Events Calendar

This location also open Thursdays.
​Food Scrap Collections are cancelled until further notice. Learn more.

Help us spread the word about this market! Share our market flyer to your networks over email or social media. English PDF / PNG Spanish PDF / PNG 

Cash, SNAP/EBT, Debit/Credit, WIC & Senior FMNP coupons accepted.

Health Bucks are available year-round! EBT users -- for every $5 spent in EBT, customers receive a $2 Health Buck coupon to purchase additional fruits and vegetables.

Greenmarket's gateway to the Upper West Side, the Tucker Square Greenmarket, offers locally grown produce just across the street from Lincoln Center. Seasonal vegetables range from fresh staples like corn and greens to delicacies like squash blossoms and fairtytale eggplant. Orchards boast sweet berries, stone fruit, and over 80 varieties of apples. Knowledgeable growers are at market to explain just how to care for their plants, flowers, and herb pots indoors and out.  Impeccable farmstead cheeses, fresh seafood, grass fed beef, duck and duck charcuterie, eggs, artisanal baked goods, and New York’s only producer of both sorghum and maple syrup round out the offerings.  

Craft was once at the margins of the art world, but no longer. Today it is front and center in art galleries, museums, and fairs, widely recognized for its expressive potential and cultural significance. Assembled from the eclectic richness of MAD’s permanent collection, Craft Front & Center brings together more than 70 iconic and lesser-known works to highlight key thematic touchpoints in craft’s history that have brought us to this moment. Challenging traditional thinking of craft as separate from fine art, the exhibition reveals the field's deep engagement in art’s major movements, such as Abstract Expressionism, Pop Art, and Postmodernism, while also launching its own revolutions, particularly the elevation of women and people of color as significant artists.

The Museum of Arts and Design collection comprises over 3,000 artworks in clay, fiber, glass, metal, and wood, dating from the post-war studio craft movement through to contemporary art and design. With an aim to subvert traditional hierarchies in the arts, the collection advocates for the central role of craft in art and society. Toward that end, Craft Front & Center is organized into eight themes exploring craft’s impact. Each section is punctuated with pivotal and rarely seen works from iconic makers, such as Betty Woodman, Marvin Lipofsky, and Magdalena Abakanowicz. The exhibition also casts a fresh eye on craft’s pioneers; celebrating Olga de Amaral, Charles Loloma, Patti Warashina, and others who pushed the boundaries of materials and sought more inclusive sources of inspiration. Showcasing the diversity and expressive power of the handmade as only MAD can, the exhibition affirms craft as one of the most exciting spaces for experimentation and wonder in art today.

EXHIBITION THEMES

In the Formation of Identity
From the personal to the political, craft stimulates important conversations around race, gender, and sexuality.

In the Gallery
Beginning in the 1950s, artists engaged with traditional craft materials created powerful assertions of materiality and process that attracted museums and collectors alike.

In the Home
Handmade objects are potent receptacles of emotions and memories, infused with human warmth that enliven and enrich the home.

What Can You Do with an Object?
A look back at the seminal exhibition Objects: USA, and the works displayed whose innovations still resonate. 

What Can You Do with a Thread?
Fiber artists past and present have generated works of amazing complexity and conceptual ingenuity. 

What Can You Do with Clay?
The funny and eccentric “Funk” movement was embraced by California ceramicists in the 1960s and remains a major influence on younger makers today.

What Can You Do with Glass?
A focused retrospective of the career of studio-glass pioneer Marvin Lipofsky.

What Can You Do with Craft?
A look at the modern and contemporary artists who have absorbed studio craft’s legacy and expanded its boundaries.

Enjoy a creative night out with friends and family at Color Me Mine! Paint pumpkins and create a fall decor you'll enjoy this season! We have tons of shapes and sizes so that you can paint your heart out on this very fun Fall evening!

Cost: $5 studio fees when painting pumpkins AND get a FREE studio fee for your next visit! The $10 per person deposit will hold your table and it will be applied to your final bill.

The pottery prices start at $20.  

Ceramics will be ready for pickup in approximately 1-2 weeks.

Reservation required!

On view from September 24th, 2021 through January 2nd 2022.

For October dates, click here. For November dates, click here. For December–January dates, click here.

