The Cary Institute of Ecosystem Studies in collaboration with the Catskill Science Collaborative, presented “Snakes in the Catskills: A Primer,” the latest in its lecture series, on June 5. Presenter John Vanek, is a zoologist at the New York Natural Heritage Program in Syracuse.
There are thirteen kinds of snakes in the Catskills. Only two are venomous. Vanek defined the Catskills area as including the counties of Greene, Delaware, Ulster, Sullivan, and Dutchess.
John Vanek said, “Snakes are just amazing creatures. They are very misunderstood.” He added, “The more we understand about them, the more we can explain to our friends, you don’t have to kill them every time you see them.” He said humans have an “ingrained fear of snakes,” which he tries to help with education about snakes, starting with children.
He went on to say about snakes, “They can think. They have personalities that you can measure. They form kinships with other snakes and some snakes are good mothers.”
Of the thirteen kinds of snakes, the most common are Garter snakes. He said the females are bigger than the males as with many snakes who give birth to live young. They eat worms, small amphibians, and mammals.
Garter snakes have two yellow stripes and come in a variety of colors.
They can grow to two to three feet long and live in meadows, wetlands, and woods.
The Northern Water Snake can grow to three to four feet and live in streams and rivers. They eat fish and frogs. They are more common in the Hudson River Valley. Vanek said water snakes “have a temper,” and will nip you touch them. They are not venomous.
The Black Rat Snake grows to five to six feet long and lives on a diet of small mammals and birds. They love to climb trees and live on cliffs and ledges at the eastern edge of the Catskills. Met on a trail, they stand their ground and may rear up and hiss.
The Eastern Milk Snake hunts mice, small mammals, and other snakes.
They were mistakenly believed to drink milk from cows. They are in meadows and farms and are nocturnal.
The Northern Ring-Necked Snake has a ring on its neck and a bright yellow belly. It grows to about ten to twelve inches. They eat salamanders and baby snakes. They live in moist, rocky areas.
The Northern Brown Snake can grow to twelve inches. “They are known as “the gardener’s friend” said Vanek because they eat slugs, snails, and worms. There has been a decline in their numbers for unknown reasons.
The Black Racer is a shiny black snake that eats other snakes. Its numbers are declining in the Catskills. It grows to three to five feet.
John Vanek, is a zoologist at the New York Natural Heritage Program.John Vanek
Another garden helper is the Northern Red Bellied Snake. It is a small snake ten to twelve inches long. It eats slugs and snails. Its habitat is woods and meadows. To escape predators, it “flips over to show its red belly,” hopefully scaring them, and zips away.
The Eastern Ribbon Snake lives on the edges of wetlands. It can grow to be two to three feet and about as “thick as string cheese.” It eats salamanders and frogs.
The Smooth Green snake lives in meadows and bogs. It eats caterpillars, spiders, and other insects. It is about ten to twelve inches in length. Its numbers have declined due to insecticides and habitat loss.
The Eastern Hog Nosed Snake burrows in the ground and favors toads for its meals. There are a wide variety of colors. It can grow to three to fourfeet. It can puff up its neck in a “bluff display” which makes it look like a cobra which causes people to kill it out of fear. There are no cobras in the United States.
The Copperhead is one of two venomous snakes in the Catskills and can grow to two to three feet long and can be as thick as a golf ball. They are uncommon but can be localized. They camouflage well in leaves or on trees and are hard to spot. They eat frogs, small mammals, and cicadas. They like rocky outcrops and forests.
The Timber Rattlesnake can grow to four to five feet and is as thick as a baseball. They like rocky outcrops and forests. They eat mice, shrews, chipmunks, and other small mammals.
Rattlesnakes will sit along a scent trail, often a log, with their head up, waiting up to three weeks for a small mammal. Once they inject venom, they wait for the animals to die, follow its scent trail, and eat it, “with no fuss,” said Vanek.
“Fangs are like hypodermic needles and super fragile,” said Vanek. If fangs are broken, they won’t be able to hunt. “Rattlesnakes don’t want to bite us. Biting is a last resort.”
Vanek then mentioned safety measures if you are out walking in the woods.
