Saturday, March 7, 2026

Lessons in Geometry
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

Artists have obsessed over the relationship between mathematics and art for millennia. As artists turned toward abstraction in the early 20th century, Europeans like Piet Mondrian used geometry to create a set of rules and parameters that guided their creative process. Meanwhile, American artists began developing their own styles and movements—particularly Abstract Expressionism, which was typified by bold, quickly executed brushwork, drips, and splashes. In the mid-20th century in the United States, artists laid the groundwork for Geometric Abstraction as a more cerebral alternative to the often macho flamboyance of Abstract Expressionism. Over the ensuing decades, artists used geometry to produce abstract works that ranged from the dazzling Op Art of Victor Vasarely to the restrained Minimalism of Sol LeWitt.

"Lessons in Geometry" traces the evolution of hard-edged abstraction in the United States as artists sought to use pure geometric forms to create works with balance, harmony, and order. For these artists, shape, line, and color took precedence over representational compositions. The Everson's collection reflects the wildly varied ways that artists have used geometry to serve their personal expression, from the analytical formulations of Robert Swain to the shaped canvases of Harmony Hammond and the spatial illusions of Tony King.

   

Joyce Kozloff: Contested Territories, 1983-2023
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

For more than four decades, Joyce Kozloff has explored how the entanglements of geography, history, and power influence the visual language of maps. "Contested Territories" presents a selection of Kozloff's works that uncover how maps shape our understanding of the world—not as neutral tools, but as instruments of influence, ideology, and control.

Kozloff's wide range of sources include historical maps, classroom wall maps, atlases, globes, and even satellite imagery from Google Maps. Her dense and colorful works often layer these materials with hand-painted details, collage, and intricate ornamentation. By combining sources that span centuries—from Renaissance celestial charts to contemporary digital mapping—she exposes how maps carry the legacies of empire, conflict, and shifting territorial claims.

A founding figure in the Pattern and Decoration movement, Kozloff combines meticulous craftsmanship with political critique. Her works are labor-intensive, involving the detailed process of painting, drawing, and collaging over cartographic surfaces. The resulting richly textured visual field invites viewers to look closely—and to question the conquest, division, and erasure found beneath the official surface narrative.

Whether reimagining educational globes or deconstructing colonial-era charts, Kozloff transforms maps from static documents into contested, dynamic spaces. Her work encourages viewers to reconsider how borders are drawn as well as how art can reclaim such boundaries as sites of resistance, memory, and possibility.

   

Laurent Craste: Iconoclasts
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

"Iconoclasts" marks the American museum debut for French-born Canadian ceramist Laurent Craste. Over the past decade, Craste has committed a wide range of indignities and abuse against his ornate vases and urns, including pummeling them with baseball bats and crowbars and piercing them with arrows. Despite the violence that runs through his work, Craste has a great passion for historical porcelain. Working with porcelain allows Craste to explore the prestige and power of upper-class society, but also inequality and the strain that is placed on working people. The anthropomorphic nature of Craste's vases echoes the human body, making it no surprise that people feel strong emotions when seeing a helpless vase struck by a baseball bat. Triggering these strong emotions in his audience allows Craste to connect on a deeper level as he asks questions about class, money, and power.

   

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Afterimages: Legacies of the Thirteenth Amendment
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

Afterimages examines the visual, social, and political legacies of the Thirteenth Amendment, which abolished slavery except as a punishment for a convicted crime. Curated by first-year graduate students of art history under the direction of Professor Sascha Scott, the exhibition highlights works in the SU Art Museum collection created by artists working in the United States from the 19th century to the present.

