Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Join us for an opening reception at Miller Hall for the ISM's new art exhibit, Symphonia: Dialogues of Landscape, Ritual and Resilience, featuring appearances by exhibit artists Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Reception begins at 5 p.m. Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

Symphonia: Dialogues of Landscape, Ritual and Resilience will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22 - March 6. Exhibit is free and open to the public.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View opening reception event page.

View art exhibit information page.

Explore and create your own series of linoleum prints in this engaging class.

The instructor will guide students in developing original designs and preparing a linoleum block for inking and printing. The process of carving and printing a 4” x 6” block will be demonstrated, along with a variety of inking and printing techniques. Examples of linoleum prints will be available for inspiration.

This course welcomes both beginners and advanced students. All inks are water-based and easily cleaned with soap and water. Students may purchase their own paper or additional blocks after the first session.

Includes one 3-hour weekly practice session during monitored practice hours.

Learn the basics of preparing and operating a loom. Participants will weave a sampler piece combining a wide range of useful weaves. Beginning students will complete one or two simple projects of their choice by the end of this term. Intermediate and advanced students will weave projects with more complex structures using multi-harness looms.

Beginning students have a materials fee of $18 payable to the instructor.

Includes one 3-hour weekly practice session during monitored practice hours.

Dive into the creative process of monotype printmaking using direct drawing, stencils, and masking techniques.

This hands-on class introduces innovative approaches to printmaking, allowing students to create bold, dynamic images with clean lines and striking contrasts. Whether you’re an artist looking to expand your skills or a hobbyist seeking a new creative outlet, this class provides the tools and knowledge to make stunning prints.

Students will design and customize stencils from a variety of materials and explore layering techniques in inking to create complex, multi-colored prints. Topics include working with gel plates, screen printing, and plexiglass monotypes. No prior experience is required.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

Want to try something new? Build your existing skills to grow ideas in a stimulating group of intermediate and advanced potters. Individual projects are encouraged, with demonstrations designed to inspire new ways of looking at throwing, hand-building, and overall design.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Using both hand-building techniques and the potter’s wheel, participants learn the foundational skills needed to create basic ceramic cups, bowls, and floral containers. As students refine these skills, they will work on more complex projects. This will enable them to combine techniques, push their creativity, and practice creative problem-solving.

Glazing, slips, and other surface treatments will be explored. There will be instructor demonstrations and individual consultations. Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Etching, a classic intaglio printing technique, involves incising lines into copper through a protected surface and then “etching” them in acid—a method dating back to Dürer and used from the Renaissance to modern times.

This class introduces environmentally friendly alternatives to traditional etching featuring different types of water-based inks, Baldwin’s Ink Ground (B.I.G) and Lascaux grounds, and coffee-lift techniques.

Some products used in this class may be irritating to highly sensitive people.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

In this class, you will learn how to knit your first hat in the round using circular needles. We will be covering fundamental skills, including casting on, knitting in the round, fixing mistakes like dropped stitches, casting off, and blocking your work. If you can knit a hat, you can knit almost anything! This is the perfect class for beginners and those looking to refresh their knitting skills.

If you are interested in making ceramic pieces for the home, this class is for you.

Making functional pots is important to all levels of students, whether you throw pots on the wheel or prefer to build by hand. Students will learn ways to modify forms to create pieces uniquely their own.

Classes will include various techniques for pot making as well as considerations pertaining to each form. Surface treatments including engobes, stains, and glazes will also be covered.

Both teacher demonstrations and one-on-one student instruction will occur each week.

Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Join Schola Cantorum for a performance at Woolsey Hall.

Repertoire:

• Gabriel Fauré: Requiem
• Francis Poulenc: Un soir de neige 
• Frank Martin: Mass for Double Choir a cappella  

Free and open to the public.

Livestream link

Schola Cantorum is a chamber choir that performs sacred music from the sixteenth century to the present day in concert settings and choral services around the world. It is sponsored by Yale Institute of Sacred Music and led by interim conductor Stefan Parkman. Masaaki Suzuki is the ensemble’s principal guest conductor. Open by audition to students from all departments and professional schools across Yale University, the choir has a special interest in historically informed performance practice, often in collaboration with instrumentalists from Juilliard415.