“Leave snakes alone.” He emphasized. “Don’t pick up a snake.”
Do not step over logs because a rattlesnake could be waiting on the other side, head up, for its prey. Instead step up on a log or rock and look over before putting your foot down.
Stay on trails because there is less risk of meeting a snake. Wear long pants and boots and carry a cell phone with emergency numbers.
If bitten by a snake, the only first aid he recommends is “to get to a hospital.” Take a picture of the snake if you can. “The treatment for any snake in New York is the same.”
Timber rattlesnakes have been declining in numbers due to habitat loss and fragmentation caused by building roads.
If you see a snake, you can be a citizen scientist and photograph the snake. Upload a picture to www.iNaturalist.org or nynhp.org/contribute-data.
Dan Baker, left, and Daniel Latzman at Barrington Hall in Great Barrington.
The partnership behind Barrington Hall began long before the building itself. Both Baker and Latzman grew up on Long Island, spent more than a decade in New York City, and eventually found their way to the Berkshires, drawn by the desire for something different. What they didn’t realize at first was just how closely their lives had already mirrored one another.
They were born in the same hospital, a year apart. Their families had distant connections. They even played on the same soccer team — never meeting, but moving through the same spaces. It wasn’t until they became neighbors in Egremont about five years ago that those parallels came into focus.
“In hindsight, it feels inevitable,” Latzman said. “But it was actually extremely random that we ended up here.”
From the beginning, Barrington Hall was meant to be a place people return to, not for any one event, but for the experience of being there. On any given week, the space might host a jazz performance, a dance party, a songwriter circle or a children’s event. Some nights bring in touring acts. Others highlight local creatives. The variety is intentional and so is the atmosphere.
“It’s about people,” Baker said. “It’s about being present.”
Inside Barrington Hall.Provided
Baker and Latzman are keenly aware of the world outside with its constant barrage of information, political conflicts, a culture that pulls people deeper into their screens. Barrington Hall offers a way out of that noise.
“A little bit of a bubble,” Latzman said. “A place to step away from everything else.”
During a recent event, they noticed something telling: a full room of people dancing, talking, engaged — and almost no one on their phone.
“That’s when you know something is working,” Baker said.
Taking over a beloved local space comes with responsibility, one Baker and Latzman have met by honoring the building’s traditions while also expanding them.
“We didn’t feel obligated,” Latzman said. “We felt honored.”
Part of what makes the space distinct is its versatility. Large enough to host more than 250 people, yet intimate enough to feel personal, it fills a gap in the local landscape, serving a wide range of people and bringing different groups together in the same space.
“We want people to feel like, if something’s happening here, it’s worth checking out,” Latzman said.
They are carefully balancing community access with the realities of running a business, with an eye toward the long term.
“We want this to be here in 20 years,” Latzman said.
Inside Barrington Hall.Provided
That vision extends beyond the building itself — future collaborations, expanded programming, a growing role in shaping the cultural life of the Berkshires. But at its core, the mission remains simple: to create a place where people can gather, a place that feels alive.
And perhaps most importantly, to create a place where, if only for a few hours, people can step away from the noise of the world and enjoy being together.
When asked who they’re most excited to host next, their answer was immediate: The Mammals on April 10 and Lee Ross, a one-man party band from Massachusetts, scheduled to perform on May 1.
For more information and tickets, visit
barringtonhallgb.com
Gail Rothschild with her painting “Dead Sea Linen III (73 x 58 inches, 2024, acrylic on canvas.
Her work begins, often, with something small: a scrap of linen from the Judean desert, dating “to a time before the notion of ‘Israel’ or ‘Palestine;’” a fragment so diminished it barely registers as an object; or a rare indigo-dyed child’s head cloth from Tutankhamen’s tomb.
“I call them portraits of ancient linen,” she said.
Rothschild grew up in Greenwich and studied drawing and painting at Yale University. “That was kind of my first love,” she said. But she quickly veered toward something more collective, working with Peter Schumann at the Bread and Puppet Theater, building papier-mâché puppets and participating in a kind of performance-based activism that blurred art and politics.
