Massacre” at a tender age, and it left a lasting impression.
One Florida campground reminded him of the film enough that after talking with his new neighbors for five minutes, he got back in the car and left, without unhitching the camper or even stopping at the office to get his 15 bucks back.
Some fishing did get done on this trip.
Woodland Valley Creek is a major Esopus tributary and for 60 years or so, the Woodland Trout Fund (which sports the easily misconstrued acronym WTF), has planted brown and brook trout on Memorial Day weekend with a smaller stocking in July.
There is excellent access to public water downstream, and the WTF has a long-standing arrangement with the homeowners in the valley that trespassing for the purpose of fly-fishing is allowed.
The years have not been kind to the stream. Hurricanes and floods have reconfigured the streambed several times and left exposed clay banks. Forests of knotweed have eliminated cherished pools and runs.
And the new generation of homeowners are not as accommodating as their predecessors.
Nonetheless, it is where I learned to fish, and I always chip in. I try to catch my first Catskill trout of any given year in Woodland, with a bamboo rod and a dry fly.
That didn’t happen this year. I was unfaithful and hit the Beaverkill, Schoharie and a couple of others first.
But I did chuck a Chubby Chernobyl into the pool where my late father caught his last trout, and a feisty brown obliged by smacking it hard.
I used a Phillipson bamboo rod, seven feet for five weight, which my father gave me as a college graduation present.
Other kids got fancy cars, or a seat on the board, or a months-long trip to Europe.
But I’m still using the rod.
So who got the better deal?
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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