   

Masterworks Series: Awadagin Plays Mozart
Syracuse Orchestra (formerly Symphoria)
Jacob Joyce, conductor
Featuring Awadagin Pratt, piano

Crouse Hinds Concert Theater, Mulroy Civic Center
411 Montgomery St., Syracuse

Guillaume Connesson Celephais from Les Cités de Lovecraft
Mozart Concerto No. 23 in A major for Piano and Orchestra, K. 488
Prokofiev Symphony No. 5 in B-flat major, op. 100

Tickets

   

Sunday, March 8, 2026

Laurent Craste: Iconoclasts
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

"Iconoclasts" marks the American museum debut for French-born Canadian ceramist Laurent Craste. Over the past decade, Craste has committed a wide range of indignities and abuse against his ornate vases and urns, including pummeling them with baseball bats and crowbars and piercing them with arrows. Despite the violence that runs through his work, Craste has a great passion for historical porcelain. Working with porcelain allows Craste to explore the prestige and power of upper-class society, but also inequality and the strain that is placed on working people. The anthropomorphic nature of Craste's vases echoes the human body, making it no surprise that people feel strong emotions when seeing a helpless vase struck by a baseball bat. Triggering these strong emotions in his audience allows Craste to connect on a deeper level as he asks questions about class, money, and power.

   

Joyce Kozloff: Contested Territories, 1983-2023
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

For more than four decades, Joyce Kozloff has explored how the entanglements of geography, history, and power influence the visual language of maps. "Contested Territories" presents a selection of Kozloff's works that uncover how maps shape our understanding of the world—not as neutral tools, but as instruments of influence, ideology, and control.

Kozloff's wide range of sources include historical maps, classroom wall maps, atlases, globes, and even satellite imagery from Google Maps. Her dense and colorful works often layer these materials with hand-painted details, collage, and intricate ornamentation. By combining sources that span centuries—from Renaissance celestial charts to contemporary digital mapping—she exposes how maps carry the legacies of empire, conflict, and shifting territorial claims.

A founding figure in the Pattern and Decoration movement, Kozloff combines meticulous craftsmanship with political critique. Her works are labor-intensive, involving the detailed process of painting, drawing, and collaging over cartographic surfaces. The resulting richly textured visual field invites viewers to look closely—and to question the conquest, division, and erasure found beneath the official surface narrative.

Whether reimagining educational globes or deconstructing colonial-era charts, Kozloff transforms maps from static documents into contested, dynamic spaces. Her work encourages viewers to reconsider how borders are drawn as well as how art can reclaim such boundaries as sites of resistance, memory, and possibility.

   

Lessons in Geometry
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

Artists have obsessed over the relationship between mathematics and art for millennia. As artists turned toward abstraction in the early 20th century, Europeans like Piet Mondrian used geometry to create a set of rules and parameters that guided their creative process. Meanwhile, American artists began developing their own styles and movements—particularly Abstract Expressionism, which was typified by bold, quickly executed brushwork, drips, and splashes. In the mid-20th century in the United States, artists laid the groundwork for Geometric Abstraction as a more cerebral alternative to the often macho flamboyance of Abstract Expressionism. Over the ensuing decades, artists used geometry to produce abstract works that ranged from the dazzling Op Art of Victor Vasarely to the restrained Minimalism of Sol LeWitt.

"Lessons in Geometry" traces the evolution of hard-edged abstraction in the United States as artists sought to use pure geometric forms to create works with balance, harmony, and order. For these artists, shape, line, and color took precedence over representational compositions. The Everson's collection reflects the wildly varied ways that artists have used geometry to serve their personal expression, from the analytical formulations of Robert Swain to the shaped canvases of Harmony Hammond and the spatial illusions of Tony King.

   

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Afterimages: Legacies of the Thirteenth Amendment
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

Afterimages examines the visual, social, and political legacies of the Thirteenth Amendment, which abolished slavery except as a punishment for a convicted crime. Curated by first-year graduate students of art history under the direction of Professor Sascha Scott, the exhibition highlights works in the SU Art Museum collection created by artists working in the United States from the 19th century to the present.

