Connecticut needs both wildlands & woodlands — not one or the other

Northeast Wilderness Trust


We live in uncertain times. As we face the twin crises of climate change and extinction — and their relationship to human well-being — the importance of forests continues to take center stage in public discourse.
Recent commentaries on the topic across Connecticut point to a wide range of views. Some discuss the irreplicable value of leaving parts of the landscape unmanaged as wildlands. Others explain how important and necessary forestry practices are and the industry that enacts them. Together, these perspectives form a holistic approach to protecting and managing New England forests, which is the approach taken by Wildlands, Woodlands, Farmlands, & Communities (WWF&C) — an initiative my organization participates in.
To mitigate climate change, reverse the extinction crisis, and chart a resilient path forward for people, when it comes to forests, New Englanders ought to consider an “all of the above the strategy” that includes far more wildlands than exist today and managed woodlands to support local jobs and produce local products. How to balance those complementary uses ought to be the aim of our energies.
Over the past five years, I have co-presented with Bob Perschel, the executive director of New England Forestry Foundation, in an attempt to bridge divides and find common ground. What has emerged from those conversations?
Perschel and I agree that what is needed most across Connecticut and New England is to stop losing forestland to development and that the correct approach in stemming forest loss embraces a meaningful increase in permanently protected wildlands alongside well-managed woodlands. We need both.
Perschel and I also agree that wildlands can’t produce the needed timber products our society depends on and that managed woodlands can’t produce all of the ecological, climatic and spiritual values of wildlands. Again, we need both.
One recent commentary on the topic by Joseph Orefice makes the argument that “Connecticut forests must be centered on advancing multiple-use forest management” but then calls it reckless to permanently protect forests as wild and unmanaged. While I agree with most of what Orefice says in his commentary, in the spirit of advocating for a wildlands and woodlands strategy, two points that he makes require further inspection.
First, Orefice claims that “taking human intervention out of the equation now would be unprecedented and reckless.” Far from unprecedented, there is great precedent across the Northeast for landscape-scale, permanent wildlands protection — just not in Connecticut. As one example, in New York’s Adirondack and Catskill parks, nearly 3 million acres have been constitutionally protected as forever-wild, much of that for over a century.
Far from reckless, the Adirondack Park is a globally notable example of what largescale forever-wild protection actually can do for carbon storage, biodiversity protection, soul-nourishment, and a robust outdoor recreation-based economy. Meanwhile, while lagging far behind New York, in New England, more than 100 organizations and state, federal and municipal agencies have already designated more than 1 million acres of permanently protected wildlands.
Second, Orefice goes on to state, “In fact, this has been termed ‘The Illusion of Preservation’ by scientists.” This misstates the premise of the study by Mary M. Berlik, David B. Kittredge and David R. Foster of Harvard. It actually calls for a multi-pronged strategy that includes permanently protected wildlands and wise management of woodlands. Indeed, Strategy 3 of the report “Increase Protection of Forested Areas” seeks to “provide opportunities for natural ecological patterns and processes that are unimpeded by human influence.” What is more, the scientists referenced by Orefice went on to form the aforementioned WWF&C Initiative that calls for the permanent protection of at least 10% of New England as permanently protected wildlands.
As a complementary strategy to protecting actively managed forests and farmlands, there are many reasons to protect Wildlands. Allowing more forests to grow old, without intervention, is the lowest-cost option for increasing carbon storage and increasing overall biodiversity on the landscape. Wildlands also contribute to a resilient landscape — they offer quiet places for reflection, and they serve as baselines and reference points for foresters and land managers.
Today less than 1% of Connecticut is currently conserved as wildlands. Across all of New England, it’s just 3.3%. Realizing the goal of 10% of New England’s landscape as permanently protected wildland will require at least 2.7 million more acres being set aside from logging. Critically, we must achieve that goal while embracing the benefits that accrue from forest management and working together with the forestry industry.
The discourse surrounding forest management often finds itself entrenched in dichotomies between wildlands and woodlands. The optimal approach lies not in favoring one over the other, but rather in recognizing the intrinsic value of wildlands and the practical value of woodlands — and striving for a far better balance than exists today.
Jon Leibowitz is the executive director of Northeast Wilderness Trust.
The Journal occasionally will offer articles from CTMirror.org, a source of nonprofit journalism and a partner with The Lakeville Journal.
