Community Calendar

“Once a Tree: Continuity, Creativity, and Connection” explores the deep-rooted significance of trees in Haudenosaunee culture, tradition, and creative expression. Featuring the work of 42 artists and more than 100 objects—including decorative and utilitarian baskets, cradleboards, snowshoes, ladles, lacrosse sticks, toys, instruments, carvings, and sleds—this exhibition highlights the important relationship between nature and artistry. Selected from the Museum’s permanent collection, the exhibition was created with guidance from curatorial consultants Terry Chrisjohn III (Oneida), Preston Jacobs (Mohawk), and Sheila Ransom (Mohawk).

"Separated but Unbroken: The Haudenosaunee Boarding School Experience" explores the lasting impact of the Thomas Indian School, once located on the Cattaraugus Reservation south of Buffalo, NY, and The Mohawk Institute near Branford, Ontario. These institutions, which enrolled a significant number of Haudenosaunee students, were part of a larger system that sought to erase Indigenous identities while deeply shaping the lives of those who endured them. Co-curated by Erin Keaton (Mohawk), the exhibition sheds light on Haudenosaunee resilience.

Lake Myosotis Boat Launch

Join Stewardship Garrett Chisholm every Thursday to help tackle the invasive species that threaten the health of the Preserve. Volunteers will learn how to identify and manage a different invasive species every week.

Time is the framework for my drawing and painting practice. In working with the figure, I seek to capture both a moment and the internal landscape of the sitter. Daily drawing sessions function as a meditation—repetition that sharpens vision, timing, and the choices I make with color, line, positive and negative space, and other principles of art-making.

Between looking and seeing, there is a fleeting gap: a split second where an image imprints itself on my mind before I translate it to canvas. This gap, described in Buddhism as a place of stillness and equilibrium, is central to my work. It is a space beyond words or thought—just presence.

Roses are also a recurring motif in my practice. For me, they serve as a metaphor for the human spirit. Through the use of multiple roses and mirrors, I explore light, reflection, and metaphor, creating spaces that attempt to hold and extend a moment.

Ultimately, my work is an inquiry into memory, perception, and the impossibility of holding on. To capture the fleeting is like trying to grasp smoke before it disappears into a black hole.

Opening Reception: Sept 20 - Oct 25, 2025
No On-Site Parking

6 Thursdays
September 11, 18, 25, October 9, 16, 23, 2025
6 - 8:30 pm

Ages 16+

This watercolor course is designed for intermediate and advanced artists looking to refine their technique and deepen their creative practice. Through structured exercises, students will enhance their observational skills, master controlled lighting, and explore advanced color mixing. Tailored assignments ensure a personalized learning experience, helping you achieve greater precision, expression, and confidence in watercolor painting.

All tools and materials will be provided.

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Please register at least a week in advance to guarantee your spot.

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We believe in access to art education for all. Please pay what you can to support this access for all of our community.

If you would like to use a scholarship code, they are listed below. If you require a full scholarship, please contact Chris@mkad.art

Scholarship Codes:
For 25% discount use code "25OFF"
For 50% discount use code "50OFF"
For 75% discount use code "75OFF"

Two day workshop
Thursdays, October 16 & 23
6 – 8:30 pm

Ages 16 and Up

Price: $75

Have you ever wanted to create your own pattern and have it printed on fabric? Make your own tablecloth or up-cycle your thrifted wardrobe? Then this class is for you!

This two day workshop will explore carving your own unique stamps and learning techniques to print your imagery onto fabric. Using stitching and basic appliqué we will embellish your stamped designs.Think bandanas, patches, pillows…whatever you can imagine. You can also use your hand carved stamps to print on paper! Wrapping paper, notebooks, cards, tags…the possibilities are endless!

All materials provided. But feel free to bring extra fabric scraps from your stash for experimenting.

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Please register at least a week in advance to guarantee your spot. Scholarship availability closes 2 weeks prior to the start of class.

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We believe in access to art education for all. It takes the whole community to generate the equity our pay-what-you-can tuition generates. Behind the scenes, we work to bridge the financial gap between what our students can pay and what we need to sustain our programs. Please consider carefully before you use our discount codes.