   

Tuesday, March 10, 2026

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Natasha Alford
Friends of the Central Library Author Series

Crouse Hinds Concert Theater, Mulroy Civic Center
411 Montgomery St., Syracuse

Natasha Alford is an award-winning journalist, host, author, and media executive recognized for harnessing the power of storytelling to inspire and educate. With degrees from Harvard University and Northwestern University, Alford was born in Syracuse. In 2024, she published her critically acclaimed memoir, American Negra, which earned an International Latino Book Award for Best First Book. The book explores identity, resilience and the complexities of Black womanhood in America.

Tickets

   

Wednesday, March 11, 2026

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Lessons in Geometry
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

Artists have obsessed over the relationship between mathematics and art for millennia. As artists turned toward abstraction in the early 20th century, Europeans like Piet Mondrian used geometry to create a set of rules and parameters that guided their creative process. Meanwhile, American artists began developing their own styles and movements—particularly Abstract Expressionism, which was typified by bold, quickly executed brushwork, drips, and splashes. In the mid-20th century in the United States, artists laid the groundwork for Geometric Abstraction as a more cerebral alternative to the often macho flamboyance of Abstract Expressionism. Over the ensuing decades, artists used geometry to produce abstract works that ranged from the dazzling Op Art of Victor Vasarely to the restrained Minimalism of Sol LeWitt.

"Lessons in Geometry" traces the evolution of hard-edged abstraction in the United States as artists sought to use pure geometric forms to create works with balance, harmony, and order. For these artists, shape, line, and color took precedence over representational compositions. The Everson's collection reflects the wildly varied ways that artists have used geometry to serve their personal expression, from the analytical formulations of Robert Swain to the shaped canvases of Harmony Hammond and the spatial illusions of Tony King.

   

Joyce Kozloff: Contested Territories, 1983-2023
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

For more than four decades, Joyce Kozloff has explored how the entanglements of geography, history, and power influence the visual language of maps. "Contested Territories" presents a selection of Kozloff's works that uncover how maps shape our understanding of the world—not as neutral tools, but as instruments of influence, ideology, and control.

Kozloff's wide range of sources include historical maps, classroom wall maps, atlases, globes, and even satellite imagery from Google Maps. Her dense and colorful works often layer these materials with hand-painted details, collage, and intricate ornamentation. By combining sources that span centuries—from Renaissance celestial charts to contemporary digital mapping—she exposes how maps carry the legacies of empire, conflict, and shifting territorial claims.

A founding figure in the Pattern and Decoration movement, Kozloff combines meticulous craftsmanship with political critique. Her works are labor-intensive, involving the detailed process of painting, drawing, and collaging over cartographic surfaces. The resulting richly textured visual field invites viewers to look closely—and to question the conquest, division, and erasure found beneath the official surface narrative.

Whether reimagining educational globes or deconstructing colonial-era charts, Kozloff transforms maps from static documents into contested, dynamic spaces. Her work encourages viewers to reconsider how borders are drawn as well as how art can reclaim such boundaries as sites of resistance, memory, and possibility.

   

Laurent Craste: Iconoclasts
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

"Iconoclasts" marks the American museum debut for French-born Canadian ceramist Laurent Craste. Over the past decade, Craste has committed a wide range of indignities and abuse against his ornate vases and urns, including pummeling them with baseball bats and crowbars and piercing them with arrows. Despite the violence that runs through his work, Craste has a great passion for historical porcelain. Working with porcelain allows Craste to explore the prestige and power of upper-class society, but also inequality and the strain that is placed on working people. The anthropomorphic nature of Craste's vases echoes the human body, making it no surprise that people feel strong emotions when seeing a helpless vase struck by a baseball bat. Triggering these strong emotions in his audience allows Craste to connect on a deeper level as he asks questions about class, money, and power.

   

Preview: Joe Turner's Come and Gone
Syracuse Stage
Timothy Douglas, director

Archbold Theater, Syracuse Stage
820 E. Genesee St., Syracuse

August Wilson's mystical and heartbreaking masterpiece.

