Show of American muscle convenes at Millerton’s restored Mobil station
Front and center, a 1958 Chevy coupe with plenty of steel and chrome to go around.
Photo by Aly Morrissey
Alan Benson of Pine Plains shows off his 1961 Chevrolet Impala Sport Coupe.Photo by Aly Morrissey
Cars filled the parking lot of the Mobil gas station on Route 44 and spilled into the adjoining property Friday, June 20.Photo by Aly Morrissey
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Contemporary chamber musicians, HUB, performing at The Clark.
D.H. Callahan
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.
Pelenakeke Brown’s “Reverb” (detail) at Mass MoCA. D.H. Callahan
On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
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Ash Baldwin, senior administrative assistant at the North East Community Center, launched the weekly Craft Collective in July 2025.
Photo by Aly Morrissey
“I’m the type of person who struggles to stay focused on projects,” said Ash Baldwin, NECC’s senior administrative assistant, who came up with the idea last summer. “I realized I work better when I’m with other people and when I have a dedicated time and space.”
The idea took shape after Baldwin found herself racing to finish a crocheted baby blanket for her sister’s baby shower.
Participants have already brought a range of projects to the group, from sewing and mending to creative repurposing – including one crafter who transformed an old shower curtain into kitchen valence curtains.
“The goal is really community and connection,” Baldwin said. “People can meet other crafters, swap tips, give feedback on projects – maybe even make a friend.”
Ash Baldwin displays a crocheted blanket.Photo by Aly Morrissey
Crafting, Baldwin said, offers a kind of mental reset. “It’s peaceful,” she said. “It quiets my mind and lets me focus on one thing at a time.”
Like many crafters, Baldwin admits to having yarn and unfinished projects scattered around her home, and says she tends to make gifts for others more than items for herself.
Though Baldwin has been crocheting since 2022, creativity has always been part of her life. Her mother sews, her grandmother crocheted, and she grew up surrounded by creative projects. Baldwin joked that her grandmother once “fully kidnapped” her American Girl doll to make custom clothes for it. She also describes herself as a longtime “band kid,” saying creative arts were woven into her childhood.
When she’s not organizing the Craft Collective, Baldwin works behind the scenes at NECC, handling administrative and fiscal operations, including service tracking for programs such as the food pantry.
The Craft Collective is held every Tuesday at 6 p.m. at 51 S Center St., Millerton. There is no cost to participate. For questions or to donate crafting supplies, contact Ash Baldwin at ash@neccmillerton.org or (518) 789-4259 ext. 132.
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