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Amy Lincoln: Fractured Light

New York-based artist Amy Lincoln (b. 1981) paints dreamy, atmospheric landscapes and seascapes recalling her childhood under the overcast skies of the Pacific Northwest. At once tranquil and vibrant, otherworldly and familiar, Lincoln’s imagined scenes of radiant suns, calm seas, and vivid foliage present a stylized version of the natural world in every color of the rainbow. An exploration of the phenomena of light reflection and refraction, Fractured Light is Lincoln’s first solo museum exhibition.

Lincoln begins most paintings with three colors that she mixes with varying amounts of white to establish a color system unique to each work. She meticulously builds up layers of paint, creating surfaces that appear to glow from within. Through gradual tonal transitions, geometric precision, and the use of symmetry, Lincoln’s paintings capture the feeling of light moving across a landscape. In a world saturated with rapidly changing high-definition images, Lincoln’s work offers us an alternative that encourages close looking and deep engagement with color, light, and form.

About the Artist: 

Born in Bloomington, Indiana in 1981, New York-based artist Amy Lincoln paints dream-like scenes of imagined landscapes, atmospheric activity and vibrant, fantastical foliage. Recalling her upbringing in Oregon, where beach visits under overcast skies were frequent, Lincoln’s paintings explore the phenomena of light reflection and refraction. She completed her MFA at Temple University’s Tyler School of Art in 2006 and her BA at University of California, Davis in 2003. Lincoln’s work has been the subject of solo exhibitions at Sperone Westwater (2024; 2023; 2021), Taymour Grahne Projects, London (2022), Morgan Lehman Gallery, New York (2018; 2016) and Monya Rowe Gallery, Saint Augustine, FL (2016), among others. Her work has also been featured in numerous group exhibitions including Johansson Projects, Oakland, CA (2024), Columbus Museum of Art, OH (2023), The Hole, New York (2022), Sargent’s Daughters, New York (2018), and Regina Rex, New York (2017), as well as internationally at Galerie Valerie Bach, Brussels, Belgium (2020) and Taymour Grahne Projects, London (2022; 2021). Lincoln has been awarded residencies at the Wave Hill Winter Workspace program, the Inside Out Art Museum Residency in Beijing, and a Swing Space residency from the Lower Manhattan Cultural Council. Her work is in the permanent collections of the Columbus Museum of Art and Pennsylvania Academy of the Fine Arts, Philadelphia.

Canal as Collaborator: Works by Sarah Cameron Sunde & Kari Varner

How do we reconcile our engineered past with an ecological future?

2025 Erie Canal Artists-in-Residence Sarah Cameron Sunde and Kari Varner explore the Canal from an environmental lens.

Kari Varner, a distinguished photographer and educator, explored key ecological sites along the canal, integrating harvested plants into her photographic artworks. Sarah Cameron Sunde, an innovative interdisciplinary artist, engaged with canal communities to create pieces that physically and ecologically connect with the canal. She also developed work in collaboration with Jeremy Dennis, a contemporary fine art photographer and an enrolled Tribal Member of the Shinnecock Indian Nation in Southampton, NY.

Deborah Roberts: Consequences of being

Consequences of being brings together large-format paintings, works on paper, and— for the first time in Deborah Roberts’ career—ceramic sculpture. The exhibition marks a significant expansion of the Austin, Texas–based artist’s practice and a deepening investigation into the histories and legacies of colonialism. Roberts, who received her MFA from Syracuse University, uses collage to approach identity as something fragmented and continually reconstructed, reclaiming found materials and images to examine how Black bodies are seen, positioned, and understood globally.

The project broadens Roberts’ historical lens to include Germany, the Netherlands, and South Africa—nations deeply implicated in the exploitation of land and people. In these new works, she repurposes imagery and text from grocery store signage and packaging, referencing foods once discarded or given to enslaved peoples that are now reframed as delicacies. Through these transformations, Roberts considers how colonial histories continue to shape cultural identity, economic access, and the politics of consumption. While her figures bear traces of dehumanizing language and imagery, they are also imbued with presence, dignity, and spirituality, asserting survival and self-definition.

Roberts constructs her hybrid figures—often young Black children—through a distinctive collage process that combines found, manipulated, drawn, and painted elements. Drawn from the social and economic environments these children must navigate, the imagery foregrounds the precarity imposed by racial stereotyping and its impact on identity and agency. Her signature expanses of white space isolate the figures, intensifying attention to how Black bodies are centered, measured, and read in relation to structures of whiteness.

The exhibition also debuts a new ceramic bust, Zuri, named after the Swahili word for “beautiful” or “good,” affirming enduring cultural lineages and the inherent value, brilliance, and potential of Black children.

Nanni Valentini: Interspaces

Over the half-century span of its Ceramic National exhibitions, the Everson launched the career of countless American ceramists. In 1942 and 1958, the scope of the Ceramic Nationals became international, showcasing talents from both the Western hemisphere and Europe. On the advice of Italian artist Lucio Fontana, a brilliant ceramist in his own right, the 1958 Ceramic International introduced Nanni Valentini to the world. Valentini received a coveted purchase prize, and his work was exhibited on that year’s circuit, which included the Metropolitan Museum of Art in New York, the Museum of Fine Arts Boston, the Cleveland Museum of Art, and the Detroit Institute of Arts.

By the time he exhibited at the Ceramic International, Valentini’s work had begun to move away from strict functionality. Although his studies were rooted in pottery traditions at the Istituto d’Arte per la Ceramica in Faenza, Valentini saw himself as a fine artist rather than craftsman. In the 1960s, he began creating conceptual wall-based ceramics that drew from exciting developments in Italian painting. By the 1970s, he produced a groundbreaking series of works called Trasparenza (Transparency), which further broke down the barriers between painting and sculptural object. Before his untimely death in 1985, Valentini established that ceramics were an inextricable part of the fine art canon.

In collaboration with the Nanni Valentini Archive, Fondazione Museo della Ceramica di Savona, and ABC-ARTE, Interspaces re-introduces Valentini’s groundbreaking work to American audiences.

(Not) ALL ENCOMPASSED

⭐️ art haus SYR is proud to present “(Not) ALL ENCOMPASSED” a group exhibition featuring works by Laurel Moranz @laurelmoranz - Lauren Bristol @laurenbristolart - Karin Bruckner @kbmatter - Deborah Walsh @artdebbie- Todd Behrendt @trbehrendt - Michael Schwarzer @mschwarzerart and Sherry Spann Allen @sspannallenart . In-haus viewing begins 8/4/26 12pm.art curation @marastudionyc_syr#exhibition #nyart #downtownsyracuse #independentart #collectart originalart localart supportartists livebeautiful

Zelikha Zohra Shoja: In Search of Bluer Tongues

UVP EXHIBITIONEverson Community Plaza | 401 Harrison St.July 2–September 12, 2026 | Th-Sat | dusk-11PM
In 2021, artist Zelikha Zohra Shoja planned to shoot a new film at the site of her maternal home in Kabul, Afghanistan, but due to the return of the Taliban and ensuing violence, the project could not be realized. In Search of Bluer Tongues reimagines the playful domestic scenes Shoja hoped to play out in Kabul, working instead with members of resettled communities in the city of Syracuse and around New York. The resulting piece is an act of collaborative memory-making and a meditation on the diasporic experience of longing to be in a place that can only be watched from afar.

315 Thursday's Presents Double Tiger with special guests Emanuel Washington Project

DJ Joey D kicks things off with all the old-school classics at 5pm, Emanuel Washington Project plays at 6pm, and Double Tiger at 7:30.