1911. Pittsburgh. Seth Holly's boarding house is home to drifters and broken hearts, a waystation for folks biding their time. The residents include a restless musician with a wandering eye, a young woman waiting on a husband who's not coming back, and an eccentric mystic who performs rituals in the yard while helping others find their song. Enter Herald Loomis, recently freed from a Southern chain gang with his young daughter in tow and desperate to reunite with a wife who might not want to be found. A lyrical triumph from Wilson's magnificent Century Cycle, Joe Turner's Come and Gone is a haunting and poetic tale of lost souls searching for spiritual mooring in the raging sea that is America.

   

Thursday, March 12, 2026

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Lessons in Geometry
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

Artists have obsessed over the relationship between mathematics and art for millennia. As artists turned toward abstraction in the early 20th century, Europeans like Piet Mondrian used geometry to create a set of rules and parameters that guided their creative process. Meanwhile, American artists began developing their own styles and movements—particularly Abstract Expressionism, which was typified by bold, quickly executed brushwork, drips, and splashes. In the mid-20th century in the United States, artists laid the groundwork for Geometric Abstraction as a more cerebral alternative to the often macho flamboyance of Abstract Expressionism. Over the ensuing decades, artists used geometry to produce abstract works that ranged from the dazzling Op Art of Victor Vasarely to the restrained Minimalism of Sol LeWitt.

"Lessons in Geometry" traces the evolution of hard-edged abstraction in the United States as artists sought to use pure geometric forms to create works with balance, harmony, and order. For these artists, shape, line, and color took precedence over representational compositions. The Everson's collection reflects the wildly varied ways that artists have used geometry to serve their personal expression, from the analytical formulations of Robert Swain to the shaped canvases of Harmony Hammond and the spatial illusions of Tony King.

   

Laurent Craste: Iconoclasts
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

"Iconoclasts" marks the American museum debut for French-born Canadian ceramist Laurent Craste. Over the past decade, Craste has committed a wide range of indignities and abuse against his ornate vases and urns, including pummeling them with baseball bats and crowbars and piercing them with arrows. Despite the violence that runs through his work, Craste has a great passion for historical porcelain. Working with porcelain allows Craste to explore the prestige and power of upper-class society, but also inequality and the strain that is placed on working people. The anthropomorphic nature of Craste's vases echoes the human body, making it no surprise that people feel strong emotions when seeing a helpless vase struck by a baseball bat. Triggering these strong emotions in his audience allows Craste to connect on a deeper level as he asks questions about class, money, and power.

   

Joyce Kozloff: Contested Territories, 1983-2023
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

For more than four decades, Joyce Kozloff has explored how the entanglements of geography, history, and power influence the visual language of maps. "Contested Territories" presents a selection of Kozloff's works that uncover how maps shape our understanding of the world—not as neutral tools, but as instruments of influence, ideology, and control.

Kozloff's wide range of sources include historical maps, classroom wall maps, atlases, globes, and even satellite imagery from Google Maps. Her dense and colorful works often layer these materials with hand-painted details, collage, and intricate ornamentation. By combining sources that span centuries—from Renaissance celestial charts to contemporary digital mapping—she exposes how maps carry the legacies of empire, conflict, and shifting territorial claims.

A founding figure in the Pattern and Decoration movement, Kozloff combines meticulous craftsmanship with political critique. Her works are labor-intensive, involving the detailed process of painting, drawing, and collaging over cartographic surfaces. The resulting richly textured visual field invites viewers to look closely—and to question the conquest, division, and erasure found beneath the official surface narrative.

Whether reimagining educational globes or deconstructing colonial-era charts, Kozloff transforms maps from static documents into contested, dynamic spaces. Her work encourages viewers to reconsider how borders are drawn as well as how art can reclaim such boundaries as sites of resistance, memory, and possibility.

   

Preview: Joe Turner's Come and Gone
Syracuse Stage
Timothy Douglas, director

Archbold Theater, Syracuse Stage
820 E. Genesee St., Syracuse

August Wilson's mystical and heartbreaking masterpiece.

