Clark Art Hosts Williams College Graduate Program Symposium

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WILLIAMSTOWN, Mass. —On Friday, June 6, 2025, from 9:30 am to 5 pm, the Williams College Graduate Program in the History of Art hosts its annual symposium at which graduating Masters students make presentations on their individual research activities.

The symposium is presented in the auditorium of the Clark Art Institute's Manton Research Center.

The Graduate Program in the History of Art, operated jointly by Williams and the Clark, is one of the most respected programs in its field, stated a press release. Alumni have gone on to become influential scholars and leaders of renowned museums and arts institutions, among other organizations. The graduate program is housed at the Clark, providing student classrooms, administrative offices, and individual research carrels or offices for each graduate student.

This year's presentations, timed in conjunction with Williams College's 2025 Commencement weekend, address a variety of topics in the history of art, ranging from the sonic dimensions of the seventeenth-century Japanese Hikone screen and the ethics of eighteenth-century taxidermy under French colonialism to the perceptual challenges of nineteenth-century Arctic photography and the relationship between weaving and mapping in the work of contemporary Latinx artist Consuelo Jimenez Underwood. All presentations are free and open to the public

Presentations will be approximately twenty minutes each, delivered in thematic panels of two or three speakers that are followed by a moderated discussion. 

Presenters include:

  • Nora Høegh [London, England]
  • Sidra Grace Michael [St. Paul, Minnesota]
  • Julia Molin [Glen Ridge, New Jersey]
  • William Satloff [Chevy Chase, Maryland]
  • Eloise Cameron Schrier [San Francisco, California]
  • Matthew Shorten [Wollongong, New South Wales, Australia]
  • Maya Elisa Pérez Strohmeier [Berkeley, California]
  • Luke David Williamson [Cedar Park, Texas]
  • ??Riley Wei-Tung Yuen [New York, New York]
  • Elia Longyu Zhang [Hefei, China]

At 4:30 p.m. on Saturday, June 7, the Clark hosts the graduate program's annual hooding ceremony, honoring the students' accomplishments. 

The symposium and hooding ceremony both take place in the auditorium at the Clark Art Institute's Manton Research Center, 225 South St., Williamstown, Massachusetts.

For more information, visit gradart.williams.edu.


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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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