Tom Zetterstrom receives award for work managing invasive plant species

Tom Zetterstrom, behind podium, was honored at the 12th Biennial Connecticut Invasive Plant Working Group Symposium on Tuesday, Oct. 29.
Alec Linden

Tom Zetterstrom, behind podium, was honored at the 12th Biennial Connecticut Invasive Plant Working Group Symposium on Tuesday, Oct. 29.
STORRS, Conn. — “Tom Zetterstrom is a name that has become synonymous with advocacy,” said Jessie Mehrhoff-Peters while introducing the Leslie J. Mehrhoff Award, named after her father.
Zetterstrom, a North Canaan nature photographer and tree preservationist, received the honor at the 12th Biennial Connecticut Invasive Plant Working Group Symposium on Tuesday, Oct. 29. A crowd of naturalists, educators, and policy-makers filled the venue, a large auditorium at the Universtiy of Connecticut Student Union in Storrs, Connecticut, as Zetterstrom received the accolade.
“It’s the most tasteful award I’ve ever seen,” Zetterstrom said, holding the engraved slab of dark Connecticut cherry wood up for the audience to see.
The award is granted to individuals, groups or organizations that have demonstrated leadership in invasive plant management in Connecticut. Mehrhoff-Peters upheld in her introduction that her father, a renowned botanist and co-founder of the invasive plant group who died suddenly in 2010, was also a teacher. “Tom embodies this spirit of mentorship in his own work,” she said.
Mehrhoff-Peters listed Zetterstrom’s many accomplishments fighting invasive species in the Northwest Corner, including saving nearly 200 trees from invasive bittersweet on the Sharon Land Trust’s Hamlin Preserve and fighting Japanese knotweed in North Canaan. She also lauded his marriage of art and environmentalism, saying that his photographs and illustrations “serve not only as scientific documentation but artistic expression.”
“You embody the essence of this award,” she said to Zetterstrom as he sat at the front of the crowd.
After receiving the plaque, Zetterstrom gave a prop-intensive speech that was appropriately educational rather than self-laudatory. He used his brief stage time to relay the necessity of using more powerful — and more controversial — measures to combat invasive species spread, such as the use of herbicides.
“Nature can no longer take care of itself,” he said. “Human intervention has become essential.”
He showcased his arsenal of invasive species management tools to the crowd, including a “buckthorn blaster,” a tool used to apply herbicide to cut stems. He also held up calf-thick cross sections of bittersweet vines recently taken from the Hamlin Preserve.
“I have become a supporter of open carry,” he said to a flurry of laughs from the crowd, referencing the tool kit he keeps on hand to combat such formidable adversaries.
Zetterstrom said in a follow-up interview that his goal in his acceptance speech was to bring his experiences at the Hamlin Preserve to the Symposium audience. He said that the work that he and the land trust’s robust team of volunteers has been doing is “grabbing these trees from the brink of bittersweet death.”
He relayed a story to the crowd about his work saving a Chinkapin Oak on the land trust’s Mary Moore preserve from bittersweet. The tree, which was declared a state champion of its species by Connecticut Notable Trees, “would have been dead five years later” if not for the work he and a group of volunteers put into freeing the tree of bittersweet, he said.
Bittersweet, he said, poses an existential threat to New England’s forests, and must be addressed forcefully. “These are the trees and forests that we’re counting on to capture and store carbon, not topple and rot,” he said.
Christian Allyn, who owns and operates the company Invasive Plant Solutions out of North Canaan and who presented at a later session at the Symposium, agreed that herbicides were a major theme of this year’s conference.
“It’s not a question,” he said, referencing the necessity of using herbicides in today’s fight against invasives.
Zetterstrom expressed that many environmentalists have historically shied away from herbicide use due to concerns about ecosystem impacts, but his presentation emphasized the need for a shift in perspective. It seemed to work: Zetterstrom said that an herbicide skeptic approached him after the speech, telling him, “you may have convinced me.”
“Les Mehrhoff was not only a scientist and researcher, but an educator,” Zetterstrom said. “I’d like to think that my presentation was in the spirit of his profession.”