“The second half of the 19th century saw a profusion of flamboyant pottery, spurred by the invention in Britain of ‘majolica’ – a new form of earthenware, which took its cues from the maiolica ceramics of Renaissance Italy but which could be produced on an industrial scale. Eccentric designs and vivid, polychrome glazes abounded on both sides of the Atlantic. Bard Graduate Center is hosting the first major survey dedicated to 'Majolica Mania'.”—Apollo Magazine 

Learn more about the exhibition.

To ensure the well-being of our guests, Bard Graduate Center Gallery will reopen with restricted capacity and all other health screening procedures recommended by the Centers for Disease Control (CDC) or required by the State or City of New York.

"Timed entry" means your admission to the exhibition is specific for the time you choose at purchase. This helps us maintain a limited occupancy throughout the gallery and allows for social distancing. Once you enter, you may tour the exhibit at your own pace. Gallery hours are Wednesday 11am- 8pm and Thursday through Sunday 11am–5 pm. Admission times are spaced approximately every 30 minutes until 4 pm.

BGC is pleased to extend complimentary need-based community tickets by request to all ticketed events. To learn more or make a request, simply email public.programs@bgc.bard.edu.

Can an art object be “seen” by senses other than vision? Join us at Central Park’s Maine Monument and discover the surprising ways all of our senses contribute to our experience and understanding of art during an interactive demonstration of Yeseul Song’s Invisible Sculpture on Wheels.  

Invisible Sculpture on Wheels is an experiential, multi-sensory sculpture that isn’t visually discernible, yet has a spatial form and occupies space. Visitors can perceive the sculpture through sound feedback that responds to their hand gestures and movement. As the sound changes, visitors sense the boundaries of the sculpture’s form.

Participants also will be invited to make clay versions of the sculpture. The “visible” sculptures made by the participants will become a collective perception of the invisible sculpture, celebrating individual differences and diversity of human perceptions while questioning the idea of “normal” and “truth.” Will everyone see the same sculpture?

Join us for Art Alive, a drop-in gallery visit and art-making experience taking place every Thursday and Saturday. Each session, a practicing artist or artist educator focuses on a work on view in MAD’s current exhibitions, leading hands-on activities and engaging discussions geared towards an intergenerational audience.

This Saturday, 2020 Artist Studios resident Kazue Taguchi will be on the floor of Craft Front and Center facilitating a project inspired by Marvin Lipofksy’s Series (1975). Utilizing lighting gel sheets, participants will participants experiment with transparency, color, and light to create a stained glass-like artwork.

Discussions and activities are ongoing, so visitors can join at any time between 11 am and 2 pm and stay as long as they like. Art Alive is free with admission to MAD. The program is offered in accordance with the museum’s safe social-distancing practices and visitors must be masked at all times.

Three of America’s leading composers. Missy Mazzoli creates a solar system of sound, and John Adams pulls out the stops in his virtuosic orchestral showcase. Principal Clarinet Anthony McGill is the soloist in Anthony Davis’s autobiographical depiction of a tense encounter with the police. Dalia Stasevska — the rising star who conducted the 2018 Nobel Prize Ceremony — leads the program. Duration: 1 Hour 15 Minutes, No Intermission.

Craft was once at the margins of the art world, but no longer. Today it is front and center in art galleries, museums, and fairs, widely recognized for its expressive potential and cultural significance. Assembled from the eclectic richness of MAD’s permanent collection, Craft Front & Center brings together more than 70 iconic and lesser-known works to highlight key thematic touchpoints in craft’s history that have brought us to this moment. Challenging traditional thinking of craft as separate from fine art, the exhibition reveals the field's deep engagement in art’s major movements, such as Abstract Expressionism, Pop Art, and Postmodernism, while also launching its own revolutions, particularly the elevation of women and people of color as significant artists.

The Museum of Arts and Design collection comprises over 3,000 artworks in clay, fiber, glass, metal, and wood, dating from the post-war studio craft movement through to contemporary art and design. With an aim to subvert traditional hierarchies in the arts, the collection advocates for the central role of craft in art and society. Toward that end, Craft Front & Center is organized into eight themes exploring craft’s impact. Each section is punctuated with pivotal and rarely seen works from iconic makers, such as Betty Woodman, Marvin Lipofsky, and Magdalena Abakanowicz. The exhibition also casts a fresh eye on craft’s pioneers; celebrating Olga de Amaral, Charles Loloma, Patti Warashina, and others who pushed the boundaries of materials and sought more inclusive sources of inspiration. Showcasing the diversity and expressive power of the handmade as only MAD can, the exhibition affirms craft as one of the most exciting spaces for experimentation and wonder in art today.