Natalia Zukerman
Elyse Deublein Harney (center) celebrates with Keith Harney, Elyse Harney Morris, Paul Harney and Michael Harney after receiving an honorary doctorate from St. Joseph’s University.
On May 19, Elyse Deublein Harney returned to St. Joseph’s University in New York City, her alma mater, where she graduated in 1952. Before the crowd gathered for the university’s 107th commencement ceremony, the Salisbury resident, entrepreneur and community leader received an honorary doctorate and delivered the commencement address to the Class of 2026.
The recognition arrives at a meaningful moment for the Harney family. In February 2027, Elyse Harney Real Estate will celebrate its 40th anniversary, joining Harney & Sons Fine Teas, co-founded by Elyse and her husband, John, in 1983, as one of two enduring family businesses that have shaped both the region and the family’s legacy.
At a moment when many people are expected to reflect on their accomplishments, Harney used her commencement address to talk instead about possibility.
“God has a job for you,” she told the graduates. “Something that you alone can do.”
That line may very well be the organizing principle of a life that has included hotel management, raising five children, launching two businesses, serving on local boards, helping found the Salisbury Volunteer Ambulance Service and, somehow, still finding time to reopen conversations about preserving historic institutions.
One of the most striking parts of Harney’s address centered on beginning again.
When she and her husband were 50 years old, the partners of the White Hart Inn in Salisbury, where John was general manager for many years, decided to sell. Suddenly, the couple needed a new source of income.
John launched what would become Harney & Sons Fine Teas, and Elyse opened a real estate office across the street.
“Simple as that, I did,” she told graduates with characteristic understatement.
Of course, anyone familiar with the growth of Elyse Harney Real Estate knows there was nothing simple about it. What began as a small local office became one of the most respected real estate firms in the region, helping define the market across northwestern Connecticut, the Hudson Valley and the Berkshires.
Her commencement address wandered delightfully through subjects that rarely appear together: Nobel Prize-winning genetic research, French entrepreneurs, Catholic education, self-driving cars, German teachers and divine purpose.
At one point, Harney reflected on the women who educated her at St. Joseph’s.
“They made it very clear we could do whatever we wanted to do, if we were willing to work for it,” she said. “Being a woman was not a handicap.”
For graduates entering a world transformed by artificial intelligence, political upheaval and economic uncertainty, Harney offered neither nostalgia nor easy reassurance.
“AI is here,” she said. “We have to learn to use it and to control it.”
After discussing technology, entrepreneurship and faith, Harney turned to the subject of consciousness. Quoting author Michael Pollan, she shared the final lines from his new book, “A World Appears: A Journey Into Consciousness,” that she said had stayed with her:
“Consciousness is a miracle, truly. It is the most mysterious of things, and yet it can be put in one short sentence: I open my eyes and I see the world.”
Then she offered her final message to the graduates.
“Open your eyes and see the world.”
At 95, Elyse Harney is still opening her eyes and seeing the world. Thankfully, she’s still telling the rest of us what she finds there.
Richard Feiner And Annette Stover
Think logically and then break the mold with creativity.
— Pilar Proffitt
Pilar Proffitt is forging a remarkable artistic path grounded in her long history in Northwest Connecticut. Proffitt is a true Renaissance woman with a quirky sense of humor — a visual artist, architect, designer of interiors, furniture and products, and curator of home furnishings.
Her latest grand project is still quite literally under wraps. Large windows obscured by construction paper on a bustling avenue in Manhattan prevent passersby from peeking into the 15-story boutique hotel designed and furnished by Proffitt for an international hotel group, which is nearing completion. The hotel’s lobby, restaurant, common areas and rooms stand out for their attention to design — from the furnishings, colors and fabrics to the mosaic floor tiles, hardware, wrought-iron gates and stairs, selection of antique books, and the art on the walls. The collection includes paintings by Proffitt, photographs by Wassaic Project co-Executive Director Jeff Barnett-Winsby, time-lapse photography by Xan Padron and classics from the Warhol Factory.
Proffitt and her husband and business partner, Robert Bristow, are well-known leaders in the art and architecture communities, and their home, studio and workshop in Lakeville; store and office at 16 Main St. in Salisbury; and gallery space in Norfolk are vibrant hubs for arts and design in the region.
