
Roeliff Jansen Community Library has a Dark Sky Explorer Backpack that can be checked out for two weeks.
Provided
Roeliff Jansen Community Library has a Dark Sky Explorer Backpack that can be checked out for two weeks.
HILLSDALE — Susan P. Bachelder, a resident of Egremont, Massachusetts, and member of DarkSky International, gave a presentation “Saving the Night Sky: Dark Skies and Light Pollution” at the Roeliff Jansen Community Library on Thursday, May 2.
Bachelder began the discussion by reminding the audience to Save the Date of Aug. 12 when the Perseids meteor shower will occur. Bachelder noted that meteors are best observed after midnight, when the they are moving in the same direction as the Earth’s rotation.
Bachelder has been a member of DarkSky International (DarkSky.org) for more than 10 years. DarkSky, originally a small Arizona based nonprofit founded in 1988, has worked for more than 30 years to restore the night-time environment and protect communities and wildlife from light pollution.
Light pollution, defined as “the inappropriate or excessive use of outside artificial light,” is having serious environmental consequences for humans, wildlife and our climate.
DarkSky International is now comprised of more than 70 chapters worldwide. DarkSky International works to certify and help conserve starry sky parks, communities and other outdoor places. The group also certifies commercial, industrial and residential outdoor lighting with an aim to reduce light pollution by working with communities, governments and professionals to prioritize quality low impact, outdoor lighting.
The talk was comprised of two parts. First, the short film “Dark Sacred Night,” a 15 -minute overview created by filmmaker Jared Flesher for the Princeton University Department of Sustainability. The film features astrophysicist Gaspar Bakos and his quest to reduce light pollution by raising awareness of the dangers of light pollution on the Earth and its inhabitants.
Filmed on location at Princeton University and the Las Campanas Observatory in the southern reaches of Chile’s Atacama Desert, Bakos speaks of the necessity to direct lighting downward to protect the night sky.
According to Bakos, “80% of the U.S. has lost the vision of the Milky Way and light pollution has increased 50% over the last 25 years…due to the conversion to LED lighting.” While it has been observed that light pollution threatens many animal species, from migrating birds to hatchling turtles, the negative impact on humans is less well documented.
The interruption of natural sleep patterns in humans can easily be linked to light pollution. Bakos stated it has only been within the last 20 years that the effects of light pollution upon the Earth have only been studied. A 2016 study conducted on “Artificial Light at Night and Cancer” concluded “artificial light at night is significantly correlated for all forms of cancer including lung, breast, colorectal and prostate cancers individually.”
A 2020 study linked the “association of outdoor artificial lighting at night with mental disorders, including mood and anxiety disorders in adolescents.”
According to Bakos, 40% of outside lighting is wasted. Lights point up into the sky, wasting about $3 billion per year by converting carbon into photons. That is the equivalent of 21 million tons of carbon dioxide emitted every year. Bakos stated that light pollution goes unchallenged because the effects are generated far away from the source therefore there is a failure to connect the cause to the outcome.
According to Bakos, the solution to light pollution is simple.
— Exterior lighting should be useful, installed only when and where it is need.
— Lights should be shielded so they only shine down upon the ground.
—Lights should be no brighter than necessary and when possible controlled by dimmers, timers or motion sensors.
— Mostly importantly, outdoor lighting should be composed of warm colors, especially red light, rather the current use of harmful blue wavelength lights.
The second part of the talk featured Bachelder’s discussion of the “Constellations of the Northern Summer Sky.” . Bachelder started by asking who in the audience had observed the recent solar eclipse on April 8. An audience member stated that he observed the eclipse “but hadn’t travelled to see it.” Bachelder responded, “Luckily in this part of the country the eclipse was 97% observable so there was no need to go anywhere.”
Bachelder, an advocate of viewing the night sky with the naked eye, pointed to the constellations observable in our region and demonstrated how to navigate from The Big Dipper (observable in this region all year long) arcing down to the Constellation of Bootes (roughly the shape of an ice cream cone) to get one oriented in the summer night sky.
