Clark Art Opening Lecture on Pastoral on Paper

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WILLIAMSTOWN, Mass. — On Sunday, March 16 at 2 pm, the Clark Art Institute presents a lecture by William Satloff in conjunction with the opening of Pastoral on Paper. 
 
The exhibition's curator and a student in the Williams College/Clark Graduate Program in the History of Art, Satloff introduces the concept of the pastoral landscape. Surveying the rich array of books, drawings, paintings, and prints presented in the exhibition, he explores how leading artists of the Baroque and Rococo periods envisioned the idyllic lives of shepherds. This free event takes place in the Clark's Manton Research Center auditorium.
 
Pastoral on Paper is organized by the Clark Art Institute and curated by William Satloff, Class of 2025, Williams Graduate Program in the History of Art.
 
Free. Accessible seats available; for information, call 413 458 0524. 

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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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