Archive for the ‘Clark Programs’ Category

Nine-time Grammy Award-nominee Janis Ian comes to the Clark for a remarkable double-header, featuring a free book reading on April 19 and a concert on April 20. Ian’s breakthrough hits “Society’s Child (Baby, I’ve Been Thinking)” and “At Seventeen” introduced this formidable talent to the world in the mid-sixties, and Ian has received critical acclaim for her boundary-breaking music ever since. Ian joins us today for a special interview, in which she talks about her roller coaster ride of a life in show business.

THE CLARK: In a conversation with NPR’s Robert Siegel, you said that the attention you received for your first song, “Society’s Child,” was a tough way to start your musical career—“with a song that everyone hates you for.” You received hate mail and death threats. How did this affect you, at such a young age?

JANIS IAN: Well, of course, it was terribly frightening. For years, I was scared of the audience every time I walked on stage. But it also taught me a huge lesson—that music is the most powerful of all the arts, because you need nothing more than a human being and a voice to change hearts and minds.

TC: About “At Seventeen,” you have said, “I’d never sing it in public. It was just too humiliating.” How so? And how have your feelings about this song changed through the years?

 JI: “At Seventeen” is about me. It’s about as personal a song as you can get. To unzip like that, in front of strangers…? Pretty scary. Pretty embarrassing.

My feelings began to change the first time I looked out over the audience and realized all of them felt the same way. That amazed me!

TC: You wrote your first song, “Hair of Spun Gold,” when you were twelve. Do you remember what drew you to songwriting, and what inspired this first song?

JI: I honestly don’t. There was always music in our home, and I’d been playing guitar for a couple of years. I think it was just a natural progression.

TC: What advice would you give your twelve-year-old self, if you could take her out for lunch?

JI: Don’t trust anyone with your money!

TC: You wrote a piece called “Tiny Mouse” for The Boat Project, “a 30ft boat crafted by an adventurous team of boat builders and volunteers from wood donated by the public. Each piece of wood has a moving, memorable or extraordinary story behind it,” which have become the inspiration for songs by selected singer-songwriters and musicians from different genres. What was the story that inspired “Tiny Mouse”?

JI: A young woman was going through her father’s things in the attic after he died. She ran across a jack-in-the-box clown with a little drawer at bottom, and found a tiny wooden mouse there. She remembered playing with it as a child. For me, the mouse inspired a song that could take things to the max, no holds barred. I kept thinking of Alice in Wonderland and The Wizard of Oz as I wrote it.

TC: You have said that Nebula Award-winning science fiction writer Mike Resnick is responsible for your first foray into science fiction writing. Why did he sign you up to write an anthology, and what did you learn from writing it?

JI: Mike kept saying he thought I could be a great short story writer and novelist, and I kept telling him I didn’t write stories or novels. He signed me up to force me into writing. I learned that I love to write, and it doesn’t matter what genre!

TC: You have built a successful writing career in many genres, including songwriting, autobiography, science fiction, essays, and poetry. Is there a genre that you would love to try, in which you have not yet experimented?

JI: I really haven’t begun to scratch the surface of writing fiction. I’ve finished exactly nine stories, and it’s going to take a lot more time than I’ve got to ever be good at it. I’m waiting until someone hands me enough money to stay home all the time, at which point I’m going to totally devote myself to that!

TC: You were the musical guest on the very first episode of Saturday Night Live. What do you remember from this performance?

JI: I had a fever of 104 and strep throat, so not much…I remember seeing Jim Henson with The Muppets and laughing my face off. Everyone was incredibly nervous because the show was live. Billy Preston was terrific. All the cast were really nice. No one knew it would be legendary!

TC: In 1983, you took a break from the music business that lasted nine years. What did you do during that time, and what brought you back to music?

JI: I learned not to be monochromatic—I studied a lot of forms besides my own, forms I could fail in, like classical ballet. Forms that led me to new things in my own work, like script analysis and acting. I never left music, though. I wrote all that time. I just didn’t record.

TC: How long did it take you to write Society’s Child: A Life in Song, and what was your process for writing the book?

JI: It took about five months, though I took a lot of time off during that period. I didn’t really have a process beyond the advice [fantasy writer] Mercedes Lackey gave me, which was “Sit butt in chair. Write.” Good advice!