“After Yale, I got out of school and thought‘Wait a second. I don’t want to paint anymore. I need to work with people in communities and make things.’”
She moved to Brooklyn and began working in public schools, developing projects rooted in collaboration and local history. The projects were ambitious, research-driven, and often confrontational. At the University of Massachusetts, she recalled asking students: “Did you know that Amherst was named for Jeffrey Amherst, who was responsible for giving blankets infected with smallpox to Native Americans? Why don’t we look into that?’”
There were sculptures, letters to watchdog groups, installations. She worked on four such projects a year, she said, until the pace became unsustainable. “At some point I just said, ‘I’m exhausted. I’m going back to the studio.’”
What brought her back was a book, “Prehistoric Textiles ” by Elizabeth Wayland Barber. Inside, she encountered an image of a 7,000-year-old textile, unraveling.
“It said to me, ‘this could be a great big abstract painting’,” she said. “What does it mean that this textile, this thing that used to be a Cartesian grid and over time has gone back to nature?”
That question became a kind of axis for her work. “There is this cusp between nature and culture,” she said. Early on, she avoided textiles with imagery, drawn instead to the raw language of fiber itself. But eventually, even that boundary softened. A project with the Godwin-Ternbach Museum introduced her to Egyptian textiles — Christian, pagan, Greek, Roman influences colliding in woven form.
Gail Rothschild’s “Esquina Decorada” (52 x 52 inches, 2022, acrylic on canvas)Gail Rothschild
What followed was a deepening relationship with museums and, crucially, with conservators. Institutions like The Metropolitan Museum of Art and collections in Berlin and Paris began sending her images of textile fragments, sometimes pieces she has still never seen in person.
“It’s almost easier for me to transform it when I haven’t seen it,” she said.
Her process is both precise and intuitive. She grids the canvas and the source image, drawing freehand to “honor what the object is.” For a time, she works closely from the photograph. Then something shifts. “At some point I’ll say, ‘It’s a painting. It’s got to talk to itself,’ and then I stop looking at the photograph.”
What emerges is layered, luminous and muscular. “Sometimes people say, ‘Do you miss making sculpture?’ and I say, ‘I never stopped.’”
You feel that in the surfaces: the tension of threads pulling apart, the sense that something is both forming and dissolving at once. Even the backgrounds — often ambiguous, atmospheric — are not neutral. “It’s really more about feeling the space around the object,” she said, especially as she considers how ancient fragments are mounted on modern fabrics. “I get to invent an entirely other language.”
Some of her most arresting work is on the monumental textiles of The Met Cloisters, where medieval tapestries, some towering more than a dozen feet, are slowly, painstakingly conserved. It’s in the conservation labs that Rothschild has observed the physical reality of these works: their own weight pulling them apart, threads breaking under centuries of strain. Conservators insert new threads to stabilize them and Rothschild documents this process. “There’s a kind of poignancy to their work,” Rothschild said, “because as hard as we work to conserve the objects of our past, in the greater cosmic scheme of time, it’s only temporary. There’s something beautiful about that.”
Time operates on multiple levels in Rothschild’s work. There is the time of the object —thousands of years, in some cases — and the time of the painting, which unfolds over months. “Once I start working on something, I can’t stop,” she said. “But then it’ll rest for a while and I may change it, add layers.”
And then there is the time of attention itself, the way looking can tip into obsession, into pattern-seeking that doesn’t quite turn off. Rothschild is aware of that edge.
“I have to make myself stop or I just see patterns everywhere and I can’t stop, really,” she laughed. “That’s why I’ve built in other things I need to do in my life like take the dogs for a hike or, you know, volunteer at the Sharon Land Trust… otherwise I go a little nuts. And it wouldn’t be good painting either.”
A painting session, for her, has its own its own arc. “There’s kind of a trajectory for every work session. I might be repeating something and suddenly it looks linear. The language I started painting with may change by the end and I think, ‘Oh God, I’m gonna have to go back and repaint that.’”
But then, she said, there is a pause.
“I kind of step back and say, ‘No, this painting can hold both. That’s part of its history. There’s the history of the object but then there’s the history of the painting.’”
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