Bachelder explained that although we use the term “Constellation” as a standard, many star patterns are Asterisms. Asterisms are a star pattern that makes up part of a constellation or that include more than one constellation. An example of an asterism is the Big Dipper which is part of the constellation Ursa Major.
Bachelder, a classics major, is currently studying Persian star charts. She explained people in the audience are most likely familiar with Hellenic astronomy and the constellations named by the ancient Greeks (and their Latin counterparts). She introduced participants to the Persian named constellation, Al Thuraya, Al Thurya is a bright constellation, clearly visible to the human eye in the summer night sky, and is represented by a woman with outstretched arms.
Bachelder ended her presentation briefly discussing the need for governmental agencies to regulate exterior lighting. Currently, exterior lighting is rarely if ever, regulated by site plan.
Dark Sky Backpack
Tamara Gaskell, Director of Roeliff Jansen, located at 9091 Route 22 in Hillsdale, introduced a new acquisition to the library: The Dark Sky Explorer Backpack. The backpack, donated by the Mid-Hudson Chapter Adirondack Mountain Club (www.midhudsonadk.org) contains everything needed for exploring the night sky. The backpack, which can be checked out for 21 days by Mid-Hudson library card holders, contains: sky quality meter in pouch and plastic case with Globe at night card; night vision LED flashlight; night sky planisphere; book Let There Be Light, book Lights Out; and instructions and brochures.
Joy Brown installing work for her show at the Tremaine Art Gallery at Hotchkiss.
This year, The Hotchkiss School is marking 50 years of co-education with a series of special events, including an exhibition by renowned sculptor Joy Brown. “The Art of Joy Brown,” opening Feb. 15 in the Tremaine Art Gallery, offers a rare retrospective of Brown’s work, spanning five decades from her early pottery to her large-scale bronze sculptures.
“It’s an honor to show my work in celebration of fifty years of women at Hotchkiss,” Brown shared. “This exhibition traces my journey—from my roots in pottery to the figures and murals that have evolved over time.”
Co-curated by Christine Owen, Hotchkiss ceramics instructor, and Joan Baldwin, curator of special collections, the scale and scope of the exhibition was inspired by a recent Ed Ruscha retrospective in Los Angeles. “I thought it would be incredible to showcase all these different aspects of Joy’s work,” said Owen, who has known Brown for over 30 years.
Brown’s father, a Presbyterian missionary and medical doctor, opened a hospital in Japan where Brown grew up and cultivated her love of clay. Her first apprenticeship was in Tomba, a region in Hyogo Prefecture known for its ancient pottery kilns and Tambayaki pottery. “There are thousands of years of continuous history of clay there and I was working with a 13th generation potter.” Brown recalled that as part of her early training, her teacher handed her a sake cup and said, “make these.” With no extra instruction given, Brown proceeded to make thousands of copies of the cup. Never fired, she realized that the pieces were an exercise. She explained, “You’re not really making something, you’re participating in a process that these things emerge from.” From there, she embarked on an apprenticeship with master potter Shigeyoshi Morioka. As part of the process she learned from Morioka, Brown has built a 30-foot-long wood-firing tunnel kiln on her property in Kent, Connecticut, where she fires her work once a year in an intensive month-long process. The fire’s natural interaction with the clay creates unique earth tones and ash patterns, highlighting the raw beauty of the material.
Natalia Zukerman
“I learned not just pottery but a whole way of life,” she recalled. “The work is a continuous process—like practicing a signature until it evolves into something uniquely yours.” Her figures, initially emerging as playful puppets, have since evolved into large-scale sculptures now found in public spaces from Shanghai to Broadway to Hotchkiss’s own campus.
Brown’s seven-foot “Sitter with Head in Hands” was installed near Ford Food Court in October, followed by “Recliner with Head in Hands” near Hotchkiss’s Main Building in November. She welcomes interaction with her sculptures, encouraging visitors to touch them and even dress them with scarves or hats. “These figures transcend gender, age, and culture,” Brown noted. “They’re kind of like when you’re 4 years old and you didn’t know or care what you were, you know? All of us meet in that field and I think people resonate with that.”