TC: Of Society’s Child: A Life in Song, the ALA Booklist wrote, “She writes casually and conversationally about her ups and downs and the life lessons she learned. Even recounting decisions that were stupid (quite often) and bad things that happened to her (many), she keeps us on her side, hoping things eventually turn out well. Fans will love the book, of course, but many nonfans, too, should find this painfully candid memoir hard to put down.” Could you tell us how you felt during the release of such a “painfully candid” book?

JI: I tried not to think about it, really. I had a group of seven or eight “dedicated readers,” old and new friends and writers who read chapters as I finished and offered criticisms and comments, particularly if they felt I wasn’t putting enough heart into something. When I finished, before I turned it in, I contacted a number of people who are in the book and sent them copies, asking if they felt anything needed correction. (Several asked that I change their names in fact!) But for myself, I wasn’t nervous—I’ve always been pretty open about my life.

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Spring is coming! In honor of warmer weather, budding trees, and blossoming flowers, we hope you’ll enjoy these stunning photographs, taken by master photographer Allen Rokach.

Allen visited the Clark last summer to lead a workshop focusing on nature photography.  His photographs (and the photographs of the workshop participants) were so beautiful that we reconnected with Allen for this special interview, in which he talks about everything from Egyptian antiquities to wildflowers to geology—and shares his secrets to creating stunning photography.

THE CLARK: How did you get your start as a photographer?

ALLEN ROKACH: I began taking photographs some forty years ago while working as a geologist. My photos then were strictly functional, though I always enjoyed being in some of the beautiful outdoor locations. When I gave up geology, I decided to make photography my profession, though I wasn’t very good. I learned on the job, taking assignments for newspapers, magazines, and private clients. I also took workshops with some outstanding photographers, such as Ernst Haas, Bruce Davidson, Arnold Newman, and Roman Vishniac. They were wonderful people who guided me, encouraged me, and helped me transform my vision. In the late 1970s, I landed a position as Director of Photography at the New York Botanical Garden. That opened many doors for me professionally.

TC: Your work has spanned everything from public relations and photojournalism to art and sculpture to travel and profiles. Which area do you most enjoy, and why?

AR: I enjoy them all because each offers a unique challenge. But I have to admit that the travel and features photography I did for Time/Warner and other publications were the most fun. I enjoyed getting to visit some of the most beautiful and interesting locations on earth and meeting some of the world’s most amazing people. Imagine being sent on assignments to places like Papua New Guinea, Egypt, the Swiss Alps, Hawaii, and the American Southwest. And imagine photographing jazz musicians in New Orleans, magnificent gardens of Charleston, South Carolina, wildflowers across Texas, and country musicians at the Country Music Awards. It’s the reason I got into photography and the reason I stayed with it for nearly forty years.

TC: You have traveled the world on photographic assignments that range from the bulb fields of Holland and the antiquities of Egypt to the vast Amazonian rain forest. Could you tell us about one of your most memorable assignments?

AR: Believe it or not, one of my most memorable assignments was one I got early in my career—maybe that’s why it’s so memorable. Anne Millman and I proposed an idea to Science Digest Magazine on the mysteries of ancient Egypt. Anne, who is now my wife, is a great researcher and she had come across some interesting explanations about the creation of various Egyptian antiquities. She would write the article and I would photograph it. (By the way, working as a team was a big advantage in getting assignments since it saved the editors a lot of effort.)

We got the assignment and flew off to Egypt to gather more information and bring back photographs that, as the editor put it, had to be “smasheroos.” It was quite challenging. I had to shoot inside the dark interior chambers of the tombs without flash or other modern supplemental lighting. All I used was a relay of mirrors, replicating what some archeologists surmised was the illumination used in the past. Then I set up shots of the pyramids at night, again without added light.

Along the way, we got to meet the local people, many of whom helped us get the story and the images we needed. And we got to see the amazing temples, tombs, and landscapes of this ancient historic land. It was an exciting and exhilarating experience that made me realize photography can open many doors for me, if I do it well and come up with good ideas.

TC: Let’s take a look at some of the amazing photographs you took while leading the “Focus on Nature” workshop at the Clark. What inspired you about this foggy landscape scene?

AR: I took this photo during our first morning out. We had everything a nature photographer dreams of: an incredible sunrise, fog, mist, and a bank of low-hanging clouds as day broke. The sun merged with the mist, creating an amazing atmosphere of mystery on the landscape. Everyone enjoyed photographing in the fog and mist. The challenge is to the get the shot before the fog and mist disappear. I decided to use a panoramic format to draw the viewer’s attention to the mountain and cloud and to minimize the dark foreground. I slightly underexposed to add contrast, which helps emphasize the trees in the background and the mountain itself.

