Clark Art Lecture On Native American Burial Mounds

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WILLIAMSTOWN, Mass. — On Tuesday, May 7 at 5:30 pm, the Clark Art Institute's Research and Academic Program presents "Putting The Mounds In Perspective," a lecture by Michael Gaudio (University of Minnesota/Clark Professor 2023–2024).
 
In it he explores a much-discussed feature of the nineteenth-century North American landscape: Native American burial mounds. 
 
The talk takes place in the Clark's auditorium, located in the Manton Research Center.
 
According to a press release:
 
In 1899, the art historian Alois Riegl declared that the content of modern art, and of landscape painting in particular, was a scientific "mood" in which the chaotic world, seen from a distance, resolves into a sense of perspectival harmony. As elevated points in the landscape, burial mounds were frequently treated as ideal viewing platforms—sites from which to survey and understand the surrounding country—but as objects of a nascent archaeological discipline that placed the Indigenous inhabitants of North America into historical perspective, the mounds proved elusive. Belonging to none of the established categories for historical evaluation, the mounds disrupt the contemplative mood of both landscape art and nineteenth-century academic science.
 
Michael Gaudio is Professor in the Department of Art History at the University of Minnesota. His research interests focus on the intersections of artistic practice, science, religion, and cultural contact in the Atlantic world. He has written on topics including early modern costume studies, early American natural history illustration, and thirteenth-century cartography. He is the author of three books: Engraving the Savage: The New World and Techniques of Civilization (2008), The Bible and the Printed Image in Early Modern England (2017), and Sound, Image, Silence: Art and the Aural Imagination in the Atlantic World (2019).
 
Free. Accessible seats available; for information, call 413 458 0524. A reception at 5 pm in the Manton Research Center reading room precedes the event.

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Theater Review: 'Driving Miss Daisy' Is a 'Wondrous' Production

By Alan PetrucelliSpecial to iBerkshires
PITTSFIELD, Mass. — Alfred Uhry's "Driving Miss Daisy" rolled into the St. Germain Stage in late May, marking the opening of Barrington Stage Company's 2026 season.
 
And what a wondrous, welcoming production it is. Uhry won a Pulitzer Prize for his work; he won an Oscar for the 1989 film adaptation of the play, which also won the Best Picture Oscar. Yes, that's how good it is.
 
Daisy Werthan is a 72-year-old white Jewish widow in Atlanta whose car accident destroyed her Packard — and her chance to ever drive herself again.
 
"Mama, we are just going to have to hire someone to drive you," her adult son Boolie tells her. 
 
She is adamant: "What I do not want — and absolutely will not have — is some chauffeur sitting in my kitchen, gobbling my food and running up my phone bill."
 
Enter Hoke Colburn, an unemployed African-American illiterate who grew up in rural Georgia during the Jim Crow-era South. Boolie hires him at $20 a week, and in a span of 85 minutes and a decade or so, this odd couple develop a tight bond that overcomes their cultural, gender and class differences. 
 
Though she's living in a racially explosive time in the South, the irascible Miss Daisy doesn't consider herself racist, nor does she fully accept the realities of the racist culture that has even resulted in a bombing at her own synagogue (a true event in Atlanta, in 1958).
 
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