Everson Museum of Art
401 Harrison St., Syracuse

Louise Rosenfield is among the most avid pottery collectors in the United States. Over the past 30 years, she has amassed a collection of more than 4,000 pieces of functional pottery from artists across the globe. Her ambition for her collection has always been clear — instead of donating work to a museum, she would rather donate it to a restaurant, where patrons could enjoy the work as originally intended.

"Curious Vessels" is a celebration of both Rosenfield's eclectic taste and her unrivaled generosity. Museum visitors will be able to touch many of the pieces in this exhibition while watching videos of Rosenfield and notable potters from the collection pointing out details of the work. Coming this spring, the Everson's new cafe´, Louise, will be stocked with functional vessels from the Rosenfield Collection that you will be able to eat and drink out of.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Louise Rosenfield is among the most avid pottery collectors in the United States. Over the past 30 years, she has amassed a collection of more than 4,000 pieces of functional pottery from artists across the globe. Her ambition for her collection has always been clear — instead of donating work to a museum, she would rather donate it to a restaurant, where patrons could enjoy the work as originally intended.

"Curious Vessels" is a celebration of both Rosenfield's eclectic taste and her unrivaled generosity. Museum visitors will be able to touch many of the pieces in this exhibition while watching videos of Rosenfield and notable potters from the collection pointing out details of the work. Coming this spring, the Everson's new cafe´, Louise, will be stocked with functional vessels from the Rosenfield Collection that you will be able to eat and drink out of.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Louise Rosenfield is among the most avid pottery collectors in the United States. Over the past 30 years, she has amassed a collection of more than 4,000 pieces of functional pottery from artists across the globe. Her ambition for her collection has always been clear — instead of donating work to a museum, she would rather donate it to a restaurant, where patrons could enjoy the work as originally intended.

"Curious Vessels" is a celebration of both Rosenfield's eclectic taste and her unrivaled generosity. Museum visitors will be able to touch many of the pieces in this exhibition while watching videos of Rosenfield and notable potters from the collection pointing out details of the work. Coming this spring, the Everson's new cafe´, Louise, will be stocked with functional vessels from the Rosenfield Collection that you will be able to eat and drink out of.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.

Everson Museum of Art
401 Harrison St., Syracuse

To celebrate the new millennium, in the year 2000 artist Neil Tetkowski undertook a Herculean project: gathering clay from all 188 member countries from the United Nations. With these clay samples, Tetkowski created a suitably monumental work that debuted at United Nations headquarters in New York City—the Common Ground World Mandala. Measuring seven feet in diameter and more than nine feet high, Tetkowski's sculpture is a testament to the artist's ability to think beyond boundaries—of scale, of geography, and of politics.

"Common Ground" uses Tetkowski's World Mandala as the centerpiece of an exhibition that showcases the Everson's vast collection of world ceramics. From ancient Mesopotamian and Greek pottery to contemporary Zulu beer brewing vessels and a life-size terracotta horse built by Indian priests, the Everson's collection traces the evolution of ceramics across cultures over thousands of years. Because of Syracuse's focus on welcoming immigrants and refugees to the community, there are over 70 languages spoken in city schools. "Common Ground" uses ceramics, one of humankind's oldest art forms, to remind us of our shared bonds with the earth.

Everson Museum of Art
401 Harrison St., Syracuse

Whether artists respond to history or look to the future, creativity exists in the moment. Drawn from the Everson's permanent collection, Forever is Composed of Nows examines a multitude of snapshots of the present moment, grouped by theme, image, or idea across different time periods and media. By examining how artists spanning three centuries have approached their present — their now — using similar topics and motifs, this exhibition is a visual exploration of how values, societal customs, and art subjects have evolved over time.

Everson Museum of Art
401 Harrison St., Syracuse

"Structure/Dissonance" celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l'oeil ceramic sculptures of decaying industrial landscapes. Elozua's first major museum exhibition since his 2003 retrospective at the Mint Museum, "Structure/Dissonance" focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua's intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

Elozua's insatiable appetite to uncover the hidden cultural meanings attached to his chosen materials has led him to obsessively collect esoteric objects like gas stove burners and rusted enamel cookware, as well as photographs and ephemera related to topics as varied as labor history and decaying "borscht belt" bungalow colonies. These collections and obsessions help to construct a more accurate picture of the complex intellect that gives depth and meaning to Elozua's singular expressive sculptures.

Everson Museum of Art
401 Harrison St., Syracuse

Rebecca Hutchinson's sculptural installations are influenced by the behavioral dynamics found in nature. Her exhibition is focused on the themes of re-generation and observation of natural built systems. "Re-Generation" highlights Hutchinson's cultural and environmental research on the industrial legacy of Central New York. Along with its salt mines, Syracuse also possessed massive deposits of soda ash, a material used in the manufacture of ceramics. These materials, in tandem with an influx of European immigrants with craft and material expertise led to the development of Syracuse China, which quickly grew into one of the nation's largest dinnerware manufacturers.

Reflecting on the decline of the soda ash mining and the closure of Syracuse China, "Re-Generation" takes the form of large unfired paperclay vessels that will be installed in an inverted position, showcasing on the surface drawings of rare orchids that have evolved out of the polluted soil and are currently thriving in the Syracuse region.