1911. Pittsburgh. Seth Holly's boarding house is home to drifters and broken hearts, a waystation for folks biding their time. The residents include a restless musician with a wandering eye, a young woman waiting on a husband who's not coming back, and an eccentric mystic who performs rituals in the yard while helping others find their song. Enter Herald Loomis, recently freed from a Southern chain gang with his young daughter in tow and desperate to reunite with a wife who might not want to be found. A lyrical triumph from Wilson's magnificent Century Cycle, Joe Turner's Come and Gone is a haunting and poetic tale of lost souls searching for spiritual mooring in the raging sea that is America.

   

Friday, March 13, 2026

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Lessons in Geometry
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

Artists have obsessed over the relationship between mathematics and art for millennia. As artists turned toward abstraction in the early 20th century, Europeans like Piet Mondrian used geometry to create a set of rules and parameters that guided their creative process. Meanwhile, American artists began developing their own styles and movements—particularly Abstract Expressionism, which was typified by bold, quickly executed brushwork, drips, and splashes. In the mid-20th century in the United States, artists laid the groundwork for Geometric Abstraction as a more cerebral alternative to the often macho flamboyance of Abstract Expressionism. Over the ensuing decades, artists used geometry to produce abstract works that ranged from the dazzling Op Art of Victor Vasarely to the restrained Minimalism of Sol LeWitt.

"Lessons in Geometry" traces the evolution of hard-edged abstraction in the United States as artists sought to use pure geometric forms to create works with balance, harmony, and order. For these artists, shape, line, and color took precedence over representational compositions. The Everson's collection reflects the wildly varied ways that artists have used geometry to serve their personal expression, from the analytical formulations of Robert Swain to the shaped canvases of Harmony Hammond and the spatial illusions of Tony King.

   

Joyce Kozloff: Contested Territories, 1983-2023
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

For more than four decades, Joyce Kozloff has explored how the entanglements of geography, history, and power influence the visual language of maps. "Contested Territories" presents a selection of Kozloff's works that uncover how maps shape our understanding of the world—not as neutral tools, but as instruments of influence, ideology, and control.

Kozloff's wide range of sources include historical maps, classroom wall maps, atlases, globes, and even satellite imagery from Google Maps. Her dense and colorful works often layer these materials with hand-painted details, collage, and intricate ornamentation. By combining sources that span centuries—from Renaissance celestial charts to contemporary digital mapping—she exposes how maps carry the legacies of empire, conflict, and shifting territorial claims.

A founding figure in the Pattern and Decoration movement, Kozloff combines meticulous craftsmanship with political critique. Her works are labor-intensive, involving the detailed process of painting, drawing, and collaging over cartographic surfaces. The resulting richly textured visual field invites viewers to look closely—and to question the conquest, division, and erasure found beneath the official surface narrative.

Whether reimagining educational globes or deconstructing colonial-era charts, Kozloff transforms maps from static documents into contested, dynamic spaces. Her work encourages viewers to reconsider how borders are drawn as well as how art can reclaim such boundaries as sites of resistance, memory, and possibility.

   

Laurent Craste: Iconoclasts
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

"Iconoclasts" marks the American museum debut for French-born Canadian ceramist Laurent Craste. Over the past decade, Craste has committed a wide range of indignities and abuse against his ornate vases and urns, including pummeling them with baseball bats and crowbars and piercing them with arrows. Despite the violence that runs through his work, Craste has a great passion for historical porcelain. Working with porcelain allows Craste to explore the prestige and power of upper-class society, but also inequality and the strain that is placed on working people. The anthropomorphic nature of Craste's vases echoes the human body, making it no surprise that people feel strong emotions when seeing a helpless vase struck by a baseball bat. Triggering these strong emotions in his audience allows Craste to connect on a deeper level as he asks questions about class, money, and power.

