Clayscapes- Exhibition

Clayscapes is a tribute to clay’s ubiquitous presence in our lives, and to the powerful metaphorical and spiritual role that it can play. The Everson’s famous collection of ceramics is filled with works that explore the landscape—from artist Robert Arneson’s monumental celebration of California’s mountainous landscape to Uruguayan-born Lidya Buzio’s earthy vessels adorned with the skyline of her adopted home in New York City. The collection contains many commercially produced souvenir plates and pitchers meant to commemorate and memorialize specific places. These wares are a distinctive part of the Museum’s collection, and they provide inspiration for contemporary artists such as Paul Scott, who makes commemorative plates that reflect the ways that humans have altered the landscape and exploited its resources.

I've Learned To Hold Myself Softly: Cali M. Banks

Comprised of 30 images and one film, Banks has created an exhibition with Syracuse as her muse.

She began documenting her hometown of Syracuse in November 2022. When she traveled back to places of importance during my "coming of age" years, she realized many places of both solace and nostalgia have been demolished or abandoned. Banks started to rework this experimental, documentary project with ideas of "teardown towns" and blind tradition. She utilizes self-portraiture, still-lives, and architecture that is specific to Syracuse, and symbolism depicting bodies, ritual, and sensuality, which in turn uses nonverbal communication as a way to emphasize tradition. This project also explores the complexities of layers of existence through materialistic remnants and the essence of non-tangibility. With a rapidly changing hometown as the core of the work, Banks is capturing attention with a familiar setting to the community.

Tim Atseff: Final Edition

Fifty years following his Everson Museum debut, Syracuse-native Tim Atseff returns with a solo exhibition dedicated to a topic he knows intimately—the news media. Atseff spent nearly five decades working in the newspaper business in various professional roles and is perhaps best-known for penning editorial cartoons that satirically skewered political and public figures in print. Atseff’s artistic practice is similarly grounded in current events, but as a platform for expressing his personal views about existential crises facing the world today, it is writ large and in full color in paintings, assemblages, and installations. For the Everson, Atseff presents a selection of recent works about the continued shuttering of American newspapers—and what it means for the future of journalistic integrity, an informed public, and national political debate.