Joe Brennan
The Edgewood Restaurant, a beloved Amenia roadside restaurant run by George and Anne Phillips, pictured during its peak years in the 1950s and ’60s.
With the recent death of George Phillips at 100, locals are remembering the Edgewood Restaurant, the Amenia supper club he and his wife, Anne Phillips, owned and operated together for more than two decades.
At the Edgewood, there were Delmonico steaks George carved in the basement, lobster tails from an infrared cooker, local trout from the stream outside the door, and a folded paper cup of butter, with heaping bowls of family-style potatoes and vegetables, plus a shot glass of crème de menthe to calm the stomach when the modest check arrived after dessert.
It began as a former gas station and tavern called The Narrows, on the road to Sharon, around a switchback east of Troutbeck. It became a roadhouse restaurant for weddings, bar mitzvahs, proms, graduations, birthdays and holidays with relatives. At Easter, New Year’s and Christmas, George and Anne served the food free — customers only paid for drinks as a thank-you for another good year.
It was a different time. Amenia was an isolated dairy farming community, and two large state psychiatric hospitals employed 4,000 potential diners. People needed a friendly neighborhood restaurant run by a local couple who knew everybody. They offered special-occasion favorites: fried chicken, meatloaf, sliced turkey with gravy, pork chops from nearby farms, and fresh white bread baked at 4 a.m. by George.
There was no maître d’. Waitresses, many still teenagers, greeted guests and helped them find a table. Cloth napkins and sturdy white plates sat in a knotty pine dining room that felt more like a family home than a formal restaurant. Large tables down the center accommodated families. George and Anne fed the staff before opening, and everyone ate the same meals served to customers. Everything was homemade classics of the 1950s and ’60s: cold shrimp and cocktail sauce, stuffed mushrooms, veal parmesan, King crab, clams and oysters on the half shell, chopped hamburger steak, French onion soup, fried chicken and pumpkin pie.
George was a tough but fair boss with a quirky sense of humor. Former employee Kevin Rooney, who worked there as a teenager, recalled being served a hot fudge sundae on a sweltering day — only to discover the “ice cream” was Crisco. Revenge came later in the form of a Coke spiked with Tabasco sauce.
George also kept a series of German shepherds — Rinny, Schultz and Dooley — named after a Jonathan Winters routine featuring talking beer steins. The dogs were locked inside at night for security. Tony Robert, another former employee, remembered coming in one day to find Schultz with the seat of someone’s pants in her jaws. When kids tried to sneak into a dance through the bathroom window after the fire marshal had closed the overcrowded place, George put Rinny in the restroom. Problem solved.
Anne also ran a no-nonsense operation. She marked liquor bottles at night so no one would sneak a drink, though the cleanup crew found ways around it, sipping the blackberry liquer instead. Along with cooking and baking everything from scratch, she raised their children in a life closely tied to the restaurant. The bus dropped their daughters off there after school, and one recalled doing homework while the family spent more time in the restaurant than in their nearby home.

After 23 years of long hours — often more than 100 a week — George began stepping back, at times closing the restaurant to recover. He later moved into real estate and Anne opened a successful craft store.
George sold the place in 1972. At one point, it became a lively beer joint and concert venue, featuring local bands, such as Random Concept, Little Village and Good Friend Coyote. When New York lowered its drinking age to 18 — while it remained 21 just across the state line — it drew crowds from Connecticut. Locals called them “Connecticut Rags,” kids with fancy cars who came to dance, drink and sometimes fight, rocking the floors so hard they bounced like a trampoline and shook dust from the rafters.
At closing time, they had to dodge police waiting across the state line. Sometimes Jack Rooney, Kevin’s father and the bartender, drove them home. One morning, Betty Rooney got a call from a worried mother asking if her son was there. “If he’s wearing red tennis shoes,” she said, “he’s asleep on my front lawn.”
The Edgewood also drew actors from the Sharon Playhouse and notable visitors, including Paul Newman, Cole Porter and even Supreme Court justices. George showed silent movies on a sheet in the dining room, and guests could dance to the Les Schulman Orchestra or to George and his brothers, who had their own band.
