In a time of fear, John Carter revives a network of “neighboring”

John Carter
Photo by Deborah Carter


John Carter
"The human cost of current ICE practices is appallingly high."
—John carter
John Carter, who served as rector of St. John’s Episcopal Church in Salisbury from 1999 until his retirement in 2014, launched the first iteration of the nonprofit Vecinos Seguros 1 (Safe Neighbors) in 2017 by introducing a misa, a Spanish-language worship service, at Trinity Lime Rock Episcopal Church.
In December 2024, amid concerns over a renewed federal crackdown on immigrants, a group of volunteers revived the program as Vecinos Seguros 2 (VS2). According to its 2025 annual report, the initiative “created a network of trusted allies to help those who may be targeted by immigration enforcement agents,” taking a low-key approach that prioritizes in-person connections.
Carter arrived at his calling by a circuitous route. After graduating from Yale, he joined the Peace Corps, then returned to his hometown of Milton, Mass., where he founded and ran the Carter Tree Co. for seven years. After closing the business, he attended Virginia Theological Seminary, earning a Master of Divinity. During that time, he and his wife, Deborah, were involved in the hunger movement. Carter said every venture he undertook was made possible by Deborah, whom he described as his constant companion and indispensable partner in his pursuit of compassion and justice. Still, he questioned himself: “Who am I, and what should I be doing that I’m passionate about?”

