Installation of the Vermeer exhibition at The Rijksmuseum. Photo courtesy of Rijksmuseum/Kelly Schenk
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Anthony Foley caught Chase Ciccarelli in a rundown when HVRHS played Wamogo Wednesday, May 1.
Riley Klein
Chris Race mixed the curveball into his rotation.Riley Klein
It was a bright spring day in Litchfield on May 1, partly cloudy and about 72 degrees at game time. Adjacent to a dairy farm, the ball field at Wamogo boasts the distinctive ambiance of “moos” resonating in tandem with the umpire’s spirited strike calls.
The game started slowly and was dictated by lights-out pitching from both bullpens. Wamogo’s Derek DeNigris and HVRHS’s Race each pitched a shutout until the fourth inning.
Owen Riemer reeled in a fly ball to centerfield.Riley Klein
In the bottom of the fourth, Quinn Coffey hit a pop fly to right field for a two RBI double to put Wamogo on the board. The infield got HVRHS out of the inning with back-to-back rundowns.
Race made it through the fifth inning with no hits and freshman reliever Wyatt Bayer took over on the hill in the sixth inning. An unfortunate balk on Bayer’s first pitch sent the runner on third home and gave Wamogo its final run of the game.
Wes Allyn played first base and batted 1-for-3 from the plate.Riley Klein
The Warriors won 3-0 and advanced to 5-4-1 for the season. HVRHS moved to 3-8. Offensively, HVRHS was led by Wyatt Bayer who hit 2-for-3. Wes Allyn and Sam Marcus each logged a single for the Mountaineers. Race threw two strikeouts and Bayer threw one.
For Wamogo, Derek DeNigris hit 1-for-2, Patrick Weaving hit 1-for-2, and Josh DeLello hit 1-for-3. DeNigris logged seven strikeouts and the Warriors committed zero errors throughout the game.
Freshman Wyatt Bayer played third base before coming in as HVRHS's relief pitched in the sixth inning.Riley Klein
Curious cows watched the game from next door and echoed strike calls with resonating "moos."Riley Klein
‘Migration Collage' by ransome
Alexander Wilburn
‘Square Quilting painting' by ransomeAlexander Wilburn
Map fragments of North Carolina feature heavily in a large collection of eight-by-eight collage and acrylic paintings, sold individually but together mounted on Geary’s wall resembling the stitched patterns on quilts, like the quilts by the late Black American artist Arlonzia Pettway. Along with artists like Annie Mae Young and Mary Lee Bendolph, Pettway was a renowned artist associated with the quilts of Gee’s Bend, generations of women in the town of Gee’s Bend, Alabama who preserved African American culture in beautiful and vibrant textile art with bold combinations of stripes, textures and colors. The influence is also wonderfully clear in ransome large-scale collages and acrylic paintings like “Square Quilt painting” on display at Geary. It’s a powerful symbol of Gee’s Bend’s legacy continuing on, even under a new artistic medium.
In the smaller works, called “Migration Collages,” painted portraits are combined with pieces of floral and pastel paper, evocative of the tradition of “Sunday Best” splendor worn in Black churches in the South. “The women elders at my Baptist church often greeted each other that way on Sunday mornings when one hat was more elaborate, colorful, or wider brimmed than another,” New York Times veteran Lena Williams wrote in her 1996 essay, “In Defense of the Church Hat.” “It was traditional to put on one’s newest finery for church, and in many historically black churches, the wearing of fancy hats by women carried both spiritual and cultural significance.”
“The Bitter and the Sweet” is on view at Geary through Sunday, June 2.