It served as a gathering place for groups such as the Eastern Artificial Insemination Cooperative and for events like the Knights of Columbus Communion breakfast. Families marked milestones there — including one that celebrated five birthdays at a Palm Sunday brunch in 1970.
Christmas dinner cost $3 and included stuffed olives, roast pig, prime rib, Virginia ham, deep-sea scallops, Long Island duck, creamed onions and, of course, crème de menthe parfait. On New Year’s Eve 1959, dinner was $15 a couple — $7.50 each for all the champagne you could drink.
The venue came to an end when the building burned to the ground in 1985.
The building is gone, but not the memories — the laughter, the music, the meals, and George carving steaks by hand. He lived a century, but the Edgewood, for those who knew it, was timeless.
Next time you’re driving to Sharon and pass the empty, weedy lot with a rusty electric meter, imagine calling George’s old number to make a reservation for a place that lives on in memory.
Robin Roraback
Alissa DeGregorio, a New Milford -based artist and designer, has pieces on display at Mine Hill Distillery.
When I’m designing a book, I’m also the bridge between artist and author, the final step that pulls everything together.
— Alissa DeGregorio
A visit to Alissa DeGregorio Art, the website of the artist and designer, reveals the multiple talents she possesses.
Tabs for design, commissions, print club, and classes still reveal only part of her work.On the design page are examples of graphic and book design, including book covers illustrated by DeGregorio, along with samples of licensed products such as coloring pages and lunch boxes, and examples of prop design she has done for film.
The commissions tab includes samples of her pet and house portraits, as well as a new endeavor: wedding bouquet portraits.
“I love painting flowers and it’s a great way to forever preserve such an iconic part of a bride’s special day,” she said.
A shopping tab offers paintings, prints, and calendars for purchase.
Other tabs highlight the classes she teaches at the New Milford Public Library and another new venture:
“I’m starting a print club called ‘Root & Wing’. Each month, I’ll release an animal - or plant-themed – painting as a mailable 5-by-7 print with an accompanying information sheet, meditation and herbal recipe. People can purchase just one month or subscribe for the year,” DeGregorio explained.
DeGregorio considered a career in music.“My dad was a musician, always playing trumpet, piano, guitar or saxophone. As a teenager, I took quickly to the guitar and began writing my own songs, performing on my own and with a band. I thought music would be my path until my mid-twenties, when my focus switched to art.”
She recalls a childhood surrounded by art. “My mom was also an artist, creating detailed pen-and-ink drawings. Artist was the first thing I knew I wanted to be when I grew up and it was never discouraged. As a little kid, I would draw beside her, sculpt with homemade play doh, craft, crochet or paint.”
After graduating from high school in New Fairfield, Conn., and attending Naropa University in Colorado to pursue fine arts and Buddhism for a time, she returned to Connecticut to finish her degree at Western Connecticut State University. “When I was close to completing an illustration BA, a professor encouraged me to stay the extra year and double major in graphic design.”She said the extra time gave her “a strong foundation in design and storytelling. Experience in so many different creative fields has guided my practice and allowed me to pursue many avenues of art-making.”
Her mother, besides being an artist herself, runs Storybook Arts, an agency representing children’s book illustrators. DeGregorio has sometimes helped out. “I’ve always loved children’s illustration; there’s nothing better than a beautifully illustrated story. I had an insider’s eye to the nuts and bolts of the illustration business early on, and that taught me about pricing, contracts, the illustration process and also how to be business savvy but kind.”
DeGregorio likes working with authors who self-publish.She has done this both as a designer and an agent. “When I’m designing a book, I’m also the bridge between artist and author, the final step that pulls everything together. A good agent not only keeps track of timelines and contracts but is a supportive and encouraging ally to the artists they represent.”
An interesting aspect of her many talents is creating props. “I’ve done some prop work for TV and movies, such as handwritten lyric sheets for the upcoming Michael movie, or document and book props for Stranger Things. Those are fun for the wow factor!” she explained.
Of the classes she teaches, she said, “Teaching is enjoyable in that I’m helping to inspire people to have confidence in their own creativity. Watching students leave my classes feeling more joyful is its own reward.”