In the face of new challenges, volunteers joined the effort to revive the original program, VS1. The Rev. Heidi Truax, recently retired rector of Trinity Lime Rock, has been a strong supporter of Vecinos Seguros from its inception. Glenn Formica, an immigration attorney from New Haven, gave a presentation informing the community about the second Trump administration’s amended policies. Formica also generated written materials in English and Spanish, advising private citizens and employers how to prepare in the event of a visit from ICE (U.S. Immigration and Customs Enforcement). William Tong, Connecticut’s attorney general, a proponent of many social justice issues, including the opioid crisis and fair pricing for generic drugs, has also provided support since the establishment of Vecinos Seguros.
The VS2 steering committee, which includes Carter, is led by Jill Drew, a local civic leader. Drew has worked with Judiciary Committee co-chairmen Gary Winfield and Steven Stafstrom in support of SB 91, a proposal by Connecticut Gov. Ned Lamont to limit ICE actions in “protected areas,” including schools, hospitals and religious buildings. She has also supported HB 5499, which would place limits on the use of automated license plate readers, addressing concerns that the Trust Act is being circumvented through technology deployed for other purposes. Other committee members include Amy Lake and Lee and Sophia DeBoer.
VS2 has launches a range of initiatives, including distributing “know your rights” flyers; creating an online resource with local legal and social services for immigrants; hosting in-person events to educate neighbors and train volunteers; organizing a rapid response team to verify reported immigration enforcement activity and support those affected; providing financial assistance for legal expenses, rent and utilities; and advising employers — from farms and restaurants to stores and private homes — on how to protect workers if immigration agents arrive.
As the annual report states: “We are committed to building on the powerful work of Rev. Carter, who, in the first seven years of Vecinos Seguros, assisted a significant number of individuals and families. It is our mission to continue this important work.”
Few descriptions capture the moment more clearly than Carter’s own words:
“The human cost of current ICE practices is appallingly high. Evidence of the brutality and cruelty of these practices is everywhere. Minneapolis is a recent and egregious example. ICE enforcement is doing much more than deporting individuals. It is also the systematic destruction of families. According to some reports, 90% of deportees are male. They are husbands, partners and fathers, often the primary contributors to family finances. There is heartbreak, trauma and stress experienced by the families left behind. The humanitarian response to the violence and chaos in Minneapolis is inspirational and instructive. Both citizens and immigrants came to the aid of residents living in fear and peril. It should be noted that people of color, whether their status was legal or undocumented, were also deeply shaken by what they witnessed in their communities.”
Carter also described how communities responded. That out of devastation, he said, came something else:
“A new word was born out of the compassionate response in Minneapolis: ‘neighboring.’ In caring for each other, they were ‘neighboring.’ The mission of Vecinos Seguros 2 is to ‘neighbor’ members of the immigrant community whose lives have been turned upside down by current immigration policies.”
Graham Corrigan
North East Town Hall will be open on Thursday, July 2, for people who need a cool place to sit and sip water. The Town Hall is located at 19 N. Maple Ave. in Millerton.
Community cooling centers are opening across Dutchess County as extreme heat brings temperatures into the high 90s.
Many libraries, town halls and community facilities are serving as cooling centers, offering air-conditioned spaces, drinking water and restrooms. Temperatures are expected to reach triple digits in some areas of the county this week.
The centers will not be open this weekend. All locations will be closed on Saturday, July 4, and Sunday, July 5, for the holiday weekend.
Northeast-Millerton Library, located at 28 Century Blvd., will be open and air-conditioned during its normal business hours — 11 a.m. to 6 p.m. — Wednesday, July 1, to Friday, July 3. The North East Town Hall, at 19 N. Maple Ave., will be available as a cooling center Wednesday, July 1, and Thursday, July 2, between 9 a.m. and 5 p.m.
The Pine Plains Community Center, located at 7775 S. Main St. above the Pine Plains Free Library, will be open 24 hours a day from Wednesday through Friday. The Free Library downstairs is open noon to 6 p.m Friday, and Town Hall, at 3284 Route 199, is open 8 a.m. to 3 p.m. on Wednesday and Thursday.
The Stanford Free Library, located at 6035 Route 82, will be open Monday through Friday from 9 a.m. to 7 p.m., and Stanford’s Town Hall at 26 Town Hall Rd is available from 8 a.m. to 1 p.m. on Monday through Friday.
Extreme heat can cause dehydration and heat stroke. Residents are encouraged to remain inside or under shade whenever possible and drink plenty of water.
D.H. Callahan
On Thursday, June 25, a collection of eager art enthusiasts gathered at Olana State Historic Estate in Hudson to kick off the seventh annual Upstate Art Weekend (UAW).
Helen Toomer, founder, was joined by sculptors Ellen Harvey, Jean Shin and Gabriela Salazar to discuss their work and the legacy of painter Frederic Church. Church, whose 200th birthday is being celebrated this year, is widely credited as one of the founding members of the Hudson River School of painting. The discussion took place at Olana, Church’s grand estate, where the three artists’ installations are on view.
Church’s status as an early environmentalist was mentioned repeatedly during the conversation. Shin’s sculpture “Fallen,” which graced the lawn next to the estate’s main house during last year’s event, featured a fallen hemlock tree trunk planted by Church over 150 years earlier which had been wrapped in tanned leather. She described the work as a direct reference to Church’s experience witnessing the eradication of the area’s hemlocks as the leather tanning industry wreaked havoc on the natural environment of the Hudson Valley in the mid-19th century.
The relationship between art and the environment wasn’t isolated at Church’s former home. Instead, it seemed to be found all over UAW.
Now in its seventh year, UAW works to take the art world out of the city. At its best, the weekend gives artists and curators the opportunity to interact with unfamiliar environments. Just as often, however, it serves as a literal escape, allowing New York City galleries to bring works to pop-up spaces assembled for the express purpose of displaying fine art. The “Loading…” group show in Hudson did just this.
Transplanting six New York City galleries into an intimate event space, “Loading…” featured a wide variety of artists from around the globe. Sheroanawe Hakihiiwe, an Indigenous artist from Venezuela, takes ancient practices and translates his observations of the Amazon into minimalist works. Michael Assif’s “Plant a Weed” highlights the human impact on a natural landscape while feeling like a marshmallow dream. And Margaret Curtis’ “ ‘S ” uses the backdrop of a Hudson River School-style sunset to highlight the chaos of today’s state of the American dream.
The flip side of this art-world field trip is the variety of makeshift galleries in the garages and barns of the Hudson Valley. Places like Ugly Mud Studios and Ten Barn Farm, both in Ghent, along with Foxtrot Farm and Flowers in Stanfordville, housed unexpectedly refined exhibitions. These venues all integrate sustainable practices into their business: Foxtrot is a regenerative flower farm, Ugly Mud uses locally sourced clay, and Ten Barn Farm operates a farm-to-table restaurant called The Kitchen.
But at the end of the day, UAW is about getting the art world into the wild. So it was no surprise to see a panoply of eye-catching outfits, and out-of-this-world works at Art Omi, the sculpture and architecture park in Ghent, on Saturday evening. Complete with avant-garde ambient operatic metal, the Summer Kickoff event served as a testament to the continued growth of UAW. It seems the seeds that Toomer and her collaborators planted seven years ago are flourishing, with no signs of slowing down.

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Natalia Zukerman
Mickalene Thomas and Delano Dunn at Wassaic Project.
Before “Echoes in the Margin,” Delano Dunn’s new solo exhibition at Troutbeck in Amenia opened, the artist sat down with curator and artist Mickalene Thomas for a conversation at the Wassaic Project on Wednesday, June 24. Their wide-ranging discussion offered an intimate look into Dunn’s practice while situating the work within broader questions of history, memory and representation.
Presented by the Wassaic Project, the exhibition brings Dunn’s richly layered paintings into conversation with Troutbeck itself, the historic estate long associated with artists, writers and civil rights leaders, including W.E.B. Du Bois, Langston Hughes and many more.
Thomas, an artist whose multidisciplinary practice spans painting, collage and installation, first met Dunn when she was his graduate adviser at the School of Visual Arts. “I think your work needs to be out there more,” she said, noting the urgency of this collection in the current socio-political moment.
Dunn’s layered collages often begin with an image unearthed from flea markets, used bookstores and forgotten archives.
“I go to secondhand shops, old bookstores, any place that looks like it has history in it,” he said.
Sometimes, he explained, an image becomes the centerpiece of a work. Other times it simply sparks an idea.
“There’ll be an idea that pops into my head. I’ll read something or hear music or a lyric, and then I’ll think, ‘I’ve got to find an image that matches that.’”
His color palette also carries its own history.
“I grew up in L.A. during the L.A. riots,” Dunn said. “I would sit on my porch as a kid. I was watching the neighborhood burn, but the sky was beautiful.”
He still paints with those saturated blues, reds and oranges.
“Color can transport you. Color can make you feel safe, or happy or scared,” he said. “Those colors made me feel safe.”
For Dunn, Troutbeck’s own layered history became an active part of the work. Learning that the estate had hosted W.E.B. Du Bois, Langston Hughes, Ida B. Wells and generations of civil rights leaders informed his direction.
Dunn was given access to Troutbeck’s archives and found handwritten notes by Langston Hughes, and writings by Du Bois and Wells that found their way into the exhibition.
“There was a letter between Amy Spingarn and Martin Luther King Jr.,” Dunn recalled. “To be in its presence and hold it... you don’t see communication like that every day.”

