CORNWALL — On Sunday, May 25, Cornwall held a powerful ceremony to honor local veterans of the Revolutionary War.
At the cemetery on Route 4, about 25 attendees gathered to witness the placement of 10 grave markers. Bill Dinneen of the Cornwall Historical Society and Warren Stevens led the ceremony.
“These markers had gone missing from the cemetery, we don’t know when,” Dinneen said, showing six bronze and four cast iron markers that were recently restored and painted.
He explained the markers were found in bushes at the edge of the cemetery by Gene Swanson, of Washington Depot. It was unclear why they were removed from the gravestones, and Dinneen said there could be more elsewhere in the cemetery.
Bill Dinneen, left, and Warren Stevens explain the history, discovery and restoration process of the grave markers to attendees May 25.Photo by Riley Klein
“Today we have 10 markers. We have 32 names” of buried Revolutionary War veterans, Dinneen said. “The bronze markers will go to ranked soldiers,” such as sergeants, and “the cast ones will go to the oldest” of the infantry soldiers.
The restoration process included sandblasting, priming and painting. He was not certain, but Dinneen said the markers may have been originally placed by the government around World War I, at which time the original tombstones were replaced with harder stone.
Stevens explained the symbolism of the markers: A big star in the middle represents one of the colonies, 13 little stars represent all the colonies, the years 1775 and 1783 show the duration of the war, the words “A Patriot’s Grave” and “E Pluribus Unum. From many, there is one,” he said.
Susan Hellmann placed a bronze marker at the grave of her ancestor Noah Harrison. Photo by Riley Klein
Attendees, some of them descendants of the veterans, assisted in the placement of the markers.
Susan Hellmann, of Cornwall, said she would be placing a restored marker at the grave of “my great, great, great grandfather Noah Harrison” who served in the Revolution. “I feel like I’m going to cry. It’s just very touching, very powerful,” she said.
Dinneen read the rank, company and lifespan of each veteran as the markers were being placed, then Stevens fired a blast from his musket. When all the markers were set, the names of the other Revolutionary veterans buried in town were read aloud.
Warren Stevens fires his musket.Photo by Riley Klein
The ceremony was held as part of Memorial Day remembrances in Cornwall. It also marked the first official event in town for the nation’s 250th birthday with more to come.
As the occasion came to an end, a light rain began.
A bronze marker was placed at the grave of James Bierce, who lived to the age of 94 after serving in the Revolution with Captain Smith's Company. Bill Dinneen noted many of the Revolutionary War veterans buried in Cornwall lived to old ages. "The average age that these veterans died was 72 years old," he said.Photo by Riley Klein
Contemporary chamber musicians, HUB, performing at The Clark.
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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