“I’ve been teaching adult painting classes at the New Milford Public Library for about four years now. I recently taught a series focusing on painting emotions. We talked about what the emotion meant to us, and how to represent that visually. For kids, I try to focus on process art and skill building through an activity, like designing a mythical map or board game, or Herve Tullet-style workshops.” DeGregorio has several classes ongoing through the summer.
DeGregorio’s paintings are on display at Mine Hill Distillery in Roxbury, with an artist reception on May 2 from 5 to 7 p.m. Her husband’s band, Gumbo, will play at the reception.
From May 15 to 17, DeGregorio will be at Goat Days in New Milford, where she will have art for sale.
To find out more about Alissa DeGregorio Art and all that she offers, go to alissadegregorio.com.A link to sign up for classes is also available on the site.
DeGregorio feels fortunate to have followed a path to being an artist. “I love it all and can’t believe some of the things I’ve gotten to do. I look forward to what the future may hold.”
D.H. Callahan
Minimalist works by Agnes Martin on display at Dia:Beacon.
At Dia:Beacon, simplicity commands attention.
On Saturday, April 4, the venerated modern art museum — located at 3 Beekman St. in Beacon, NY — opened an exhibition of works by the middle- to late-20th-century minimalist artist Agnes Martin.
Martin, the Canadian-born New York and New Mexico resident who died in 2004, made the kind of ambiguous abstract art that inspires countless imitators and interpreters.
At first glance, most of the pieces in the new show, “Painting Is Not the Act of Painting,” (on display until June 22) are variations on simple lines and grids painstakingly applied by the artist’s own hand using paint and pencil.
Despite their relative simplicity, it took Martin years of rejecting her own artwork to reach this level of pure abstraction. She would often take knives to paintings she didn’t like, literally slashing work that didn’t live up to her expectations. It wasn’t until she was in her 50s that she began making the work she would become known for.
That evolution is reflected in the exhibition’s 24 works.
Dia:Beacon seems like a perfect place for them. The museum is a monument to simplicity. Even the most complicated pieces are abstractions in their own ways. A straight, unpainted plywood wall with diagonal backing by Donald Judd suggests a room under construction. Michael Heizer’s singular ovoid boulder embedded into a gallery wall strikes unease into visitors.
Subtle grids and softly layered lines by Agnes Martin draw the eye at Dia:BeaconD.H. Callahan
Martin’s pieces feel at home here. In the context of such visual, if not conceptual, simplicity, her art seems louder than it might in almost any other setting. Faint blue and peach stripes gain vibrancy when compared with the all-white canvases of Robert Ryman or the large gray mirrors of Gerhard Richter, both a few rooms away. By comparison, the visibly human-drawn lines of pencil or etched-out paint seem almost complicated, and technically masterful.
It’s enough to make you ponder the name of the exhibition, “Painting Is Not the Act of Painting,” pulled from a quote by Martin: “Painting is not making paintings; it is a development of awareness. And with this awareness, your work changes, but very slowly.”
In a world where studio assistants and fabricators contribute to the output of many artists, Martin relished the act of painting. She painted nearly every day of her adult life. For her, the process was an integral part of the work, and it’s hard to look at these pieces without appreciating her hand.
This repetitive study is also demonstrated across the hall in a gallery dedicated to a single work by Andy Warhol. The piece, “Shadows,” is a study of variations on a single subject. Warhol took photos of shadows in his office and, using a silkscreen process, painted them 102 times on identically sized canvases.
Walking into the room, it may seem like the same image repeated. On closer inspection, the canvases vary widely in color and composition. The work suggests that repetition can produce unexpected forms.
Agnes Martin has become enshrined as one of the leaders of the minimalist movement of the 1960s and ’70s. Her work and artistic philosophies have inspired countless admirers. This exhibition displays a selection of important pieces from nearly 50 years of practice.

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Robin Roraback
Hunt Library in Falls Village will present a commemorative show of paintings and etchings by the late Priscilla Belcher of Falls Village.
Priscilla Belcher, a Canaan resident who was known for her community involvement and willingness to speak out, will be featured in a posthumous exhibition at the ArtWall at the Hunt Library from April 25 through May 15.
