Saturday, January 17, 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.

   

Reclaiming Our Collective Inheritance: A Palestinian Diaspora Collection
ArtRage Gallery

Price: Free
ArtRage Gallery
505 Hawley Ave., Syracuse

The Palestinian thobe is more than an embroidered garment — it is a living archive. For Palestinians in the diaspora, these intricately stitched dresses are tangible connections to a homeland many have never seen, yet fiercely carry within them. Each motif tells a story — of identity, ancestral village, and unbroken resilience. Tragically, many thobes have been lost to time, war, and dispossession — from heirloom dresses smuggled out of Palestine to stolen thobes rediscovered in antique markets, their narratives preserved only in the whispers of fading thread.

This exhibit, "Reclaiming Our Collective Inheritance," is both a memorial and a call to action: to rescue, preserve, remember, and honor the hands that embroidered them. More than fabric, these thobes weave memory and return into every stitch. This is more than an exhibit — it is a reclamation. An act of cultural preservation which ensures that this art form, and the Palestinian narrative itself, remains alive for future generations.

   

Kids Series: Kids Dance!
Syracuse Orchestra (formerly Symphoria)

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

Local dance students perform to waltzes, tangos, and other traditional dance pieces played by The Syracuse Orchestra.

Falla El Amor Brujo: Ritual Fire Dance
Handel selections from Water Music
Bach Brandenburg Concerto No. 3: Movement 3, Allegro
Shostakovich/Lavender (arr.) Waltz No. 2 from Suite for Variety Orchestra
Anderson Blue Tango
Bartok Romanian Folk Dances
Price Colonial Dance

Tickets

   

Kids Series: Kids Dance!
Syracuse Orchestra (formerly Symphoria)

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

Local dance students perform to waltzes, tangos, and other traditional dance pieces played by The Syracuse Orchestra.

Falla El Amor Brujo: Ritual Fire Dance
Handel selections from Water Music
Bach Brandenburg Concerto No. 3: Movement 3, Allegro
Shostakovich/Lavender (arr.) Waltz No. 2 from Suite for Variety Orchestra
Anderson Blue Tango
Bartok Romanian Folk Dances
Price Colonial Dance

Tickets

   

Featuring Flute
Syracuse Friends of Chamber Music
Featuring Xue Su, flute

Price: $30 regular, $25 seniors
Grant Middle School
2400 Grant Blvd., Syracuse

At the mid-winter concert, SFCM always presents excellent musicians from our own area. Xue Su, principal flute in The Syracuse Orchestra, will be joined by harp, strings, and piano.

Roussel Serenade, op. 30
Debussy Sonata for Flute, Viola, and Harp
Turina Trio no. 2 for Violin, Cello, and Piano
Weber Trio for Flute, Cello, and Piano, op. 63

   

Sunday, January 18, 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.

   

Wednesday, January 21, 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.

   

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.

   

Thursday, January 22, 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.

   

Friday, January 23, 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.

   

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.

   

Saturday, January 24, 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.

   

Matthew Ardizzone, guitar
Skaneateles Library Guitar Series

Price: Free
Skaneateles Library
49 E. Genesee St., Skaneateles

Prior to becoming the Associate Dean of Graduate Studies in 2023, Matthew Ardizzone served as Eastman's Associate Dean of Admissions & Enrollment Management for 13.5 years. He is the inaugural Marie Rolf Dean of Graduate Studies, and was the first guitarist to receive the Doctor of Musical Arts degree from Eastman ('97). A student of Nicholas Goluses, his doctoral coursework focused on the history of performance and interpretation, and the influences of Chopin and the bel canto tradition on the guitar repertoire. His lecture-recital was on the Mazurka in the guitar repertoire, and included his transcriptions of works by Chopin and Granados, as well as guitar works of Barrios, Tárrega, and Sagreras. This became the basis of his first CD, titled Mazurka!, which was released on the AMP Recordings label, and received a 2001 Communicator Awards 'Crystal Award of Excellence.'

   

Masterworks Series: Brahms & Debussy
Syracuse Orchestra (formerly Symphoria)
Stilian Kirov, conductor
Featuring Ben Dettelback, trombone

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

Debussy Pagodes
Tan Dun Concerto for Trombone: Three Muses in Video Game
Brahms Symphony No. 2 in D major, op. 73

Tickets