For more information, view the event page.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Learn how to make a clamshell box–a box that looks like a book, especially when set on a shelf. The design can be easily adapted in shape and size to accommodate a wide range of objects from prints, small objects, or books. Students will to the pieces and construct the two-tray cloth-covered box accented with decorative paper. Many of the basic bookbinding techniques will be taught such as measuring, cutting, and gluing.

No experience necessary. Intermediate students may work on independent box projects.

Plus receive one 3-hour monitored open bench session each week.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Join Yale Consort for a service of Choral Evensong, focused on music, readings, and quiet contemplation. Through hymns, psalms, canticles, and reflections, the centuries-old tradition of Choral Evensong invites us to come together in stillness and prayer.

Free and open to the public.

Due to the off-campus nature of Yale Consort events, they will not be livestreamed. We invite you to join us in person as you are able.

Yale Consort, a newly formed professional vocal ensemble conducted by Professor James O’Donnell and sponsored by the Yale Institute of Sacred Music, provides high quality choral music for a series of evening services in local parishes and chapels.

For full information and schedule, see the ISM's Yale Consort page.

For those already comfortable making metal sculpture, take your practice to the next level and develop new ideas using all types of materials.

Includes one 3-hour weekly practice session during monitored practice hours.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Explore and create your own series of linoleum prints in this engaging class.

The instructor will guide students in developing original designs and preparing a linoleum block for inking and printing. The process of carving and printing a 4” x 6” block will be demonstrated, along with a variety of inking and printing techniques. Examples of linoleum prints will be available for inspiration.

This course welcomes both beginners and advanced students. All inks are water-based and easily cleaned with soap and water. Students may purchase their own paper or additional blocks after the first session.

Includes one 3-hour weekly practice session during monitored practice hours.

Learn the basics of preparing and operating a loom. Participants will weave a sampler piece combining a wide range of useful weaves. Beginning students will complete one or two simple projects of their choice by the end of this term. Intermediate and advanced students will weave projects with more complex structures using multi-harness looms.

Beginning students have a materials fee of $18 payable to the instructor.

Includes one 3-hour weekly practice session during monitored practice hours.

Want to try something new? Build your existing skills to grow ideas in a stimulating group of intermediate and advanced potters. Individual projects are encouraged, with demonstrations designed to inspire new ways of looking at throwing, hand-building, and overall design.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Dive into the creative process of monotype printmaking using direct drawing, stencils, and masking techniques.

This hands-on class introduces innovative approaches to printmaking, allowing students to create bold, dynamic images with clean lines and striking contrasts. Whether you’re an artist looking to expand your skills or a hobbyist seeking a new creative outlet, this class provides the tools and knowledge to make stunning prints.

Students will design and customize stencils from a variety of materials and explore layering techniques in inking to create complex, multi-colored prints. Topics include working with gel plates, screen printing, and plexiglass monotypes. No prior experience is required.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Using both hand-building techniques and the potter’s wheel, participants learn the foundational skills needed to create basic ceramic cups, bowls, and floral containers. As students refine these skills, they will work on more complex projects. This will enable them to combine techniques, push their creativity, and practice creative problem-solving.

Glazing, slips, and other surface treatments will be explored. There will be instructor demonstrations and individual consultations. Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

In this class, you will learn how to knit your first hat in the round using circular needles. We will be covering fundamental skills, including casting on, knitting in the round, fixing mistakes like dropped stitches, casting off, and blocking your work. If you can knit a hat, you can knit almost anything! This is the perfect class for beginners and those looking to refresh their knitting skills.

Etching, a classic intaglio printing technique, involves incising lines into copper through a protected surface and then “etching” them in acid—a method dating back to Dürer and used from the Renaissance to modern times.

This class introduces environmentally friendly alternatives to traditional etching featuring different types of water-based inks, Baldwin’s Ink Ground (B.I.G) and Lascaux grounds, and coffee-lift techniques.

Some products used in this class may be irritating to highly sensitive people.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

If you are interested in making ceramic pieces for the home, this class is for you.

Making functional pots is important to all levels of students, whether you throw pots on the wheel or prefer to build by hand. Students will learn ways to modify forms to create pieces uniquely their own.

Classes will include various techniques for pot making as well as considerations pertaining to each form. Surface treatments including engobes, stains, and glazes will also be covered.

Both teacher demonstrations and one-on-one student instruction will occur each week.

Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

She wrapped him in swaddling clothes and laid him in a manger, because there was no room for them in the inn. Luke 2:7

The Gospel of St. Luke provides the only description of where Christ was born, as it mentions him being placed in a manger. This suggests that Mary gave birth in a stable. Although many stables of this region and time period were built in caves, crèches, the three-dimensional representation of the nativity scene, have a diversity of stables and settings, including the most commonly used type of stable, an open-front wood structure. However, many artisans model their crèches after buildings and landscapes that are native to their homelands.

This exhibit includes a variety of crèches that showcase different examples of stables and mangers. In addition, it also highlights the creation of a handful of crèches that have settings customized to display the figures. These crèches include, the Marcel Carbonel Santons of Marseille, France, Fontanini of Bagni di Lucca, Italy, the Neapolitan crèche by Cantone and Costabile of Naples Italy, and the newest additions to our collection by United States based Navidad Nativities: the St. Francis Nativity, with figures by Ulpe Wood Art and St. Mary’s crèche with figures by Original Heide, both from Italy.

Feelin’ Good is by far the finest Michael Bublé tribute band. Backed by a 17-piece band, Anthony Bernasconi perfectly emulates the effortless class that Bublé famously exudes. This show focuses on who Michael Bublé is today. Steering away from the Sinatra influence and incorporating more of his modern song choice adaptations to appeal to a larger audience while still paying tribute to the classics of the great American song book. Including many songs from his Grammy Award Winning Album "Higher." this show is very entertaining and appeals to Bublé fans.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Exhibition open Wednesday through Sunday from 10am to 4pm EXCEPT Thursday, November 28 (Thanksgiving) and Wednesday, December 25 (Christmas Day) with free parking and admission.

Most of the Christians who live in Africa are in the Sub-Saharan nations (nations south of the Sahara Desert), though Christians are found throughout the entire continent. According to a Pew Study in 2018, Christianity is growing the fastest within African countries than anywhere else in the world. Christianity spread into Africa as early as the first century, particularly throughout Northern Africa, and continued right up until the seventh century, when armies practicing the new Islamic faith spread into Africa.

The next era of growth began in the 15th century, when many European countries, starting with Portugal, began searching for alternative trade routes to Asia. Europeans established trade posts along the western coast of Africa and sent missionaries to spread the faith. These missionaries brought their own simple plaster crèches with them, and they later enlisted the aid of local artisans to create variations reflective of their own cultures and traditions. These local artisans used native materials that were both abundant and accessible — a tradition that continues to this day.

In recent years, Christians in several nations within the African continent have been subjected to persecution resulting in the displacement of millions and numerous deaths. Despite this, the people’s dedication to their faith is unwavering. It is in honor of their spirit and determination that the Blessed Michael McGivney Pilgrimage Center is pleased to exhibit more than 50 works representing 23 countries across the African continent. This exhibit also explores some of the traditions and festivities that have developed throughout Africa to celebrate the season.

Learn how to make a clamshell box–a box that looks like a book, especially when set on a shelf. The design can be easily adapted in shape and size to accommodate a wide range of objects from prints, small objects, or books. Students will to the pieces and construct the two-tray cloth-covered box accented with decorative paper. Many of the basic bookbinding techniques will be taught such as measuring, cutting, and gluing.

No experience necessary. Intermediate students may work on independent box projects.

Plus receive one 3-hour monitored open bench session each week.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Join Yale Consort for a Eucharistic Mass service.

Free and open to the public.

Due to the off-campus nature of Yale Consort events, they will not be livestreamed. We invite you to join us in person as you are able.

Yale Consort, a newly formed professional vocal ensemble conducted by Professor James O’Donnell and sponsored by the Yale Institute of Sacred Music, provides high quality choral music for a series of evening services in local parishes and chapels.

For full information and schedule, see the ISM's Yale Consort page.

Join us to draw or paint from a live nude model. The 3-hour session includes mixed-length poses. These are monitored “open drawing” sessions; there is no instruction.

The course runs monthly on the first Tuesday of the month. Session Dates: 1/7/25, 2/4/25, 3/4/25

For those already comfortable making metal sculpture, take your practice to the next level and develop new ideas using all types of materials.

Includes one 3-hour weekly practice session during monitored practice hours.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Explore and create your own series of linoleum prints in this engaging class.