An opening reception will be held from 5 to 7 p.m. on April 25. The show will commemorate her life and work and will include watercolors and etchings. Belcher died in November 2025 at the age of 95.
Christian Allyn, a close friend, said Belcher largely kept her creative work private. “Priscilla was a very private person. She kept her painting and writings to herself and only a few close family members,” he said, noting that she was self-taught.
After Belcher suffered a fall in 2024, Allyn and her neighbor, Gail Sinclair, prepared her home for her return. “During this process is when Gail and I began to uncover the volumes of art that Priscilla did throughout her life,” he said.
Belcher was born in 1930 in the Huntsville section of Canaan, the youngest of 10 children. Her family struggled during the Great Depression. “She could remember the entire family splitting one cabbage for dinner,” Allyn said. Her father died when she was nine.
She graduated from Lee H. Kellogg School, when it was still located at the Hunt Library building, and went on to graduate from Housatonic Valley Regional High School (HVRHS).She married John Belcher, foster son of local landowner Dorothy Haven, and moved in 1952 to a house in South Canaan that Haven gave them, near the South Canaan Meeting house, the “Little Red House.”
Years later, Belcher sold the home to help cover legal expenses for her neighbor, Peter Reilly, who was wrongly accused of killing his mother while a student at HVRHS in the 1970s.
Allyn described Belcher as part of a generation shaped by hardship. “Priscilla was one of the last living examples of the greatest generation,” he said. “Through that struggle, her tenacity and character were formed, which helped shape Canaan and the wider region into what it is today.”
He added that her advocacy ranged from pushing for pollution controls at the Falls Village landfill to calling for reforms in Region One schools. “Her willingness to put her house up to pay for Peter Reilly’s legal expenses, consistent advocacy of pollution controls … and reform to Region One in 2010 led this area into a far better place,” he said.
Belcher worked as a bookkeeper for the Lakeville Journal and Geer Nursing. After 1978, she devoted her time to gardening, documenting local history, refinishing furniture, attending town meetings, supporting people in recovery, and developing her painting and writing.
“She had a very hard life and often upset other people while she was intending to do good,” Allyn said. He recalled a conversation near the end of her life: “She said to me in her last days, ‘You know, I think I went a little too far with what I did in Falls Village,’” referring to her outspokenness. He added that after reflecting, “her entire outlook changed.”
The opening reception will be a celebration of Priscilla Belcher’s life, art, and legacy. All are welcome.
For more information visit www.huntlibrary.org/art-wall
Ruth Epstein
The sounds of Argentine tango and Jewish folk traditions will collide in a rare cross-cultural performance April 25 and 26, when Berkshire’s Crescendo presents the choral program “Stepping Into Song.”
Christine Gevert, Crescendo’s founding artistic director, described the concert as “a world-class, diverse cultural experience” pairing “A Jewish Cantata” with Martin Palmeri’s “Misa a Buenos Aires.”
For Gevert, who was raised in Chile, the program fulfills a passion for bringing Latin American music to the region.
Palmeri will travel to the Berkshires to conduct and accompany his own works in collaboration with Gevert. Born in Buenos Aires, he is not only a composer but also a conductor and pianist known for integrating tango rhythms into classical choral and orchestral forms.
Billed as the biggest concert of Crescendo’s season, “It is not your traditional choral concert,” Gevert said, describing it as monumental. “The two main works on the program are a fusion of sacred, traditional choral music and the dramatic, pulsating rhythms and lush harmonies of Argentine tango. ‘A Jewish Cantata’ is a unique new work that merges Yiddish and Hebrew folk songs with traditional choral writing and Piazzolla-style tango.”
The messages presented go beyond current political ideologies, she said, and are instead universal. She said she commissioned the work to honor her roots and connect to Jewish people.
The performances will feature the Crescendo Chorus, the Manchester Community College Chorus, and Mexican-born soloist Nadia Aguilar, a soprano, scholar and educator.
The two main instrumental soloists are Argentine bandoneon player Rodolfo Marcelo Zanetti and Alexander Kollias, principal clarinetist with the Hartford Independent Chamber Orchestra.