TC: Could you tell us about the choices you made in lighting and coloring these two images of the same flowers?

 AR: Actually, the lighting and color in these images are two different considerations. This is natural light but it’s filtered through the field of wildflowers. This soft, filtered light is ideal for a technique I call a “shoot through,” which involves getting low to the ground in a field or bed of flowers, selecting a subject that’s in the middle range from front to back and focusing on that flower using a narrow depth of field. This causes the foreground and background to be thrown out of focus while the subject remains relatively sharp and seems to float in the composition. If it’s a windy day, the movement of the flowers can register as a blur, adding to the impressionistic feel of this effect.

A “shoot through” gives the photographer an opportunity to experiment with selective sharpness and create unusual images of flowers that respond to the light and weather conditions at hand. These particular flowers were ideal candidates for a shoot through. Their petals were translucent, making it easy for the light to illuminate them. As for the color, I was not so taken with the golden/orange color of these flowers so I experimented with Photoshop to get a brighter yellow to achieve the aesthetic effect I wanted.

TC: What do you enjoy most about teaching?

AR: I enjoy sharing. After nearly forty years of making images, I believe I have the skill, knowledge, and experience to help my students become better at seeing the world; learning how to recognize what is beautiful versus photogenic; and to understand how to imagine what is possible with their cameras.

People ask me, “Is it possible to learn to be creative with the camera?” My experience has been that it certainly is! Some will learn from instructions and demonstrations; some will learn from the critique sessions, and some will gain insight by seeing how others approach the same subjects. A small group of photographers shooting in the same area and using the same basic equipment will see that each individual finds a unique photographic perspective. I get tremendous pleasure from guiding this learning process and seeing how much fun people have along the way.

TC: How did you and the participants spend your time here at the Clark during the “Focus on Nature” workshop?

AR: First, it’s important to realize that people don’t automatically think of the Clark as a location for nature photography. The Clark is known for art and its setting in a college town. So it shakes people up a bit to think in terms of nature, which is a good thing, because it makes people think outside the box and spurs them to be creative.

Once we got past that initial disorientation, I wanted participants to look with fresh eyes at the landscape all around the Clark and to see it with the sensibility of a nature photographer. That begins with an appreciation for natural light. That’s why I began the workshop with a presentation called “The Power of Natural Light.” In the presentation, I showed participants how to discover the beauty of every kind of natural light and how to capture it with their cameras.

Then, over the next two days, we took a series of outings, starting at sunrise and ending past sunset, exploring various settings around Williamstown, with an eye toward the light. The participants soon found out that shooting under rapidly changing lighting conditions is very challenging and they came to understand that decisions must be made quickly.

Between our outings, we worked in a classroom at the Clark to download and edit the images we had taken and hold our daily review session. This is always an eye-opener for participants because they realize how each person brings a different vision even though they are looking at the same scene.

If we liked what we saw, we probed to find out how the photographer approached it, visually and technically. If there were problems with an image, we discussed what the photographer might have been done differently. In this way, everyone became more familiar with the basic terminology used in digital photography (jpeg vs. raw, resolution, white balance, etc.); learned techniques to solve certain common problems—like getting the right exposure by using histograms or changing the ISO; or creating an interesting composition—and had a chance to learn about workflow procedures and after capture techniques that I use to enhance and/or “fix” a photo. Most important, we learned to expand our creative vision by seeing what was possible with the right imagination.

Of course, each day and each review session is different, but the concept is the same and it always enables participants to become better photographers.

TC: What was the main lesson that you intended participants to take away from the workshop?

AR: My intention always is to make all the participants better photographers, no matter where they are when they start. I know from many years of offering photo workshops that everyone has a creative core, everyone can learn, and everyone can improve. We may learn in different ways and at different speeds. We may start from different places. Some may need to learn techniques and develop their skills. Others may need to find their personal vision and gain confidence in finding their creative selves. We are all unique and I believe that everyone can create meaningful, imaginative photographs. Photography is wonderfully accessible means of self-expression.

