The Northwest Connecticut Food Hub connects regional farmers with wholesale customers, even during these winter months when local food is harder to come by.
Farmers list available items each week on the hub’s online platform — at this time of year mostly roots, squash, apples, mushrooms and greens. Restaurants, schools, grocery stores, and food pantries can go online and order aggregated items from multiple farms for delivery.
If one farm only has butternut squash left in storage from the fall harvest, another might be flush with arugula coming out of a winterized greenhouse, while another still has beets in the cooler. Alone, each crop might be hard to sell or hard to use, but put them together in a restaurant’s shopping cart through the Hub’s online platform and you have a winter salad special on the menu.
The Food Hub is a locally developed spin on a more typical industrial food distribution model where large farms that specialize in one item or another ship their crops to warehouses to be repackaged and trucked off to retail grocery stores or food service venues.
By the very nature of our region’s topography, farms are relatively small and far from customers. Valleys and slopes don’t make for wide, expansive fields, and quiet windy roads often set farmers at a distance from population centers. Growing a diverse range of crops is good for the soil and for business resiliency — if a crop is a flop one year, there are others that likely did well. All of these factors make for colorful, bucolic farm landscapes throughout Northwest Connecticut, but they also present local farmers with a significant marketing challenge, and local buyers with the significant logistical question of how to access fresh, local food.
The Food Hub began operations in 2017 as a project supported by the region’s economic development plan to help bridge these gaps between the unique growers we have in our region and potential customers. It is an initiative of the nonprofit Partners for Sustainable Healthy Communities, whose board oversees operations. Day-to-day management of the Hub falls to Renee Giroux, a farmer herself who knows firsthand the challenges and opportunities of farmers in the area.
“The Hub helps with distribution while lifting everyone up,” said Giroux. “It isn’t a place where farms are in competition with one another, but rather gives them an additional outlet to expand their businesses into.”
Photo by Janna Siller
Locally grown produce aggregated at the food hub for delivery to a local food pantry.
While some buyers, like restaurants and grocery stores, pay full wholesale prices for the farm products, others have their deliveries subsidized by different grants. The Hub cobbles together a number of funding sources to allow them to work with schools, food pantries and health care facilities. Ed-Advance, an education nonprofit, helps fund farm-to-school initiatives facilitated by the Hub. A community wellness grant allows diabetes patients to receive produce prescription deliveries through Hartford Healthcare. Community foundations support food pantry purchases.
“Individual farmers don’t have time to navigate all the potential funding sources that can help expand their markets,” said Food Hub board member Jocelyn Ayer. “That’s where the Hub comes in. We work with partners to secure funding for a wide range of projects.”
On a frigid December day, Susan Zappulla-Peters arrived bright and early at the Hub’s Torrington warehouse with a delivery of radishes and scallions from the farm her son manages, Maple Bank Farm in Roxbury. “The first time I delivered here, I was so inspired by what Renee is doing that I asked if I could help. Now I volunteer every week after I drop off Maple Bank’s produce.”
Zappula-Peters spent the morning receiving produce off farmers’ pickup trucks and compiling orders as generated onto lists by the online purchase platform. The pallets quickly filled up with food, including apples from March Farm in Bethlehem; carrots and cabbage from Vibrant Farm in Bantam; and sweet potatoes and potatoes from River Bank Farm in Roxbury. Zappula-Peters helped Giroux and driver Stuart Rabinowitz load a van headed for a delivery route that included Charlotte Hungerford Hospital, the Corner Food Pantry in Lakeville, and Fishes and Loaves Food Pantry in North Canaan.
“I love that this food, the best our region has to offer, is reaching people who wouldn’t otherwise be able to access it,” said Zappula-Peters in between moving pallets.
Laurie Fendrich and Peter Plagens at home in front of one of Plagens’s paintings.
“He was doing critiques with everyone,” Fendrich said of Plagens. “We met at one of those sessions and, well, what can I say. We fell in love instantly.”
Fendrich speaks candidly about the pressures that shaped her early life choices. “We both married the first time at 21, which a good number of women of my generation did without much thought.” Her first husband was a good guy, she says, but “we weren’t suited for each other at all, even though he suited my parents perfectly.” Her decision to get a divorce was seismic. “My mother didn’t speak to me for a year.” Time softened the rupture. “One day she told me, ‘I see now why you left.’”
Fendrich had a rigorous liberal arts education at Mount Holyoke. “I studied painting and drawing, but I also got interested in political philosophy. Plato, Aristotle, Machiavelli — Rousseau was my big guy — Tocqueville, everybody. And I still read them.” Plagens’s path was less formal. “I went to USC at 17,” he said, “and declared English as my major. It was a frat school, and I was in one for the first two years. Then I started doing the cartoons for the Daily Trojan, took a couple art classes, and thought, ‘Wait a minute, I like this.’”
Culturally, they diverged just as sharply. “I came from a fairly puritanical family that didn’t even go to the movies,” Fendrich said. Plagens, by contrast, grew up immersed in pop culture. “My father was an omnivorous reader,” he said, “and a jazz fan, and he shared these passions with me.” In 1966, Plagens walked into Artforum’s LA office and said, “I want to write reviews.” He was paid five dollars per piece. “Gasoline was 23 cents a gallon, so it went a long way.”