Scholarship Codes:
For 25% discount use code "25OFF"
For 50% discount use code "50OFF"
For 75% discount use code "75OFF"

This economic justice map from The Sliding Scale: A Tool of Economic Justice by Alexis J. Cunningfolk is useful to assess where you may fall on the financial spectrum of pay what you can.

To request 100% off tuition, please contact chris@mkad.art

Skidmore Encore announces registration for its Fall 2025 lecture series delivered by the remarkable Skidmore College faculty for adult learners age 55+ from around the local region. Encore attracts intellectually curious people who are eager to learn. Join us! The 2025 program runs for seven weeks on Tuesdays from September 30 through November 11 in the gorgeous Arthur Zankel Music Center Skidmore College campus. Online registration opens Tuesday, September 2, 2025 at 9:00 AM.

For more information: www.skidmore.edu/encore

The Norman Rockwell Museum is honored to present a rare series of early twentieth century lighting advertisements by Norman Rockwell and fellow Golden Age illustrators Maxfield Parrish, N.C. Wyeth, Dean Cornwell, Stanley Arthurs, Worth Brehm, and Charles Chambers created for Edison Mazda Lamps, a division of the General Electric Company. These luminous, richly painted works were widely circulated in published advertisements through the 1920s and are on loan to the Museum for the first time through the generosity of GE Aerospace.

“Once a Tree: Continuity, Creativity, and Connection” explores the deep-rooted significance of trees in Haudenosaunee culture, tradition, and creative expression. Featuring the work of 42 artists and more than 100 objects—including decorative and utilitarian baskets, cradleboards, snowshoes, ladles, lacrosse sticks, toys, instruments, carvings, and sleds—this exhibition highlights the important relationship between nature and artistry. Selected from the Museum’s permanent collection, the exhibition was created with guidance from curatorial consultants Terry Chrisjohn III (Oneida), Preston Jacobs (Mohawk), and Sheila Ransom (Mohawk).

"Separated but Unbroken: The Haudenosaunee Boarding School Experience" explores the lasting impact of the Thomas Indian School, once located on the Cattaraugus Reservation south of Buffalo, NY, and The Mohawk Institute near Branford, Ontario. These institutions, which enrolled a significant number of Haudenosaunee students, were part of a larger system that sought to erase Indigenous identities while deeply shaping the lives of those who endured them. Co-curated by Erin Keaton (Mohawk), the exhibition sheds light on Haudenosaunee resilience.

Time is the framework for my drawing and painting practice. In working with the figure, I seek to capture both a moment and the internal landscape of the sitter. Daily drawing sessions function as a meditation—repetition that sharpens vision, timing, and the choices I make with color, line, positive and negative space, and other principles of art-making.

Between looking and seeing, there is a fleeting gap: a split second where an image imprints itself on my mind before I translate it to canvas. This gap, described in Buddhism as a place of stillness and equilibrium, is central to my work. It is a space beyond words or thought—just presence.

Roses are also a recurring motif in my practice. For me, they serve as a metaphor for the human spirit. Through the use of multiple roses and mirrors, I explore light, reflection, and metaphor, creating spaces that attempt to hold and extend a moment.

Ultimately, my work is an inquiry into memory, perception, and the impossibility of holding on. To capture the fleeting is like trying to grasp smoke before it disappears into a black hole.

Opening Reception: Sept 20 - Oct 25, 2025
No On-Site Parking

Time is the framework for my drawing and painting practice. In working with the figure, I seek to capture both a moment and the internal landscape of the sitter. Daily drawing sessions function as a meditation—repetition that sharpens vision, timing, and the choices I make with color, line, positive and negative space, and other principles of art-making.

Between looking and seeing, there is a fleeting gap: a split second where an image imprints itself on my mind before I translate it to canvas. This gap, described in Buddhism as a place of stillness and equilibrium, is central to my work. It is a space beyond words or thought—just presence.

Roses are also a recurring motif in my practice. For me, they serve as a metaphor for the human spirit. Through the use of multiple roses and mirrors, I explore light, reflection, and metaphor, creating spaces that attempt to hold and extend a moment.

Ultimately, my work is an inquiry into memory, perception, and the impossibility of holding on. To capture the fleeting is like trying to grasp smoke before it disappears into a black hole.

Opening Reception: Sept 20 - Oct 25, 2025
No On-Site Parking