   

Opening: Joe Turner's Come and Gone
Syracuse Stage
Timothy Douglas, director

Archbold Theater, Syracuse Stage
820 E. Genesee St., Syracuse

August Wilson's mystical and heartbreaking masterpiece.

1911. Pittsburgh. Seth Holly's boarding house is home to drifters and broken hearts, a waystation for folks biding their time. The residents include a restless musician with a wandering eye, a young woman waiting on a husband who's not coming back, and an eccentric mystic who performs rituals in the yard while helping others find their song. Enter Herald Loomis, recently freed from a Southern chain gang with his young daughter in tow and desperate to reunite with a wife who might not want to be found. A lyrical triumph from Wilson's magnificent Century Cycle, Joe Turner's Come and Gone is a haunting and poetic tale of lost souls searching for spiritual mooring in the raging sea that is America.

   

Saturday, March 14, 2026

Lessons in Geometry
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

Artists have obsessed over the relationship between mathematics and art for millennia. As artists turned toward abstraction in the early 20th century, Europeans like Piet Mondrian used geometry to create a set of rules and parameters that guided their creative process. Meanwhile, American artists began developing their own styles and movements—particularly Abstract Expressionism, which was typified by bold, quickly executed brushwork, drips, and splashes. In the mid-20th century in the United States, artists laid the groundwork for Geometric Abstraction as a more cerebral alternative to the often macho flamboyance of Abstract Expressionism. Over the ensuing decades, artists used geometry to produce abstract works that ranged from the dazzling Op Art of Victor Vasarely to the restrained Minimalism of Sol LeWitt.

"Lessons in Geometry" traces the evolution of hard-edged abstraction in the United States as artists sought to use pure geometric forms to create works with balance, harmony, and order. For these artists, shape, line, and color took precedence over representational compositions. The Everson's collection reflects the wildly varied ways that artists have used geometry to serve their personal expression, from the analytical formulations of Robert Swain to the shaped canvases of Harmony Hammond and the spatial illusions of Tony King.

   

Laurent Craste: Iconoclasts
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

"Iconoclasts" marks the American museum debut for French-born Canadian ceramist Laurent Craste. Over the past decade, Craste has committed a wide range of indignities and abuse against his ornate vases and urns, including pummeling them with baseball bats and crowbars and piercing them with arrows. Despite the violence that runs through his work, Craste has a great passion for historical porcelain. Working with porcelain allows Craste to explore the prestige and power of upper-class society, but also inequality and the strain that is placed on working people. The anthropomorphic nature of Craste's vases echoes the human body, making it no surprise that people feel strong emotions when seeing a helpless vase struck by a baseball bat. Triggering these strong emotions in his audience allows Craste to connect on a deeper level as he asks questions about class, money, and power.

   

Joyce Kozloff: Contested Territories, 1983-2023
Everson Museum of Art

Everson Museum of Art
401 Harrison St., Syracuse

For more than four decades, Joyce Kozloff has explored how the entanglements of geography, history, and power influence the visual language of maps. "Contested Territories" presents a selection of Kozloff's works that uncover how maps shape our understanding of the world—not as neutral tools, but as instruments of influence, ideology, and control.

Kozloff's wide range of sources include historical maps, classroom wall maps, atlases, globes, and even satellite imagery from Google Maps. Her dense and colorful works often layer these materials with hand-painted details, collage, and intricate ornamentation. By combining sources that span centuries—from Renaissance celestial charts to contemporary digital mapping—she exposes how maps carry the legacies of empire, conflict, and shifting territorial claims.

A founding figure in the Pattern and Decoration movement, Kozloff combines meticulous craftsmanship with political critique. Her works are labor-intensive, involving the detailed process of painting, drawing, and collaging over cartographic surfaces. The resulting richly textured visual field invites viewers to look closely—and to question the conquest, division, and erasure found beneath the official surface narrative.