In conjunction with the exhibition, Hotchkiss will host a screening of “The Art of Joy Brown,” a documentary by Eduardo Montes-Bradley, followed by a panel discussion with the artist and filmmaker on March 6 in Walker Auditorium. Brown will also serve as an artist-in-residence, collaborating with students on special projects.
On being part of the celebration of women at Hotchkiss Brown said, “Fifty years ago, I was deep in the mountains of Japan, immersed in clay.” With a soft spoken and almost childlike quality, Brown spoke about and interacted with her pieces with curiosity, reverence and wonder.
“The practice of working with clay for all these years is grounding and centering for me. It challenges me,” she said. “The work forces me to put myself out there. It’s not just the making of the pieces that make me more whole, the pieces themselves become more present.”
Brown reflected on the retrospective nature of the show and shared that putting it together has been like looking at a family album. “It’s kind of like I’m seeing my whole life in front of me,” she said. “It’s humbling and makes me think about why I do what I do. It comes back to the idea of those thousands of sake cups, you know? We’re just here, being as present as we can be. We’re not making things, we’re participating in a process of being more present, and all that spirit is reflected in the work.”
“The Art of Joy Brown” opens Feb. 15 and runs through April 6. For more information, visit www.hotchkiss.org.
A special screening of “The Brutalist” was held on Feb. 2 at the Triplex Cinema in Great Barrington. Elihu Rubin, a Henry Hart Rice Associate Professor of Architecture and Urban Studies at Yale, led discussions both before and after the film.
“The Brutalist” stars Adrien Brody as fictional character, architect Laszlo Toth, a Hungarian-born Jewish architect. Toth trained at the Bauhaus and was interred at the concentration camp Buchenwald during World War II. The film tells of his struggle as an immigrant to gain back his standing and respect as an architect. Brody was winner of the Best Actor Golden Globe, while Bradley Corbet, director of the film, won best director and the film took home the Golden Globe for Best Film Drama. They have been nominated again for Academy Awards.
Laszlo Toth goes to work in his cousin’s furniture store when he arrives in New York, living in the storeroom and helping his cousin build up the business. When his cousin’s wife falsely accuses him of making a pass at her, he ends up living in a homeless shelter.
A would-be patron tracks him down, finds him working construction—the only job he can get—and asks, “Tell me, why is an accomplished foreign architect shoveling coal here in Philadelphia?”
Eventually, Toth gains a commission but faces prejudice as a foreigner and Jew, even though he and his wife, who he reunites with after she’d been in the concentration camp, Dachau, are both highly educated—she is an Oxford graduate and an established writer in their home country of Hungary.
Rubin began his discussion before the screening by saying, “I am thrilled this film has brought architecture to the forefront. There is something so fascinating and robust about the space Brutalist architecture creates.”
Brutalism is known for using “raw materials,” such as brick and concrete in ways that leave them visible. Rubin said that concrete is “incredibly expressive. It comes to the building site as mud and becomes what it is poured out as.”
“At first,” said Rubin, “optimism was associated with Brutalism.”
Brutalism came to the forefront of architecture in the 1950’s when it was used to reconstruct housing in the United Kingdom after WWII.
Some prime examples of Brutalist architecture include Boston City Hall, Rudolph Hall at Yale University, and the Temple Street Parking Garage in New Haven.
Rubin commented, “Brutalist architecture became the de-facto language of government and institutional architecture.”
Rubin said Brutalism began to fall out of favor in the 1970’s when it began to be associated with urban decay and totalitarian governments, who used it extensively.
Rubin asked the audience to consider two questions as they watched the film: “Why is the main character an architect… what does it bring to the emotional core?” and, “Who or what is the Brutalist in the film?”
After the screening, Rubin commentedtha Brutalist architecture is about “Getting an object to, ultimately, stand by itself.” Rubin explained that Brutalism “Throws off shadows of the past. No extraneous detail is left.” Audience members discussed how this could also be true of the character of Laszlo.
