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CIA veteran John Lauder drew on his experience in intelligence and arms control monitoring for a program at the Kent Town Hall Saturday, March 9. Seated is Kent native Sarah Chase, who served as moderator for the discussion.
Leila Hawken
CIA veteran John Lauder drew on his experience in intelligence and arms control monitoring for a program at the Kent Town Hall Saturday, March 9. Seated is Kent native Sarah Chase, who served as moderator for the discussion.
KENT — The threat and the reality of nuclear proliferation around the world drew the interest of Kent residents presented with a pair of events sponsored by the Kent Memorial Library.
A screening of the Oscar-winning film “Oppenheimer” was held at the library Friday, March 8, well-timed in advance of the Academy Awards programming scheduled for the following Sunday.
The film showing was scheduled as a companion to a talk Saturday, March 9, at the Town Hall that drew an audience of 50 residents to hear CIA veteran John Lauder recount his experience in intelligence and arms control monitoring. Serving as moderator for the program was Kent native Sarah Chase.
Titled “The Oppenheimer Legacy: Nuclear Threats, Deterrence, and Arms Control in Today’s World,” Lauder’s focus, guided by Chase, was just that.
Using the film as a springboard to discussion, and in reply to Chase’s first question, Lauder said that the movie raises new important questions about the impact of the spread of nuclear weapons around the world.
“This will not be a feel-good talk,” Lauder cautioned his audience.
“If Oppenheimer came back, he would be astonished that 80 years have passed and we haven’t blown up the world, nor have we had major conflicts between nuclear powers,” Lauder said.
“It’s still a very scary world,” Lauder noted, adding that with the spread of nuclear capability to other countries including North Korea, Iran, India and others, “a world free of nuclear weapons is now perhaps out of reach in the modern day.”
“It’s not that nuclear war is unimaginable; it is not imagined enough,” he said.
About national security, Lauder said that during the 1980s, when the U.S. and Russia were the sole powers with massive nuclear stockpiles, the state of affairs was “perilous but predictable.”
Now, nuclear weapons have proliferated in other more volatile regions, Lauder explained.
As for artificial intelligence and cybersecurity, they can complicate nuclear deterrence, Lauder said, opening the possibility of tampering with signals that could warn of an impending attack.
“There is good news and bad news in all of these advances,” Lauder warned.
When the floor opened to audience comments and questions, the Kent audience rose to the moment with well-informed questions. Topics included the environmental and health effects surrounding the handling of radioactive materials at Los Alamos in New Mexico, growing global mistrust of government entities, polar divisiveness among peoples, and the threat of nuclear war breaking out because of a mistake or miscalculation.
“I love the town of Kent,” Lauder said of his first visit to the town, noting that he had worn a nuclear physics-themed necktie for the occasion. In conversation following the program, he said that he has another tie from Great Britain depicting swords being beaten into plowshares, but the designer leaves in doubt whether it might be the other way round.
Lauder and Chase are alumni of Hiram College in Hiram, Ohio, home of the James A. Garfield Center for Public Leadership, founded by Lauder to prepare students for careers in public service. The center is named for President Garfield, also a Hiram graduate, who served as an early head of school.
Lauder is now associated with the Wisconsin Project on Nuclear Arms Control.
Indoor track BL champs
Housatonic Valley Regional High School senior Kyle McCarron’s 1600-meter time of 4:30.31 earned him second place in this year’s indoor state meet. He was within two seconds of first-place finisher Matthew Kraszewski from Nathan Hale-Ray High School.
McCarron was one of eight runners to represent HVRHS in the 2025 Connecticut Interscholastic Athletic Conference Class S indoor track meet at Floyd Little Athletic Center in New Haven Feb. 15. In addition to his 1600-meter silver medal, McCarron placed sixth in the 3200-meter run.
For the HVRHS girls, Mia Dodge placed fifth in the 55-meter hurdles. Dodge also placed fifth in the sprint medley relay with teammates Gabi Titone, Harper Howe and Kenzie Lotz. Howe placed eighth in the 600-meter race. Titone placed 10th in the 1600-meter race.
Patrick Money placed 10th in the boys 55-meter hurdles and 25th in the long jump. Money, Kyle McCarron, Silas Tripp and Peter Austin placed 12th as a team in the sprint medley relay.
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 Saturday, Feb. 22, 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 Saturday, Feb. 22, and runs through April 6. For more information, visit www.hotchkiss.org.
This story has been updated to reflect a change in the scheduled opening date due to forecast extreme weather conditions.
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.