Thursday, March 19, 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.

   

Dirty Dancing in Concert
The Oncenter

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

Relive the film that stole the hearts of generations with Dirty Dancing in Concert.

This unique live-to-film concert event features the original film projected in full, accompanied by a live band and singers performing every unforgettable song from the soundtrack.

Feel the romance, rhythm, and emotion as you watch Baby and Johnny's love story come to life on a full-size cinema screen, with every iconic moment amplified by the power of live music.

After the final scene, the fun keeps going with a dance-along encore party that invites you to celebrate the music that made history.

Tickets

   

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 20, 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.

   

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.

   

Cantrip
Folkus Project

Price: $25 regular, $22 Folkus members
May Memorial Unitarian Society
3800 E. Genesee St., Syracuse

"Their music comes from wild landscapes and wild places of the spirit."

Just like the Old Scots definition of their band name, Scottish band Cantrip leaves audiences spellbound when they take on any stage.

After forming in Edinburgh 20 years ago, this group came together to create music that is not shy of its Celtic origins or influences from the folk, metal, bluegrass, swing, and klezmer genres.

Tickets

   

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 21, 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.

   

Pops Series: Symphonic Dances
Syracuse Orchestra (formerly Symphoria)
Sean O'Loughlin, conductor

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

Maria Millar and Shawn Wyckoff bring their violin and flute dancing duo to The Syracuse Orchestra stage in a concert that will fill you with delight and get your feet tapping.

Tickets

   

Pops Series: Dancing Queen: The Music of ABBA
Syracuse Orchestra (formerly Symphoria)
Sean O'Loughlin, conductor

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

You can be The Dancing Queen and sing along to your ABBA favorites as The Syracuse Orchestra rocks out with vocalists in The Music of ABBA.

Tickets

   

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.

   

Sunday, March 22, 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.

   

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.

   

Monday, March 23, 2026

The Dollop Podcast Live
The Oncenter

Carrier Theater, Mulroy Civic Center
411 Montgomery St., Syracuse

History buff and comedian Dave Anthony was considering starting a new podcast in 2014. His idea was to write up an unknown story from American history and read it to a different comedian each week. Having not heard of the story before, Dave hoped the comedian's reaction would be hilarious. He gave it a go and his first guest was comedian Gareth Reynolds. They immediately clicked and fans flooded social media telling Dave to never change the co-host. And he didn't.

Sticking to the formula of Dave reading Gareth a story he has never heard, The Dollop quickly shot up the charts. Fans of both comedy and history were drawn to the wild stories and quick improv skills of Gareth. With millions of downloads, The Dollop has become a regular presence on top of the podcast charts, as well as selling out shows in both the U.S. and Australia.

Tickets

   

Tuesday, March 24, 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.

   

Brit Floyd: The Moon, The Wall and Beyond
The Oncenter

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

This new production by The World's Premier Pink Floyd Experience celebrates two of the most iconic and influential albums in rock history — Pink Floyd's The Dark Side of the Moon and The Wall — with a breathtaking show that captures the spirit, sound, and spectacle of the legendary band.

Since their formation, Brit Floyd has set the standard for tribute performances, delivering stadium-scale concerts that combine stunning musicianship, cutting-edge visuals, and an unparalleled attention to detail. With over 1,500 shows performed in more than 40 countries, Brit Floyd has earned worldwide acclaim as the definitive live Pink Floyd experience.

The 2026 tour will feature a full performance of highlights from The Dark Side of the Moon and The Wall, including timeless classics such as "Time," "Money," "Comfortably Numb," and "Another Brick in the Wall, Part 2." In addition, audiences can expect a rich selection of fan favourites from across Pink Floyd's vast discography — from Wish You Were Here to The Division Bell and beyond.

Accompanied by a state-of-the-art light show, lasers, video projections, inflatables, and theatrical staging, "The Moon, The Wall and Beyond" promises to be Brit Floyd's most ambitious and immersive production to date — a must-see event for lifelong Floyd fans and new generations alike.

Tickets

   

Wednesday, March 25, 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.

   

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 Ten Tenors
The Oncenter

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

The Ten Tenors are an Australian music ensemble that has toured extensively nationally and internationally and released 15 albums and 4 DVDs. The current line up is: JD Smith, Adrian Li Donni, Cameron Barclay, Ammon Bennett, Boyd Owen, Sam Ward, Jared Newall, Michael Edwards, Riley Sutton and Daniel Belle.

Since The Ten Tenors was first formed in 1995, the group has performed extensively in Australia, overseas and on television, and their signature brand of music featuring 10-part harmonies has been enjoyed by more than 90 million people. They have headlined more than 2,000 concerts around the world, sold more than 3.5 million concert tickets and become renowned for their dynamic, choreographed performances and skillful ability to seamlessly transition from operatic arias to soulful ballads through to chart-topping pop and rock songs.

Tickets

   

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 26, 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.

   

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.

   

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.