
Marble Valley Farm in Kent leases land from the Kent Land Trust at below-market rates. The model enabled owner Megan Haney to grow her vegetable operation in an otherwise harsh economic climate for Connecticut farmers.
Sarah Lang
Marble Valley Farm in Kent leases land from the Kent Land Trust at below-market rates. The model enabled owner Megan Haney to grow her vegetable operation in an otherwise harsh economic climate for Connecticut farmers.
In August, the USDA’s 2024 Land Values Summary reported that Connecticut has the third most expensive farm real estate in the country (tied with Massachusetts) at two times the northeast average for dollars per acre.
To Chelsea Gazillo, the senior New England policy manager for American Farmland Trust, these numbers reflect a “farmland access and succession crisis” that has impacted the state for “the last 15 years at least.”
While the value of farm real estate is on the rise across the U.S., up 5% from 2023, the trendline is particularly steep in Connecticut. In Litchfield County alone, the average estimated market value of farm land and buildings rose 28% between 2017 and 2022 according to a study by the USDA National Agricultural Statistics Service (NASS).
“Connecticut is a densely populated state and farmland is in high demand from both farmers and non-farmers,” said Rebecca Eddy, director of communications at the Connecticut Department of Agriculture (DOA), citing the competing pressures of investors and developers.
Farmland values are also reflective of broader trends in the real estate market.
“We’re still seeing ripple effects from the pandemic,” said Gazillo, noting that western Connecticut became an especially desirable region for buyers looking to leave nearby metropolitan areas during lockdowns.
As high demand inflates prices and increases development pressure, Connecticut is losing farmland at a striking rate.
American Farmland Trust ranked Connecticut among the top states in the country for farmland conversion to residential and urban uses; Litchfield County alone experienced a 10.5% loss in total cropland between 2017 and 2022.
Meanwhile, U.S. farmers are getting older. In 2022, there were four times more U.S. farmers over the age of 65 than under 35.
“In the next 20 years or so, we’re going to see a massive amount of land start changing hands,” said Gazillo.
The Working Lands Alliance (WLA), a statewide coalition currently directed by Gazillo, formed in 1999 to preserve Connecticut’s farmland against the threat of transition to development.
In Connecticut, where agriculture contributes a significant $4 billion to the economy each year, maintaining farmland and supporting farmers has been a concern of the state for decades.
DOA’s Farmland Preservation Program was one of the first of its kind when it debuted in 1978. The program places agricultural conservation easements on farmland by purchasing the development rights from farmers, providing a monetary incentive for farmers to preserve their land into perpetuity.
Ella Kennen, coordinator for the New Connecticut Farmer Alliance, noted that while these easements bar development, they don’t necessarily require that “farmland is being actively used as farmland.” Nor do they directly address the challenge of first-time land access for new and BIPOC farmers.
To meet these remaining needs, DOA formed the DEI in Agriculture Working Group in 2021. Based on a report produced by the group last summer, DOA applied for and won $2.5 million through the USDA Land Capital Market Access grant which Eddy says will be employed to “increase land access to historically underserved producers.”
The grant provides hope for future change. But for many small farmers, the state policies currently in place do not go far enough to realize their dreams of farm ownership and tenure.
“It’s been simply out of the question that I could own my own farmland,” said Megan Haney, owner and operator of Marble Valley Farm in Kent. “I know of no farmer who can afford real estate based solely on what they make farming.”
Haney has grown her 14-acre sustainable vegetable operation thanks to a below-market-value lease from the Kent Land Trust. She is one of many Connecticut farmers reliant on land trusts or wealthy sponsors as alternative access models.
For the farmers who could afford to purchase their first plots, recent real estate trends may eclipse their plans to grow.
“I was fortunate to purchase my land before the crazy COVID inflation hit,” said Kelley Babbin, owner and operator of Howling Flats Farm in Canaan. “These prices make it unattainable to purchase additional pasture or hay ground.”
While land access is critical to the future of local farming, the issue does not exist in a vacuum. Gazillo noted that many solutions are compounded by other pressures.
“Litchfield County has a lot of protected land, which is both a good and a bad thing,” she said. “Affordable housing groups are saying that if we continue to put easements on properties, then there’s no land to be developed for affordable housing.”
Meanwhile, for older farmers without easements, selling one’s farmland at full market value may be the only path to retirement. “That [land] is their pension,” said Gazillo.
As the issue of farmland tenure grows more pressing and more complex, new policy initiatives hope to meet multiple needs.
WLA has proposed OPAV (Option to Purchase at Agricultural Value), a policy which would compensate farmland owners for selling only to certain farmers or family members at an “agricultural value” below market value. OPAV policies have already been implemented in Vermont, Massachusetts and New York.
OPAV’s future is yet to be determined in Connecticut. As is the future of Connecticut’s remaining farmland.
To Gazillo, the future that Connecticut can count on is one in which local farmers are vital to the community.
“One thing that we learned from the pandemic is that our national food system is very fragile,” she said. “If there are any disruptions to the supply chain, we are dependent on local producers to survive. And as we see more climate-related disasters and weather-related disasters, it’s just going to become more and more of a necessity.”
SHARON — Angela Derrick Carabine, 74, died May 17, 2025, at Vasser Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino
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