Rubin explained that architects face the challenge of “how to express themselves through someone else’s commission.” Discussion involved how Laszlo finds a way to achieve this.
The audience agreed that the film brought up some timely issues about immigration, class awareness, and acceptance, while asking them to consider how Brutalism applies to these subjects. The movie is at times, as rawly constructed as a brutalist building.
Breece Meadow
Chances are you know or have heard of Jeb Breece.He is one of a handful of the Northwest Corner’s “new guard”—young, talented and interesting people with can-do spirit — whose creative output makes life here even nicer than it already is.
Breece’s outward low-key nature belies his achievements which would appear ambitious even for a person without a full-time job and a family.The third season of his “Bad Grass” speaker series is designed with the dual purpose of reviving us from winter doldrums and illuminating us on a topic of contemporary gardening — by which I mean gardening that does not sacrifice the environment for the sake of beauty nor vice versa. There are two upcoming talks taking place at the White Hart:Feb. 20 featuring Richard Hayden from New York City’s High Line and March 6 where Christopher Koppel will riff on nativars. You won’t want to miss either.
An investment manager by trade, Breece and his wife Sabina rented a weekend house in Kent in 2011 just after they had their first child.Soon after he began to volunteer at a nearby farm and then started to cultivate a small cutting flower bed.Breece’s insight — that it is a rare farmer who is great at both growing and selling — led him in 2020 to aggregate demand and supply for cutting flowers by creating a monthly flower market at Kent Barns in collaboration with RT Facts. Coinciding with Covid, the outdoor market became, in many ways, a respite during a challenging time.
Covid provoked Breece and Sabina to move full time to Salisbury.Soon after, he met Page Dickey who had just published her book “Uprooted.” Had it not been for this book and his friendship with Dickey, Breece admits that his front yard would have been landscaped with a version of boxwood and liatris and the existing grass lawn would have been maintained at great expense.Dickey introduced him to organic landscaper Mike Nadeau and a meadow was born.
Meadows.I have written quite a bit about them in this column, in part because a meadow can be a wholesale solution to the lawn issue.It is by no means the only solution but, for a large expanse, it can be extraordinary to behold.The creation of a biodiverse native habitat where there was only a version of grass and weed is a sensation-filled wonder, but it does take a while to achieve this graceful state unless you have the wisdom of Nadeau — and his machinery — behind you.Now going into its fourth year, the Breece meadow has evolved as new native perennials and grasses show up.“It is beautiful to look at from the house but is best experienced from its interior where you can see, hear and feel the life around you.”
While his world view on gardening has changed, Breece doesn’t think of himself as an advocate of native habitats.But he is.The proceeds from Bad Grass this year will go to its 2025 partner project, Steep Rock Preserve’s “Holiday House” project to transform the space into a “ruin garden,” preserving its historical significance while enhancing its natural beauty and restoring native vegetation.
The spongy moth infestation of 2021 and 2022 feels both a long time ago and like yesterday.Walking in the woods, as I did this morning, the effects of spongy moth are more visible than they were last year; the winter winds have blown off the dead limbs from trees that succumbed to the voracious moths’ leaf-eating appetites.On our property we were able to save many trees using BtK and trunk wraps.But most of the truly glorious giant oaks – some well over 70 feet tall and almost as wide - succumbed.Now, several years later, these limbs are taking down smaller trees as they fall to the ground.There is not much to do about it right now unless you can safely relocate a fallen branch that has landed on and distorted an otherwise living tree. Events like this are a reminder of how many young tree recruits we need to ensure the viability of a woodland. This spring there will be quite a bit more light reaching the woodland floor as a result of the dead trees. The open canopy means an opportunity for growth.It is up to us to decide what will grow in these spaces as, without our intervention, they will be overgrown with invasives, prohibiting native trees from growing and destroying a previously viable habitat.Look for these spaces and pull out the invasives as they grow in.For more on the topic go to www.theungardener.com/articles/the-over-under-a-bet-on-the-future-of-the-woods
Dee Salomon ‘ungardens’ in Litchfield County.