“A generation from now, this solar heater can either be a curiosity, a museum piece, an example of a road not taken, or it can just be a small part of one of the most exciting adventures ever undertaken by the American people — harnessing the power of the sun to enrich our lives as we move away from our crippling dependence on foreign oil.” President Jimmy Carter, June 20, 1979
NORFOLK — In 1979, at the height of a national energy crisis when OPEC countries limited the flow of oil to the West, U.S. President Jimmy Carter began a federal initiative to jumpstart the development and use of alternative energy. The goal of “Solar America” was that 20% of America’s energy would be renewable by the year 2000. Carter had solar panels installed on the roof of the White House to heat the water used in the West Wing.
Norfolk’s Tom Strumolo was on the original team that installed the 32 solar panels. He was part of a band of young, long-haired New England solar energy mavericks who made history.
As a recent Yale graduate, Strumolo was working in the new Energy Department in Hartford where he met Gordon Priess from Mystic, Connecticut. He was “a heat transfer guy who designed water heaters, and became chief engineer of the White House project,” according to Strumolo. They learned the White House was taking bids for a big solar installation, and their $50,000 bid was accepted.
Ed Butler, a Connecticut native, joined the crew. Butler and his partner Rick Schwolsky founded Sunrise Solar Services in Vermont in 1976. They gathered friends with skills necessary for the project. Students from a Groton, Connecticut, technical school welded the steel framework. They transported it to DC on a flatbed truck. The General Services Agency (GSA) installed 1” plywood to protect the entire White House lawn. A massive crane rolled in to lift the entire structure to the roof of the West Wing.
Strumolo laughed, recalling that security was very tight. “Our Secret Service detail told us ‘We shoot to kill,’ so we did not mess around.” They had sniffer dogs checking them out each day. When President and First Lady Rosalynn Carter climbed to the roof for an official photograph, Strumolo warned the President the paint was still wet on the metal. Carter said, “I am not going to mess up your paintjob!” Strumolo was more concerned about the President’s suit.
President Ronald Reagan had the solar panels removed from the White House in 1981. The parts were stored for years in a warehouse. The Reagan Administration reduced Carter’s renewable energy program by 90%. Half of the White House solar panels were moved to Unity College in Maine where they heated the water in the dining hall for 12 years. Some of the original solar panels reside in the Carter Museum and the National Museum of American History.
Tom Strumolo of Norfolk, founder Energy General LLC, was on the crew that installed solar panels on the roof of the White House for President Jimmy Carter in 1979.Jennifer Almquist
Jody Bronson, forester emeritus of Norfolk’s Great Mountain Forest (GMF), recalled, “Ed Butler’s team installed the solar panels on the White House for Jimmy Carter. My wife Jean and I have three of the panels that were supposedly installed on the White House. We can’t confirm this. In 1990 they were installed on our home in Falls Village by Ed Butler. The panels are still functional and have provided all the domestic hot water for our house for 35 years! If more households in our area had done this 30 or 40 years ago, think about how much energy they could have saved.” Bronson said there is a treasured can of “Billy Beer” in the Forestry Office at GMF.
Butler reminisced, “I was really excited when we won the bid to work on the solar project at President Jimmy Carter’s White House. It was such a great opportunity for a relatively small New England solar company. It was something I believed so strongly in and was proud to have been a part of it. Since 1976, we have done several hundred solar jobs in New England.”
Strumolo remains committed to “creating adequate and equitable responses to our changing climate.” He wrote “Decentralizing Energy Production” (Yale Press, 1983) and was a driving force behind the recently installed 13-acre solar array at the town’s transfer station. His energy audits have been used in thousands of buildings. After fifty years Strumolo is “still working, still on the path Carter inspired me to follow. There is so much work left to be done.” In 2008, artists from the Kunsthaus in Zurich created a film, “A Road Not Taken”, which will be shown at the Norfolk Library Feb. 15.
In the words of the late President Jimmy Carter, “Pessimism did not build America, it was built with vision, faith, and hard work. It is time to pull ourselves out of our national doldrums, to recognize our great untapped potential and resources, to build a more prosperous, self-reliant future.” Had the original solar panels remained in use on the White House they could have saved 20,000 gallons of heating oil.
First Lady Rosalynn Carter, Jim Butler (blue shirt), Ron Chick (with the hat), President Carter, Warren Herlein (with beard), Tom Strumolo (yellow shirt), Gordon Priess (sunglasses) with the newly installed solar panels on the roof of the White House in 1979.Photo provided by Tom Strumolo
KK Kozik in her studio
It is a particularly fitting philosophy for an artist whose paintings often begin with the world around her but rarely end there. There might be something recognizable — a stone wall, an apple tree, a crow — but then there is something less certain. Something that appears to be one thing becomes another upon inspection. Memory gets involved. So does imagination. So does time.
Since moving from New York City to Sharon, Connecticut in 2006, the landscape around her has become increasingly important to that process.
“I just saw things differently,” Kozik said.