Whether reimagining educational globes or deconstructing colonial-era charts, Kozloff transforms maps from static documents into contested, dynamic spaces. Her work encourages viewers to reconsider how borders are drawn as well as how art can reclaim such boundaries as sites of resistance, memory, and possibility.

   

Possible Worlds: 20 Years of the Wynn Newhouse Awards
Syracuse University Art Museum

Syracuse University Art Museum, Shaffer Art Building
Syracuse University, Syracuse

This landmark exhibition marks the 20th anniversary of the Wynn Newhouse Award, a pioneering initiative that has recognized and elevated artists of excellence who happen to live with disabilities. Established in 2006 by Wynn Newhouse, the award has championed bold, boundary-defying voices in contemporary art — highlighting practices that are as varied in form as they are unified in vision: a vision of art as a space where representation, identity, and access are not peripheral concerns, but central to the discourse.

At the heart of the exhibition is a curatorial inquiry: How do artists with disabilities navigate the art world, and the world at large, on their terms? And how does that navigation inform their work, influence its reception, and expand the field of cultural production? The goal is not to position disability as a central or singular theme, but to acknowledge it as one of many intersecting conditions that inform artistic practice. In doing so, this exhibition prompts us to reconsider who gets seen, whose experiences shape the canon, and how institutions can create more equitable conditions for artistic participation and recognition.

Exhibiting artists include Beverly Baker, Derrick Alexis Coard, Courttney Cooper, Joseph Grigley, Em Kettner, Reverend Joyce McDonald, William Scott, Kambel Smith, Katz Tepper, Melvin Way, and Peter Williams.

   

Kids Series: Windy Day
Syracuse Orchestra (formerly Symphoria)

Inspiration Hall (formerly St. Peter's Church)
709 James St., Syracuse

Come learn all about The Syracuse Orchestra Wind Section in this fun concert featuring all of the woodwind instruments.

Tickets

   

Kids Series: Windy Day
Syracuse Orchestra (formerly Symphoria)

Inspiration Hall (formerly St. Peter's Church)
709 James St., Syracuse

Come learn all about The Syracuse Orchestra Wind Section in this fun concert featuring all of the woodwind instruments.

Tickets

   

The Bandwitts
Steeple Coffee House

Price: $15 suggested donation covers entertainment, dessert, coffee/tea
United Church of Fayetteville
310 E. Genesee St., Fayetteville

   

Joe Turner's Come and Gone
Syracuse Stage
Timothy Douglas, director

Archbold Theater, Syracuse Stage
820 E. Genesee St., Syracuse

August Wilson's mystical and heartbreaking masterpiece.

1911. Pittsburgh. Seth Holly's boarding house is home to drifters and broken hearts, a waystation for folks biding their time. The residents include a restless musician with a wandering eye, a young woman waiting on a husband who's not coming back, and an eccentric mystic who performs rituals in the yard while helping others find their song. Enter Herald Loomis, recently freed from a Southern chain gang with his young daughter in tow and desperate to reunite with a wife who might not want to be found. A lyrical triumph from Wilson's magnificent Century Cycle, Joe Turner's Come and Gone is a haunting and poetic tale of lost souls searching for spiritual mooring in the raging sea that is America.

   

Joe Turner's Come and Gone
Syracuse Stage
Timothy Douglas, director

Archbold Theater, Syracuse Stage
820 E. Genesee St., Syracuse

August Wilson's mystical and heartbreaking masterpiece.

1911. Pittsburgh. Seth Holly's boarding house is home to drifters and broken hearts, a waystation for folks biding their time. The residents include a restless musician with a wandering eye, a young woman waiting on a husband who's not coming back, and an eccentric mystic who performs rituals in the yard while helping others find their song. Enter Herald Loomis, recently freed from a Southern chain gang with his young daughter in tow and desperate to reunite with a wife who might not want to be found. A lyrical triumph from Wilson's magnificent Century Cycle, Joe Turner's Come and Gone is a haunting and poetic tale of lost souls searching for spiritual mooring in the raging sea that is America.