Proffitt has been coming to the area since she was a teenager. Originally from Puerto Rico, her family moved to the New York City area in the 1970’s. Her artist and architect father encouraged her interests in art and design and her deep desire to create. At school, she excelled in math and art and soon realized that this was all she wanted to do. “Think logically and then break the mold with creativity,” she said.
Armed with a degree in visual art from Trinity College, she pursued advanced studies at Berkeley and Pratt before receiving a master’s degree in architecture from Virginia Tech in Blacksburg, Virginia, where she met Bristow. Both landed apprenticeships in Boston and were drawn to the arts community in Norfolk centered around the Yale Summer Arts Program. The area quickly became their personal and family anchor.
They started Poesis, a furniture design and manufacturing studio, with a small loan from her mother. They landed a major house project and soon met a hotelier at a party who hired them on the spot to design a hotel in Washington, D.C.
Proffitt said, “I was hooked because it combined everything I wanted to do creatively: design experiences in the broadest sense with all the supporting pieces of the puzzle — furniture, objects, art. My father felt that architecture was the Renaissance profession: It holds the seeds of art, design, engineering and all the other ingredients. For me, it all starts with art.”

Proffitt is devoted to the area. She and Bristow raised their family in Lakeville. Their daughter Grace, a sculptor, attended Hotchkiss and is pursuing her MFA at University of Pennsylvania. Their daughter Ellis, also a graduate of Hotchkiss and Trinity, is a mathematician and aspiring actress in Los Angeles; and their son Sam attended Salisbury School and is a junior at Trinity, majoring in art history with a minor in architecture. They all are carrying forward the family’s passion for arts, architecture and design.
Proffitt’s interior design work and unique furniture pieces welcome visitors at Hotchkiss’ Art Center, the Scoville Memorial Library, her own wHole hOuse shop in Salisbury and, soon, across the street in the new Jam Food Shop, which is expected to open this fall.
The region’s many museums and galleries include some of Proffitt’s favorites, from Mass MoCA and the Clark to Salisbury’s Geary, Mad Rose in Millerton, Jack Shainman in Kinderhook and Art Omi in Ghent. Proffitt loves the connections and new opportunities brought to the community by the increase in full-time residents, as well as impromptu get-togethers with friends — recently watching a Knicks playoff game at the tavern bar at the White Hart. Moments like that keep her grounded here.
In addition to the White Hart, Proffitt is a fan of area restaurants, including Fern for a quick pasta at the bar; Isabela in Amenia, where Michelin-starred chef Jose Ramirez Ruiz is from Puerto Rico; and Clare de Boer’s Stissing House in Pine Plains.
A perfect day for Proffitt is spent working in her studio overlooking Lake Wononscopomuc, without distractions, rain or shine. It is a quiet and peaceful place that supports her many architecture and design projects. When asked what she would say to a younger version of herself just starting a career, she responded, “Don’t be so shy. As one of my professors told me, ‘Sometimes you just have to crash the party.’ Draw, write, run, play tennis. And travel!”
D.H. Callahan
The set for “Swingtime Canteen” transports the audience to WWII London.
Dateline: 1944. A platoon of our boys are stationed in London, waiting to be sent to the mainland to fight the Axis powers and liberate Europe. While they wait, a group of glamorous gals from Hollywood are sent over to distract them with singing, dancing and a few memories of home.
That’s the scene at “Swingtime Canteen,” the new production now on stage at the Sharon Playhouse.
From the moment you enter the playhouse, the stage takes you right back to another time, with recruitment and War Bonds posters setting the tone alongside soldiers’ footlockers and blankets. When the lights go down, the smiles of the cast light up the room, and the audience is quickly recast as a troupe of American G.I.s.
What follows is a jukebox musical in the truest of sense, bouncing from one 1930s hit to more “contemporary” 1940s tunes and back again, all performed with the kind of polished finish audiences have come to expect from the Sharon Playhouse.
The gals in the band are our entire cast, and they spin yarns in between numbers, throwing the spotlight back and forth between the five singing-and-dancing sensations. But they don’t stop there. Between piano, saxophone, drums and even a banjo, they work with the musicians on stage to create that quintessential ‘30s and ‘40s sound.
