Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

Coordinated by ARISE, a non-profit agency based in Syracuse, UNIQUE celebrates the artistic talents of Central New Yorkers living with disabilities. The works included in this exhibition eloquently speak to the myriad thoughts, ideas, and feelings that all humans share, regardless of individual ability or circumstance. The annual competition invites submissions of art and literature which are then selected for display by a panel of judges for exhibit at the Everson Museum.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

Coordinated by ARISE, a non-profit agency based in Syracuse, UNIQUE celebrates the artistic talents of Central New Yorkers living with disabilities. The works included in this exhibition eloquently speak to the myriad thoughts, ideas, and feelings that all humans share, regardless of individual ability or circumstance. The annual competition invites submissions of art and literature which are then selected for display by a panel of judges for exhibit at the Everson Museum.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Coordinated by ARISE, a non-profit agency based in Syracuse, UNIQUE celebrates the artistic talents of Central New Yorkers living with disabilities. The works included in this exhibition eloquently speak to the myriad thoughts, ideas, and feelings that all humans share, regardless of individual ability or circumstance. The annual competition invites submissions of art and literature which are then selected for display by a panel of judges for exhibit at the Everson Museum.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Coordinated by ARISE, a non-profit agency based in Syracuse, UNIQUE celebrates the artistic talents of Central New Yorkers living with disabilities. The works included in this exhibition eloquently speak to the myriad thoughts, ideas, and feelings that all humans share, regardless of individual ability or circumstance. The annual competition invites submissions of art and literature which are then selected for display by a panel of judges for exhibit at the Everson Museum.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

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

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson's ceramic collection is filled with work that documents the joys and sorrows of humankind's relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Cali M. Banks, whose ancestors are both Munsee Lenape and Scottish, recently returned to Syracuse, where she was born and raised. As an artist, Banks has long embraced photography as her medium of choice. Rather than embracing photography's objective or journalistic qualities, Banks seeks to personalize her work through a combination of alchemical processes and labor-intensive embellishment. The result is a body of work that balances nostalgia, loss, identity, longing, and a sense of community.

"I've Learned to Hold Myself Softly" utilizes self-portraiture, still-lifes, and architecture to examine Banks' return to Syracuse. Many of the places that she had found solace in as a youth have now been demolished, abandoned, or gentrified. "I've Learned to Hold Myself Softly" funnels the emotions associated with loss and change into works that reflect the conflicting realities and collateral damage that stem from the rapid changes Syracuse has undergone during the past decade.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

Join us for the 2024 Festival of Trees & Light, a cherished holiday tradition that has captivated Central New York for nearly four decades. This year, we're lighting up the season with even more performances, activities, and festive fun for the whole family.

Experience the wonder as the Everson transforms into a winter wonderland filled with beautifully decorated trees, wreaths, and unique seasonal decor representing a variety of cultural celebrations. Don't miss out on this magical event that brings joy to thousands each year—make it a part of your holiday tradition!

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.

Everson Museum of Art
401 Harrison St., Syracuse

The Great Depression reached its peak in 1933 when the unemployment rate in the United States plummeted to 20%. The Public Works of Art Project, a relief measure to employ artists, was one of many New Deal initiatives that President Franklin Delano Roosevelt signed into law during his first year in office. In 1935, the program was replaced by the Federal Art Project, which was administered by the Works Progress Administration. Together, the two programs employed more than 10,000 artists and generated an estimated 400,000 paintings, murals, prints, and posters. The Everson Museum of Art (then the Syracuse Museum of Fine Arts) played an important role as Museum Director Anna Wetherill Olmsted oversaw the Central New York region of the Federal Art Project.

Putting Art to Work features more than 60 prints made under the auspices of the Public Works of Art Project and the Federal Art Project between 1934 and 1942. Most of the prints in the Everson's collection were donated to the Museum by the Public Works of Art Project of New York City, but Putting Art to Work includes key loans from the Syracuse University Art Museum, the Tyler Art Gallery at SUNY Oswego, the Picker Art Gallery at Colgate University, and the Onondaga Historical Association that show the program's economic and cultural impact on our region's public institutions and artists.

Everson Museum of Art
401 Harrison St., Syracuse

There are many wild and colorful characters in the history of American ceramics, but most pale in comparison to Sascha Brastoff. We most remember Brastoff as a prolific designer of midcentury dinnerware, but he also served in the US Army during World War II, where he created props and costumes for Special Services events to entertain troops. Brastoff also performed as his drag alter-ego, G.I. Carmen Miranda, and was cast in a Broadway production, Winged Victory (later adapted into the 1944 movie of the same name).

When the war ended, Brastoff moved to Los Angeles to design costumes for film stars, including the real Carmen Miranda. Brastoff then built a dinnerware empire (bankrolled by a Rockefeller) after taking a top prize in the Syracuse Museum of Fine Art's 1948 Ceramic National exhibition. Throughout his career, Brastoff rubbed elbows with celebrities and was at the heart of L.A.'s Queer underground. Besides his work in ceramics, Brastoff also mastered jewelry, metalwork, enamels, and created erotic works for many private clients.

Everson Museum of Art
401 Harrison St., Syracuse

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

Timed to coincide with the 2024 US Presidential elections, "Tim Atseff: Final Edition" features more than 15 works from the last decade, along with a selection of editorial cartoons penned during Atseff's newspaper career.