The change was not immediate. She remembers an earlier version of herself driving through Vermont without paying much attention to what was happening beyond the windshield.
“I didn’t have the means to see what was happening around me,” she said. “I just sort of la, la, la, la, la, driving to Vermont.”
But, she said, she started to pay attention differently.
“I became more sensitized as time went on,” she said.
Asked whether that change came with age, she said, “Age and so-called wisdom.”
There’s a sense of loss in her landscapes, but a particular kind of loss that also has a twinge of redemption. Specifically, what happens to a landscape when people leave it?
“When the people go away, the wildlife comes back,” Kozik said.
KK Kozik in her studio with her painting “Golden Delicious.”Natalia Zukerman
Kozik’s work has never settled into a single recognizable formula. She has painted landscapes, figures and still lifes, moved toward abstraction and returned to representation. Her subjects change, but the underlying impulse remains: to take what is in front of her and discover what else there might be.
Kozik describes herself as someone who is always trying to figure things out. Her paintings often have the feeling of a thought in progress rather than a conclusion. They have been called “single-line novellas,” a description that makes sense: They can contain the suggestion of an entire story without telling you exactly what happened.
The animals are part of that storytelling.
They arrived partly because of what was disappearing.
“They were like the new redemption in a way,” she said.
There is something almost funny about the way Kozik talks about this — not because the loss itself is funny, but because she refuses to turn it into a grand pronouncement. She observes something, considers it, and lets it complicate the work.
That same sensibility comes through when she talks about her own development as an artist. Her paintings make room for interpretation. They don’t always tell the viewer what an animal symbolizes, or why a landscape has been altered, or where a particular image came from. Instead, they leave enough evidence to make you curious and enough room for your own stories.
The effect is not accidental. Kozik has spent years thinking about how images work, both as paintings and as containers for ideas.
Her work is currently included in “The Naturalist,” a group exhibition on view through Sept. 13 at Kenise Barnes Fine Art in Kent, alongside Richard Klein, Sally Maca, Rick Shaefer and Tricia Wright. The exhibition brings together artists whose work engages with the natural world, including its forms, histories and mysteries.
Kozik is an especially apt fit for the exhibition. She is described by the gallery as a landscape painter, figurative painter and interiors/still-life painter whose work frequently moves toward painterly abstraction. Her practice, the gallery notes, is “fluid and continuous” — always searching for new pictorial problems to solve.
That search has also extended beyond her own studio.
For several years, Kozik ran ICEHOUSE Project Space, an 18th-century icehouse on Sharon’s town green that she transformed into an unusual venue for contemporary art. It opened in 2018 with Dan Devine’s “Inside-Out NASCAR” and went on to host site-specific projects by artists including Mark Dion, Eric Aho, Janet Biggs, Richard Klein, Kristin Jones, Lisa Hoke and Ryan Frank. The projects addressed everything from the decline of winged insects and native and invasive plants to Sharon’s iron industry, its gardens and its history as an ice-producing community.
The space is now closed, but its premise still feels connected to Kozik’s painting practice. Each project responded in some way to the physical location, turning what might otherwise have been a little historic outbuilding into a setting for contemporary art.
Kozik’s own work does something similar with the landscape. She takes a place and lets it become more than a place.
Kozik’s paintings tell us that something happened before we arrived, and that something will happen after we leave.
And then there is the question of what to do with the space in between.
Maybe Kozik’s paintings are less about that space and more about an idea, as she put it, of “which questions to think about.”
Jazzmine Bone and A Stitch in Tyme power through the Gambler’s Choice run during the 2024 Lakeville Open.
The event, which has been held continuously for 69 years, is open to the public with free admission.
Individual competitions will run from 8 a.m. to 5 p.m., and visitors can stop by briefly or settle in for the day.
A food truck, bake sale and portable restrooms will be available on-site.
The show is the primary fundraiser for The Lakeville Pony Club, with proceeds supporting young riders who need financial assistance to participate in lessons. Members and their families work throughout the year to create the event for both competitors and spectators.
Members of the Lakeville Pony Club and Echo the pony arrive for the costume class during the Lakeville Open in 2024.Caitlin Von Graf
For those new to horse shows, the day offers a chance to learn more about the sport and understand what happens in the ring. In equitation competitions, judges evaluate the rider’s skill, from beginners learning walk and trot to more advanced riders navigating cantering and jumping courses.
Hunter competitions focus on the horse’s style and smoothness over fences, while jumper classes emphasize accuracy and speed as horses and riders race against the clock without knocking down rails.
The day also includes a crowd favorite: the costume class, where horses and riders dress up in creative ensembles for a chance at the top prize.
Programs will be available onsite to help spectators identify competitors and horses. A full list of competitions, entry information and details for those interested can be found at rigameadow.com
Whether an experienced equestrian or simply curious about the sport, the Lakeville Open Horse Show offers a chance to enjoy a Hudson Valley tradition that continues to bring the community together.
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