I give participants a handout of my 10 commandments for better photography, and I’ll share it here with you:

  1. Think for yourself: Don’t let fancy gadgets think for you.
  2. Less is more: Include only what is necessary in each frame; eliminate anything extraneous.
  3. Light is everything: Use every kind of light to its best advantage.
  4. Be objective: The camera sees everything; train your eye to do the same.
  5. Imagine before you shoot: The picture your camera takes can only be as good as the picture your mind creates.
  6. Make it simple: As a photographer your task is to make order out of chaos.
  7. Beauty is made, not found: Ordinary objects seen by a sensitive eye are transformed into extraordinary images.
  8. Master your equipment: Understand your gear so that it serves the intentions of your eyes and mind.
  9. Never say “done”: There is always one more way to shoot the picture.
  10. Express yourself: The joy of photography comes from the ability to project a unique vision that you can share with others.

TC: You have been invited to judge local, national, and international photographic competitions. What makes a photograph truly great?

AR: To paraphrase a Supreme Court justice’s response to a different question, “I know it when I see it!” More seriously, I think there are elements that make a photograph truly great, though few photographs have them all: 1) an emotional connection to the viewer; 2) a dynamic composition; 3) interesting light; 4) a unique point of view; 5) the decisive moment; and 6) humor.

Interested in learning more about how to take stunning professional photographs? Join Allen Rokach later this year for another “Focus on Nature” workshop at the Clark! Please check www.clarkart.edu/calendar for updates.


All images courtesy of Allen Rokach

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By Andrew Davis

Photo by Blake Gardner

With the original museum building closed for renovations, where are my favorite Clark masterpieces? I checked in with curatorial to get the full story. You may find the answers surprising. Come, let’s take a look, shall we?

The Renoirs I love so well have been to Madrid:

And Milan:

And Giverny:

And Barcelona:

And will see quite a few more cities before they return home.

More than one million people have enjoyed the Clark’s collection since these paintings hit the road over a year ago. I hope some of those people come to Williamstown when the collection is reinstalled here in 2014.

It’s all part of ClarkNOW. That’s the snazzy name someone thought up for all the museum programming happening from now until Summer 2014, when the museum building reopens. It’s being renovated now, from top to bottom. It will be bigger and more spacious when it’s done.

There will also be a completely new visitor services building. They’re working on that right now.

ClarkNOW is more than a world tour of paintings. Plenty of things are staying right here in Williamstown. In fact, nearly everything that was in the old museum building is still here at the Clark and on view.

Monet’s Rouen Cathedral? Ugolino’s altarpiece? Homer’s Undertow? They’re all on view now, in the galleries off the main lobby. I just walked over there myself, to be sure.

Photo by Kevin Sprague

There will also be plenty of special exhibitions in the Manton building, and at Stone Hill Center.

Clark Remix, which opened February 12, more than doubled the number of paintings on view in Williamstown. Clark Remix is an utterly different way to enjoy the collection. Think of a salon-style install, and amplify that. There are more paintings per square foot than I’ve ever seen in one place. I don’t know if I can handle it!

Photo by Kevin Sprague

Every single decorative object the Clark displays is shown in a spectacular V-shaped room-within-a-room. That’s hundreds of objects! I have to remind myself to breathe.

Photo by Kevin Sprague

 They’ll be handing out touch screen tablets in case I want to look up info on anything.

Photo by Kevin Sprague

Seeing all this art in a novel way has definitely lit a creative spark, so I’ll be designing my own exhibition with uCurate. I’m excited about this interactive feature. It might be the first of its kind in the world. Anyone can walk up to the screen and arrange digital works from the collection however they like. People can post their exhibitions online, and some of them will actually be chosen to get installed after the museum building reopens! So, if you ever wanted to design exhibitions, here’s your chance. I’ve got a couple ideas…

I’m glad to know ClarkNOW offers plenty to see and do for the next couple years.

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By Monica Henry, Education Coordinator

My absolute favorite Clark family program is Start with Art, which serves preschool-aged children and their parents. Younger and older siblings are welcome to join in too, so nobody is left out. We designed Start with Art to introduce young families to museums in a way that, as one parent said, “made me feel comfortable and helped me to understand how to explain art to a child.” Start with Art is all about showing families that visiting a museum can be a fun activity for a family outing.

At each session we offer painting talks to engage children in looking carefully at art, and written gallery discussion guides to spark conversation about the art between parents and their children. We also offer art projects around a theme drawn from the works in our collection. Each session is organized around a different theme that appeals to children. Our January Start with Art event was on “Food and Art.”