EXHIBITION THEMES

In the Formation of Identity
From the personal to the political, craft stimulates important conversations around race, gender, and sexuality.

In the Gallery
Beginning in the 1950s, artists engaged with traditional craft materials created powerful assertions of materiality and process that attracted museums and collectors alike.

In the Home
Handmade objects are potent receptacles of emotions and memories, infused with human warmth that enliven and enrich the home.

What Can You Do with an Object?
A look back at the seminal exhibition Objects: USA, and the works displayed whose innovations still resonate. 

What Can You Do with a Thread?
Fiber artists past and present have generated works of amazing complexity and conceptual ingenuity. 

What Can You Do with Clay?
The funny and eccentric “Funk” movement was embraced by California ceramicists in the 1960s and remains a major influence on younger makers today.

What Can You Do with Glass?
A focused retrospective of the career of studio-glass pioneer Marvin Lipofsky.

What Can You Do with Craft?
A look at the modern and contemporary artists who have absorbed studio craft’s legacy and expanded its boundaries.

Weathervanes have historically served as both tools for farmers, sailors, and others to predict the wind’s direction, and fanciful, imaginative forms designed to captivate and delight viewers from below. Over time, these works have also become ritual objects imbued with stories, as well as signifiers of communal importance, individual identity, patriotism, status, and romanticized, bygone eras. This virtual symposium will showcase new research examining the rich and complex layers of meaning found within American weathervanes.

Points of Interest: New Approaches to American Weathervanes is a symposium organized in conjunction with the Museum’s current exhibition American Weathervanes: The Art of the Winds and in honor of Elizabeth and Irwin Warren, dedicated advocates of the American Folk Art Museum. The American Weathervanes exhibition is curated by Robert Shaw and coordinated by Emelie Gevalt with additional interpretation by consulting scholar Joseph Zordan.

Read speakers’ abstracts and learn more about our speakers here.

Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.

Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under “Additional Information.” Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org.

Schedule

1:00–3:00 p.m. ET | Session 1 Papers and Q&A

Welcome Remarks

Jason T. Busch, Director and CEO, American Folk Art Museum

Elizabeth Warren, President, American Folk Art Museum

Robert Shaw, guest curator, author of American Weathervanes: The Art of the Winds, and Editor, Americana Insights

Weathered Wood: The Materiality of Early American Weathervanes 

Laura Turner Igoe, Ph.D., Chief Curator, James A. Michener Art Museum

The Ecological Spectacle of Madison Square Garden’s Diana

Katherine Fein, Ph.D Candidate, Department of Art History and Archaeology, Columbia University

George Washington’s Dove of Peace: An Iconic Vane from a Moment of Change

Susan P. Schoelwer, Ph.D., Executive Director, Historic Preservation and Collections and Robert H. Smith Senior Curator, George Washington’s Mount Vernon

3:00 p.m. ET | Break (15 minutes)

3:15–5:00 p.m. ET | Session 2 Papers and Q&A

Winds of Change in the 1930s: Weathervanes, the Index of American Design, and Questioning Artistic Canon Formation

Elizabeth McGoey, Ph.D., Ann S. and Samuel M. Mencoff Associate Curator,  Arts of the Americas, The Art Institute of Chicago

Isamu Noguchi’s Weathervanes: An Artist Animates the Wind

Olivia Armandroff, Ph.D. Student, Art History, University of Southern California

Weathervanes and Double Consciousness: History, Provenance, & the Folk Art Canon

William D. Moore, Ph.D., Director, American & New England Studies Program and Associate Professor of American Material Culture, History of Art & Architecture, Boston University

Closing Remarks 

Emelie Gevalt, Curatorial Chair for Collections and Curator of Folk Art, American Folk Art Museum

5:00 p.m. ET | Symposium concludes

These gripping works by composers of four lands offer a quartet-lover’s dream concert experience. From Puccini’s operatic Crisantemi (“Chrysanthemums”) to Shostakovich’s explosive late quartet, there is music on this program that satisfies all tastes and vividly displays the string quartet’s stunning capabilities.