Much of Dunn’s work invites viewers to dig deeper into history rather than accept simplified narratives.
“I want them to look at it and go, ‘Wow, this is really amazing and interesting and colorful and beautiful,’” he said. “And then I want them to be terrified shortly after that.” He accomplishes this through bold, colorful, and often playful compositions that draw the viewer in before revealing their more complex historical underpinnings. As Thomas wrote, “Dunn’s compositions invite viewers to sit within that tension and take it in.” That impulse toward deeper investigation extends to Dunn’s own children, who are often his first audience.
“They’ll ask, ‘What is this? Why does this person look the way they look? Why are you using that color? Why are you using glitter?’”
Those conversations, he said, become lessons in looking beyond appearances.
Thomas framed collage itself as a kind of storytelling practice —“the gathering of information… piecing things together”—and praised Dunn’s ability to translate research, memory and visual pleasure into a unified language. She also underscored the importance of creative joy in the process. “If you’re going to your studio and you’re not having fun,” she said, “you shouldn’t be doing it.”
Dunn said one of the biggest misconceptions he hopes to challenge is the idea that there is a monolithic Black experience.
“There are so many different perspectives out there. This is just one of them,” he said. In the same breath, Dunn said he adopts the label “Black artist” because “it would make my Grandpa proud.”
The nearly two-hour conversation shifted seamlessly between humor and history, studio practice and social commentary, ultimately returning to what both artists believe art can accomplish: encouraging curiosity, complicating familiar stories and inviting viewers to question what they see.
As Dunn put it, “History is so much more nuanced than what we’re taught. There’s so much more going on below the surface.”
D.H. Callahan
Scott Siegler at his home in Sharon.
Scott Siegler is bored of success stories. But Scott Siegler has had the kind of successful Hollywood career that people write books about.
Before he was 30, he’d earned three degrees. Before he moved to Hollywood, he’d already won an Emmy for one of the nine documentaries he directed and produced. Before he helped launch Netscape, bringing the Internet to the public, he’d already started his own Hollywood studio.
Siegler’s had a lot of success in his life, but he’s not going to talk about it unless you ask him directly. He’ll reluctantly tell you about defending “Married… With Children,” the longest-running live-action sitcom ever aired on Fox, when groups of concerned parents tried to get it banned from Television. But bring up a real struggle, like the time he led the board of Pandora through 25 unprofitable quarters, and he lights up. The challenges thrill him more than the successes ever could.
Now, after spending a lifetime rising to business challenges of every stripe, he’s settling into a more creative role. According to his longtime friend David Chase, creator of “The Sopranos,” it’s about time. Chase, who wrote the foreword to Siegler’s debut book, “Mobsters in the Mansion,” reminisces about meeting Siegler over 40 years ago. While Siegler had all the business sense of a top executive, Chase could tell that there was something wilder and more mischievous than the average Hollywood suit.
That mischief springs to life on the pages of“Mobsters in the Mansion.” The loosely autobiographical collection dives into the humor of hubris and failure. The stories unfold chronologically, from adolescence to midlife, but the characters don’t adhere to any timeline. Instead, Siegler uses new people and perspectives to personify the stories he tells, allowing readers to immerse themselves in the emotional truth of the experiences rather than the particulars of one life.
Writing fictionalized stories based in reality freed Siegler from writing the truth. He believes the heart of the story is what matters more than the literal details. “It’s true,” he claimed during a conversation about his book, “but that doesn’t mean it actually happened.”
On Tuesday, July 7 at the Scoville Memorial Library in Salisbury, Siegler will appear in conversation with renowned journalist Brian Ross. Ross has won six Peabodys, six duPont-Columbia Awards and is the author of the New York Times bestseller, “The Madoff Chronicles.” His career in journalism — a profession that leaves little room for creative liberties — should provide an intriguing foil to Siegler’s relationship with the truth.
To register for the event, visit scovillelibrary.org
Millerton News
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, is taking a deep dive into the works of Johann Sebastian Bach this summer as artistic director, Christine Gevert, explores the genius of one of history’s greatest composers through a series of public masterclass workshops at Saint James Place in Great Barrington. More information at crescendomusic.org.

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