Our first priority of the day is to make families feel comfortable and welcomed. We want them to know that we’re excited they’ve come! On the day of the event, Ronna Tulgan Ostheimer (Head of Education Programs), docent Carol Kiendl, our family program volunteer extraordinaire Linda Dragat, and I were all on hand to host.

The first activity on the program was to head to the galleries for a painting talk, which we repeated a little later that morning so that late-comers would have a chance to catch the talk (we know it can sometimes be hard for young families to get out the door on time!). I gave this particular painting talk about The Women of Amphissa, by Sir Lawrence Alma-Tadema, which I selected because it is set in an ancient Greek marketplace. Carol Kiendl engaged the children in discussing The Wheatfield by John Constable.I really enjoy giving gallery talks at this program. I guide the group in exploring different sections of the art work, but approach it with a lot of flexibility. Preschool-aged children are excited to tell you about how the image relates to their everyday life. I like to highlight how fun it is to look at details they’ve never noticed before, giving the kids the chance to make discoveries and share their experience with the other children and parents as they talk about what they see.

Talking about art with kids might seem straightforward enough, but engaging children with seemingly complex artworks in a gallery setting can be a tall order for a lot of parents. We want to turn it into a laid-back conversation with their kids, along the lines of: What do you notice? What’s going on in this picture? What do you see that makes you say that? Do you like the picture? Discussing art in general doesn’t have to be hard or complicated, and what we’re trying to do is make it an enjoyable experience.

We share these techniques with parents both by modeling them during the gallery talks and in our written gallery discussion guides. As one parent said, “Start with Art gave me ideas and language for framing a conversation with my child.”

We gave the families some time to do a little exploring in the gallery, and then opened the art room so they could try their hands at “food and art” themed projects. Our masterpiece cookie project was far and away the favorite (who doesn’t love a painting you can eat?). The Clark’s caterer, Steve Wilkinson, made large, rectangular sugar cookies for the kids and supplied icing in four colors—it was the perfect “canvas” for edible pictures.

In another art-making project, kids snipped pictures from magazines and collaged their own stir-frys. We also offered the kids metallic markers and self-stick “gemstones” and let them go to town decorating wooden eggs with fancy stands.

When we design art projects for each Start with Art session (and our Family Days) we try to provide a variety of tactile experiences and motor tasks. If two of the three projects involve the same task, we’ll scrap one and choose another that provides opportunity for the kids to move their hands in another way and problem-solve from another angle.  It’s best to have a variety of materials to look at on the table, and the tactile experience of reaching into the bowls and touching the materials is also important. Are these materials interesting to touch? Do they catch the eye? We also try to bring in things kids haven’t played with before. Are these materials the kids would usually have at home or at school? If the answer is yes, we usually look for another option. The bottom line is that the process of making the projects is more important than the finished product.

Start with Art facilitates meaningful interaction between parents, grandparents, and children through gallery conversations and creative collaboration in the art room. Preschoolers are a curious, enthusiastic bunch, and we love to encourage their ideas, questions, and creativity!

We hope you’ll join us this Saturday, February 11 from 10 am to 12 pm for our next Start with Art program, this time on the theme “Animals.”

Can’t make it this weekend? We’ll also host a “Flowers and Plants”-themed program on Saturday, March 10!

Image credits:

Linnea Keiser-Clark, Finnegan Noyes and Liam Noyes working away

Henry Bradway (child) and Kim and Rich Bradway and Natasha Nugent (child)

Lawrence Alma-Tadema (British, 1836–1912), The Women of Amphissa, 1887. Oil on canvas,
121.9  x 182.9 cm. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1978.12)

Erin and Linnea Keiser-Clark

Zamir Ashraf eating his “paint”

Finnegan and Liam Noyes showing off their art-making skills

Loghan Strzepa working on her stir-fry collage at a table adapted for preschool height

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By local artist and musician Karl Mullen

Curious children, aspiring artists, outdoor adventurers, and people of all ages interested in magical thinking and being inspired, that’s who.

For the past three Saturdays, I’ve led Discover, Collect, Create, a four-week series of art walks on the Clark campus exploring the winter landscape and the creative process. Ronna Tulgan Ostheimer, head of education programs at the Clark, Willinet executive director Debby Dane, and I collaborated on this program, which invites children and parents on open-ended nature walks that heighten their senses and inspire art making. And the Clark’s grounds manager Matt Noyes taught us about the trees, paths and geology of Stone Hill.

