Friday, April 3, 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.

   

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

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.

   

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.

   

The 25th Annual Putnam County Spelling Bee
Covey Theatre Company
Mike Racioppa, director

Hosmer Auditorium, Everson Museum
401 Harrison St., Syracuse

   

A Rebel Prayer
Syracuse University Drama Department
Kathleen Wrinn, director

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

Inspired by true events, this new punk-protest musical explores the power of art in an authoritarian society. Will 16-year-old Nikita submit to the regime responsible for her father's death, or rebel and risk everything? Book and lyrics by Eloise T. Govedare, music by Aleksandra M. Weil.

   

Saturday, April 4, 2026

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.

   

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.

   

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

The 25th Annual Putnam County Spelling Bee
Covey Theatre Company
Mike Racioppa, director

Hosmer Auditorium, Everson Museum
401 Harrison St., Syracuse

   

A Rebel Prayer
Syracuse University Drama Department
Kathleen Wrinn, director

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

Inspired by true events, this new punk-protest musical explores the power of art in an authoritarian society. Will 16-year-old Nikita submit to the regime responsible for her father's death, or rebel and risk everything? Book and lyrics by Eloise T. Govedare, music by Aleksandra M. Weil.

   

A Rebel Prayer
Syracuse University Drama Department
Kathleen Wrinn, director

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

Inspired by true events, this new punk-protest musical explores the power of art in an authoritarian society. Will 16-year-old Nikita submit to the regime responsible for her father's death, or rebel and risk everything? Book and lyrics by Eloise T. Govedare, music by Aleksandra M. Weil.

   

Sunday, April 5, 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.

   

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

A Rebel Prayer
Syracuse University Drama Department
Kathleen Wrinn, director

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

Inspired by true events, this new punk-protest musical explores the power of art in an authoritarian society. Will 16-year-old Nikita submit to the regime responsible for her father's death, or rebel and risk everything? Book and lyrics by Eloise T. Govedare, music by Aleksandra M. Weil.

   

Tuesday, April 7, 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.

   

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

Wednesday, April 8, 2026

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

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.

   

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.

   

Thursday, April 9, 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.

   

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

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.

   

Friday, April 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.

   

Undressed: The Nude in Dutch Art, circa 1550-1800
Syracuse University Art Museum

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

This exhibition, encompassing 21 works in various media, surveys the portrayal of nudity and semi-nudity in a variety of subjects rendered by Dutch artists over several centuries. It will explore how the nude has been articulated, both artistically and contextually, to disrupt traditional ideas of nudity in art, which were primarily argued by Sir Kenneth Clark in The Nude: A Study in Ideal Form (1956).

In this influential text, Clark posited that the presence of the nude in art, existed above and beyond cultural circumstances, as a timeless, almost abstract ideal. He advanced a distinction between "naked" and "nude," with the latter explained as an idealization, or an evocation of timeless ideals. To the contrary, this exhibition presents nudity in art as a phenomenon that is time-bound and culturally determined.

   

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.

   

Jay Ungar & Molly Mason
Folkus Project

Price: $25 regular, $224 Folkus members
May Memorial Unitarian Society
3800 E. Genesee St., Syracuse

Since joining their talents in the late 1970s, Jay Ungar and Molly Mason have become one of the most celebrated duos on the American acoustic music scene. They are masters of music and storytelling who generously share their lives and their music with audiences. There are so many moments and strands to savor during an evening of their music.

Jay's fiddling is brimming with playfulness, drama, soulfulness, and technical verve, as he explores the many musical styles and idioms that he has internalized and made his own. Molly's total mastery and inventiveness on piano and guitar is always spot-on, as she supports the tunes and follows the flow of the melody. Her rich and expressive vocals along with the resonant strains of Jay's violin, reveal the deep emotions that flow in the duo's veins.

Millions were entranced by the music they did for Ken Burns' PBS documentary The Civil War. Their performance of the series' signature tune, Jay's haunting composition, "Ashokan Farewell," earned the couple international acclaim. The soundtrack won a Grammy, and "Ashokan Farewell" was nominated for an Emmy.

Tickets

   

Twelve Angry Jurors
CNY Playhouse

Atonement Lutheran Church
116 W. Glen Ave., Syracuse

Twelve Angry Jurors contemplates the huge responsibility of 12 ordinary people who must decide the guilt or innocence of a teenager accused of murder. It looks like an open-and-shut case — until one voice casts doubts and challenges a deeper examination of the facts. In the sweltering jury room each person brings their individual histories, biases, and prejudices to the table as they struggle to reach a unanimous decision that will decide one youth's fate. Twelve Angry Jurors explores how our actions (or inaction) have consequences.

Tickets