An ensemble of strings led by New York City-based Brazilian violinist Edson Scheid, along with piano performed by both Palmeri and Gevert, will provide the instrumental accompaniment. Palmeri and Gevert will share the conductor’s podium.
Gevert formed Crescendo in 2003 to bring high-level choral music to a region that lacked the offerings found in larger urban areas. The group combines 20 to 30 chamber chorus members with a strong pool of paid professional musicians.
“Stepping Into Song” will take place at 7 p.m. Saturday, April 25, at Trinity Church, 484 Lime Rock Road, Lakeville, and at 4 p.m. Sunday, April 26, at Saint James Place, 352 Main St., Great Barrington. Tickets and workshop registration are available at crescendomusic.org.
Crescendo’s concerts are partially funded by support from the Connecticut State Department of Economic and Community Development, WMNR Fine Arts Radio and NBT Bank.
Debra A. Aleksinas
SALISBURY — As millions tune in to the Kentucky Derby at Churchill Downs on May 2, a spirited local tradition unfolds in Salisbury, where the pageantry, fashion and excitement of race day are recreated — with a community purpose.
For the past six years in the Community Room at Noble Horizons, all eyes turn to the big screen as the crowd settles in, drinks in hand and anticipation building. Women in elaborate Derby hats — bursting with oversized silk flowers, feathers and playful cutouts — mingle with men dressed for the occasion in crisp jackets and bow ties, fedoras and the occasional red rose on a lapel.
As post time nears, the room quiets, then hums with nervous energy. When the horn finally sounds, the crowd erupts. The next two minutes determine which thoroughbred will be ceremoniously draped in a blanket of roses.
“They definitely take it to heart,” said Salisbury Rotary Club President Bill Pond of the local revelers. “It’s just tile and bricks here, but when they’re waiting for that horn to go off, it feels like the real thing in Kentucky.”
The club’s annual Kentucky Derby Social has become the Rotary Club’s signature fundraiser, blending high-spirited fun with a deeper purpose: supporting neighbors across the Northwest Corner.
Proceeds from the event support local food banks, student scholarships, backpacks and clothing for back-to-school programs, as well as nonprofit groups serving residents in need.
Between sponsorships, a silent and live auction, ticket sales and monetary donations, the organization is hoping to raise about $6,000 this year.
“Rotary members volunteer their time, and all the money raised goes back to the community,” said Pond, who is also the administrator at Noble Horizons Senior Community, whichprovides the event space, food and refreshments.
Over the past several years, said Rotary treasurer Susan Dickinson, the organization has donated more than $50,000 locally — helping stock food pantry shelves, support families preparing for the school year and provide scholarships to area students.
“All the money raised comes from local people, so it goes back into the community. We try to help those that are most in need,” said Pond. “Everybody’s hurting.”
Planning for the event starts many months in advance.
“A lot of time and effort goes into it,” Dickinson said of the volunteers who take care of the many details, from soliciting donations and sponsorships, to planning the menu, selling tickets, creating the gift baskets and transforming the community room into a festive, Derby-worthy space.
On a recent weekday in April, while planning was in full swing, Dickinson noted that Fran Chapell, the club’s secretary, was busy assembling donated items into themed gift baskets for the silent auction, a highlight of the evening’s fundraising efforts.
There is one element to the Salisbury social, however, that consistently steals the show.
“It’s all about the hats,” said Pond. “Women show up in hats with gigantic pink or red flowers and all kinds of decorations on them.”
Gentlemen, too, often dress to the nines. “There’s a gentleman who wears an authentic suit that somebody at the track would wear. It’s a lot of fun.”
Organizers are optimistic this year’s Derby social will draw a minimum of 100 attendees. “Last year’s turnout was closer to 75,” Dickinson said, citing competition from other local events on that same day.
But if the energy inside Noble Horizons is any indication, the crowd will once again rise to its feet when the starting horn sounds — proving that even miles from Churchill Downs, the spirit of the Derby, and the generosity behind it, runs just as strong.
For details and tickets, email salisburyctrotary@gmail.com or call 860-671-1676 or 860-671-1415

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