Each of the Saturday sessions is different and the participants vary, the common theme being Paul Klee’s famous observation that “drawing is a line that goes for a walk.”   After discussing the concepts of line, pattern, shape and texture, we go exploring.  Next thing you know, everything in sight spurs ideas for drawing: footprints on the path, animal tracks, tree branches, cloud formations, the horizon line atop Stone Hill, geometric shapes of museum buildings down below.

I encourage participants use video and their imaginations to “draw with a camera.”  Thanks to an investment by Willinet in Flip cameras that will be used in this and other community projects, children zoom up the trunks trees, crouch down to capture pockets of stones hidden beneath the snow, and run with the camera to create a kind of kaleidoscope montage. One intrepid artist climbed up the trees (with mom’s supervision) to get a better vantage point for her footage.  It’s about nature from the kids’ point of view.

The first Saturday of the project was 40 degrees and snowless, so participants hiked the Howard Path up Stone Hill and collected sticks, branches, leaves, and stones. They danced to a tin whistle and mimicked the rustling of golden leaves that hang onto the branches of beach trees, despite winter’s bluster.  They also played piano on the trees.

The art project that week was making temporary kinetic sculptures out of birch bark installed on a majestic ash tree that crowns Stone Hill.

Week two was chillier, and, in the spirit of Paul Klee, the group took turns taking a ball of string for a walk to make wonderful line drawings in the fresh snow.

To heighten their audio awareness, they took turns playing musical instruments and listening—really listening—to their echoes off the museum building and the deadened sounds of the music throughout the snowy trails.  They talked about the notion of music being a note going for a walk.

Week three saw a blizzard!  Undaunted, the artists made glorious drawings with sticks and strings and left trails of circles and primary shapes that the falling snow quickly erased as nature reclaimed the temporary markings. More art-making continued inside in the warm penthouse of the Manton Research Center where participants made drawings inspired by their experience outside.

This Saturday is the fourth and final session of Discover, Collect, Create. And it looks like the weather is cooperating—as of this writing the forecast is sunny and in the 40s!  Bundle up and meet us at 1:00 pm in the Clark’s courtyard lobby for a memorable artistic adventure.

Photographs by program participant Michael Stern and Karl Mullen.

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By Caedy Shultz-Loomis, Membership Coordinator

Summer has arrived, and we are very excited to present a lively new lineup of free outdoor concerts for this summer’s July band concert series!

Part of my job here at the Clark is to book and manage these concerts, and I have met some incredible artists through the years. My process for finding and choosing artists is always a really fun and enlightening experience. When I am looking for bands, I look at venues within the region that are of similar type and size to us. I check out the artists on their upcoming roster, as well as the artists who have performed at each venue in the past. I often look for local groups who can easily travel to the Berkshires, and I sometimes come across groups who are already traveling this way and are able to add the Clark to their schedules.

I try to book as wide a variety of artists as I can so that there is always something new going on at the Clark for all of our visitors to enjoy.

This summer’s concert series will kick off with The Doerfels on July 5. The Doerfels perform lively progressive acoustic music that is a blend of rock, bluegrass, gospel, country, and jazz. Back by popular demand, The Doerfels are not to be missed!On July 12, we will be treated to a special performance by The Sweetback Sisters. The charismatic Sweetback sisters combine their passion for classic country music with new interpretations of country music traditions to create a fresh take on what it means to be country.We will welcome local favorites, The Sister City Jazz Ambassadors on July 19. Led by Pittsfield guitarist/banjo player Andy Kelly, this popular local band performs a wide range of jazz music, from New Orleans style to modern jazz fusion.The series will conclude with a very special and truly unique performance by Kinobe. Gifted, multi-instrumentalist, vocalist, and composer Kinobe and his band are at the vanguard of Ugandan performers representing the inspired synthesis of African roots and global fusion.Bring your family and friends, a picnic basket, and a blanket to the Clark for these free outdoor concerts. Barbecue fare will be available for purchase and the galleries will remain open until 6:00 pm.

Booking and managing the concerts at the Clark is a passion of mine and one of my favorite things that I do at the Clark. I am really looking forward to a great season and to seeing many new and familiar faces in the crowd again this year!

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