Over time, the couple slowly fused their educations. “He taught me jazz, I taught him Mozart,” Fendrich said with a laugh. “I’ve had a movie education from him; he read Jane Austen because of me.”
Plagens and Fendrich at home in front of some of Fendrich’s paintings. Natalia Zukerman
During their early years in LA, Plagens taught at USC, and Fendrich at Art Center College of Design. In 1985, they decided “our kind of abstraction would do better in New York,” as Fendrich put it. “So, we up and moved to Tribeca with $10,000 and a toddler.”
Both artists grounded their artistic careers in teaching and writing. “Teaching, which I loved, gave me the financial stability to be an artist,” Fendrich said, reflecting on her 27 years as a professor at Hofstra. “It meant that being an artist didn’t require I make money from every show. I didn’t start writing until 1999, but though I write for publication frequently, I make hardly any money at it.”
Artistically, they guard each other’s independence. “We have unspoken rules,” Plagens said. “You don’t comment on someone’s work while they’re in the middle of creating it.” Critique comes by invitation only. “He’s not mean, just direct,” said Fendrich. Over time, their aesthetics have subtly converged. “My work has gotten cleaner from looking at his,” she said. “He’s gotten more colorful because of me.”
The two have had several two-person exhibitions. At a recent duo show at the Texas Gallery in Houston “Laurie’s paintings flew off the wall,” Plagens recalled. “Me, well, not so much.”
Plagens’s parallel career in journalism shaped their lives in tangible ways. He worked as art critic at Newsweek from 1989 until 2003 and currently contributes reviews of museum exhibitions to The Wall Street Journal. “Being at Newsweek was one of the luckiest breaks I ever had,” he said. “They paid me to see things I would gladly pay to see.”
Their creative processes mirror their personalities. “I start with a specific idea,” Fendrich said, “and then modify things as I paint.” Plagens laughed. “I start with complete mush, just blurting it out and spending the rest of the time fixing it.”
In 2019, they made what Fendrich calls “a decision of contraction.” They left the TriBeCa loft they had lived in for three decades, sold their Catskills home with its large studio, and moved full-time to a former auto repair shop in Lakeville, now a house where each has a studio, and the ground floor retains the open feel of a loft.
What sustains them in life, art and love, decades in, are endless conversations — and arguments — about art, history, exhibitions, books and movies. That exchange, ongoing and rigorous, may just be the masterpiece of their shared life.
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Exterior of the Linde Center for Music and Learning.
“We have been thrilled and humbled to see the Tanglewood Learning Institute embraced as a year-round destination for a breadth of exceptional programming, including classical, jazz and family-friendly events,” said BSO President and CEO Chad Smith. “Our 2025–26 fall, winter and spring season reflects our deepening commitment to engaging the vibrant, year-round Berkshires community and to fully exploring the potential of TLI as a space where BSO programs make thought-provoking connections between music, art and society.”
TLI is once again presenting its Chamber Concerts series on Sunday afternoons, with small ensembles of BSO musicians performing familiar favorites and classic mainstays, as well as new music by contemporary composers. There are upcoming chamber concerts scheduled for Feb. 22, March 8 and March 15.
Interior of the Linde Center for Music and Learning.Hilary Scott, courtesy of the BSO
New this season is the TLI Jazz series, which continues March 20 with the Sullivan Fortner Trio, led by Grammy Award-winning artist and educator Sullivan Fortner, whose eponymous ensemble won the 2024 DownBeat Critics Poll for Rising Jazz Group. “Soul-sax sensation” Nick Hemp brings his free-blowing blend of “barroom excitement and modern jazz finesse” for a rousing night of soul jazz April 10. Rounding out the jazz series, and back by popular demand, is Grammy Award-winning trumpeter and singer Jumaane Smith, who brings his repertoire of jazz and American Songbook standards to the Linde Center on May 9.
Another season highlight comes April 12 with an animated live concert screening of the 3D stop-motion adventure film “Magic Piano.” Produced by the Academy Award-winning BreakThru Films production company in Poland, the film will be accompanied by a screening of “The Chopin Shorts,” a collection of animated films set to Chopin’s etudes, performed by pianist Derek Wang.
All performances take place in Studio E, the Linde Center’s 4,000-square-foot multiuse room that serves as TLI’s main performance and event space. It features retractable seating, acoustic and technical systems, flexible configurations, and is accessible and comfortable for all patrons.
The entire Linde Center for Music and Learning is worth a visit in itself. The complex, which also includes the informal Cindy’s Cafe (seasonal) for a quick bite, is conceived not as a single building but as a cluster of pavilion-like spaces connected by an outdoor covered walkway and arranged around a century-old red oak tree. The center promotes a welcoming and serene sense of place and continuity with the rolling Tanglewood lawn and surrounding woodlands.
Smith said, “This ongoing work is also a passion project for our musicians, who form deep ties to the area and are eager to remain active in the Berkshires beyond the summer months. We look forward to welcoming new and returning audiences to experience all that TLI offers — all year long.”
The Tanglewood Learning Institute is located at 3 W. Hawthorne Road, Lenox, Mass. For more information and to purchase tickets,
visit bso.org/tli.
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