“Swingtime Canteen” transports its audience to a time when, unlike today, there was very little division among Americans. The war they were fighting had a 97% initial approval rating from U.S. citizens. In a year when the nation is celebrating its 250th anniversary, the production serves as a reminder of a moment when Americans largely shared a common purpose and a common enemy. Even if the swinging songs of the ‘30s and ‘40s aren’t your thing, the production is a marvelous little escape to a time when life was a little simpler and the lines between good and evil were a little clearer. For showtimes and tickets, visit sharonplayhouse.org

Want more of our stories on Google? Click here to make us a Preferred Source.
Thomas Jensen
Aerial view of The Shed at Tanglewood.
The Tanglewood classical music schedule is loaded with gems. Here are eight to consider:
Thursday, July 9, 8 p.m., in Ozawa Hall. The dynamic duo of Augustin Hadelich, violin, and Seong-Jin Cho, piano, take on works by Brahms, Janacek, Beach and Prokofiev. Whether you get seats in the hall or sit outside on the lawn, you will not regret getting to this one.
Friday, July 10, 8 p.m., in the Shed. Seong-Jin Cho plays Tchaikovsky’s Piano Concerto No. 1 and excerpts from “Swan Lake.” This special evening features dancers from Boston Ballet and will be wonderful for the ears and the eyes.
Saturday, July 18, 8 p.m., in the Shed. The BSO, with Joe Hisaishi conducting, Jean-Yves Thibaudet on piano and Song Hee Lee, soprano, will perform Hisaishi’s “Adagio for Two Harps and Strings,” Ravel’s Piano Concerto in G, Hisaishi’s “Da-Ma-Shi-E” and Hisaishi’s “Symphonic Suite from Princess Mononoke.” The multitalented Hisaishi will be the most accomplished Japanese artist to grace the grounds since Ozawa’s time. Not to be missed.
Sunday, July 19, 2:30 p.m., in the Shed. The BSO, with Andris Nelsons conducting, Daniil Trifonov on piano and Thomas Rolfs on trumpet, presents a powerful program: Haydn’s Symphony No. 22, “The Philosopher”; Shostakovich’s Piano Concerto No. 1; and Beethoven’s Symphony No. 2. This is quite a lot to take in. Rolfs remains one of the orchestra’s most compelling virtuosos, and his trumpet playing is always worth hearing live. Trifonov, legendary on piano, playing another Russian legend’s finest music; extraordinary. Then, Beethoven. Better get there early.
Friday, July 24, 8 p.m., in the Shed. The BSO, with Andris Nelsons conducting and the brilliant Augustin Hadelich on violin, performs Mozart’s Violin Concerto No. 5 and Tchaikovsky’s Symphony No. 3, “Polish.” Hadelich is worth seeing again and again; the tones he produces are so sweet.
Saturday, July 25, 8 p.m., in the Shed. The BSO, with Andris Nelsons conducting and Paul Lewis on piano. The super-catchy Mozart Piano Concerto No. 27, K. 595, will have Lewis demonstrating his artistic command of tempo and tone while dancing and blending delightfully with the orchestra. Tchaikovsky’s Symphony No. 4 follows after intermission, and you’ll practically float home.
Thursday, July 30, 8 p.m., in Ozawa Hall. The Danish String Quartet, which brings a lot of energy to the stage, performs Stravinsky’s “Suite Italienne,” Beethoven’s String Quartet No. 16 in F, Op. 135, and arrangements of Danish folk songs. Come to hear Frederik, Rune, Asbjørn and Fredrik. Skål!
Friday, July 31, 8 p.m., in the Shed. The BSO, with Esa-Pekka Salonen conducting and Yefim Bronfman on piano. The power of Wagner’s “Prelude and Liebestod” from “Tristan und Isolde,” followed by Sibelius’ Symphony No. 7 and Beethoven’s Piano Concerto No. 5, “Emperor,” will leave you feeling like you are the new emperor.
Other events of note: Friday, July 17, 8 p.m., in the Shed. The BSO performs John Adams’ selections from “Nixon in China.” Also, don’t miss Laurie Anderson’s curated series of events Aug. 13, 15 and 16.
For a full schedule and tickets, visit bso.org/tangle
wood
Robin Roraback
Ken Mussleman with his paintings “Red Apple #2” and “Nine Servings Daily.”His show, “Time Passages,” opens Saturday, June 27, at Hunt Library in Falls Village.
Hunt Library in Falls Village will host a farewell show of the work of well-known local artist Ken Musselman, beginning with an opening reception on June 27 from 5 to 7 p.m. The show will run until July 31.
Musselman, a longtime resident of the Northwest Corner, recently moved to Woodbury, Connecticut, where he will begin a new phase of his life.
After the loss of his wife of 43 years, Cathy, three years ago, the prolific artist took a break from painting.
“I am finally getting back on my feet,” he said.“I am beginning to paint again.”
“Time Passages” is a collection of his paintings from past years. With this show, he said, he will be “getting rid of the old and starting new.” He intends to “move in a different direction,” which involves a monochromatic palette. “I am in a sepia mood right now,” he explained.
Musselman has long been known for his whimsical paintings. He recalled his first one, depicting deer ice skating, which was sold at P S Gallery in Litchfield.
He explained how he gets his ideas. “I sit and visualize things,” said Musselman. “I paint from my head.”
He is also known for local landscapes, still lifes and flowers. His wife was from East Canaan, and her family’s Ford Farm inspired many of his paintings.
Musselman, who always loved drawing, was studying to be an aviation structural mechanic in the Navy when he painted a mural in the mess hall. He recalled, “They told me, ‘You’re wasting your time being a mechanic.’” So he painted murals and created technical illustrations instead.
After the Navy, while living in Florida, an opportunity arose for a job as a graphic designer at Dotty Smith’s in Lakeville, a women’s fashion and jewelry company that closed in 2001. Musselman applied and moved to the region where his wife had grown up.
Later, he worked full time as a painter, with work in five galleries. He was in his studio “14 hours a day, seven days a week” to keep the galleries supplied.
“Time Passages” contains favorite Musselman themes, including cowscapes, local landscapes, still lifes, flowers and barns, on both large canvases and 4-by-4-inch canvases, in styles ranging from whimsical to realistic.
He is now semi-retired. Future plans include painting portraits inspired by family photos. “I’m not going to chase it anymore. I’ll let it come.”
Musselman is concentrating on a “leap of faith, a new chapter in life.”
For more information, visit huntlibrary.org/
art-wall/.
D.H. Callahan
“Butterfly in the Stomach” by Hanna Washburn at “Bugs!” part of Upstate Art Weekend.
Artist and curator Charlotte Woolf thinks bugs get a bad rap. Her new multimedium show at Foxtrot Farm and Flowers in Stanfordville seeks to change how people see these creepy-crawly creatures.
This time of year, there’s no way to escape the onslaught on bugs closing in from the wild. The little flyers and crawlers somehow penetrate even the tightest window screens. If there’s a crack in a floor board, it might as well have a big neon “Enter” sign. Like zombies from “Night of the Living Dead,” they approach with dispassionate determination.
But bugs aren’t just trying to make you squirm. Woolf’s show, “Bugs!,” highlights the underappreciated roles that insects, arachnids and myriapods play in our lives. They break down natural waste, serve as food for birds, reptiles, amphibians, fish and mammals, and pollinate about 75% of the food humans eat. Without bugs, our world simply doesn’t work.
To shine a different light on them, Woolf has enlisted more than 40 artists working in a wide variety of media, from fiber artists and tattooists to writers, sculptors and painters for a full weekend of art and activities.
The “Bugs!” show is part of Upstate Arts Weekend, an ever-growing celebration of the arts happening throughout the Hudson Valley. This year, the weekend kicks off on Thursday, June 25, at Olana State Historic Site, the estate of celebrated American painter Frederic Church, whose 200th birthday will be part of the celebration.
Events are being held all over the valley, including a dance party at Assembly in Kingston on Friday night. Beyond the official gatherings, Upstate Art Weekend is a chance to find new art and interact with artists and like-minded creative people.
The shows themselves are far too numerous to list. Even the official Upstate Art Weekend website has more information than a mere mortal could comprehend. But with a little determination, visitors can sift through filters to organize events by region, medium or price, though many of the shows are free to the public. There’s even a feature to help plot an itinerary, complete with recommended routes based on drive time, location and preferred pace, making it easier than ever to see as much art as the human heart desires.
For more info about Upstate Art Weekend, visit upstateartweekend.org and for more info on “Bugs!” visit foxtrotfarmflowers.com/events.

Want more of our stories on Google? Click here to make us a Preferred Source.

Want more of our stories on Google? Click here to make us a Preferred Source.