The instructor will guide students in developing original designs and preparing a linoleum block for inking and printing. The process of carving and printing a 4” x 6” block will be demonstrated, along with a variety of inking and printing techniques. Examples of linoleum prints will be available for inspiration.

This course welcomes both beginners and advanced students. All inks are water-based and easily cleaned with soap and water. Students may purchase their own paper or additional blocks after the first session.

Includes one 3-hour weekly practice session during monitored practice hours.

Learn the basics of preparing and operating a loom. Participants will weave a sampler piece combining a wide range of useful weaves. Beginning students will complete one or two simple projects of their choice by the end of this term. Intermediate and advanced students will weave projects with more complex structures using multi-harness looms.

Beginning students have a materials fee of $18 payable to the instructor.

Includes one 3-hour weekly practice session during monitored practice hours.

Want to try something new? Build your existing skills to grow ideas in a stimulating group of intermediate and advanced potters. Individual projects are encouraged, with demonstrations designed to inspire new ways of looking at throwing, hand-building, and overall design.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Dive into the creative process of monotype printmaking using direct drawing, stencils, and masking techniques.

This hands-on class introduces innovative approaches to printmaking, allowing students to create bold, dynamic images with clean lines and striking contrasts. Whether you’re an artist looking to expand your skills or a hobbyist seeking a new creative outlet, this class provides the tools and knowledge to make stunning prints.

Students will design and customize stencils from a variety of materials and explore layering techniques in inking to create complex, multi-colored prints. Topics include working with gel plates, screen printing, and plexiglass monotypes. No prior experience is required.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Using both hand-building techniques and the potter’s wheel, participants learn the foundational skills needed to create basic ceramic cups, bowls, and floral containers. As students refine these skills, they will work on more complex projects. This will enable them to combine techniques, push their creativity, and practice creative problem-solving.

Glazing, slips, and other surface treatments will be explored. There will be instructor demonstrations and individual consultations. Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Etching, a classic intaglio printing technique, involves incising lines into copper through a protected surface and then “etching” them in acid—a method dating back to Dürer and used from the Renaissance to modern times.

This class introduces environmentally friendly alternatives to traditional etching featuring different types of water-based inks, Baldwin’s Ink Ground (B.I.G) and Lascaux grounds, and coffee-lift techniques.

Some products used in this class may be irritating to highly sensitive people.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

In this class, you will learn how to knit your first hat in the round using circular needles. We will be covering fundamental skills, including casting on, knitting in the round, fixing mistakes like dropped stitches, casting off, and blocking your work. If you can knit a hat, you can knit almost anything! This is the perfect class for beginners and those looking to refresh their knitting skills.

If you are interested in making ceramic pieces for the home, this class is for you.

Making functional pots is important to all levels of students, whether you throw pots on the wheel or prefer to build by hand. Students will learn ways to modify forms to create pieces uniquely their own.

Classes will include various techniques for pot making as well as considerations pertaining to each form. Surface treatments including engobes, stains, and glazes will also be covered.

Both teacher demonstrations and one-on-one student instruction will occur each week.

Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Learn how to make a clamshell box–a box that looks like a book, especially when set on a shelf. The design can be easily adapted in shape and size to accommodate a wide range of objects from prints, small objects, or books. Students will to the pieces and construct the two-tray cloth-covered box accented with decorative paper. Many of the basic bookbinding techniques will be taught such as measuring, cutting, and gluing.

No experience necessary. Intermediate students may work on independent box projects.

Plus receive one 3-hour monitored open bench session each week.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Arts in Mind is a free monthly program for individuals with Young-Onset Alzheimer’s or in the early stages of memory loss, along with their care partners. This online program connects close looking at art from the Gallery’s collection with art-making opportunities. Art supplies used during the session may include pencils, colored pencils, markers, crayons (oil pastels), watercolor set, sketch pad, copy paper, and notebook.  

Closed captions will be available in English.

Registration required; to register, or for more information, contact the Gallery’s Education Department at yuag.education@yale.edu or 203.436.8831.

Join Yale Consort for a service of Choral Evensong, focused on music, readings, and quiet contemplation. Through hymns, psalms, canticles, and reflections, the centuries-old tradition of Choral Evensong invites us to come together in stillness and prayer.

Free and open to the public.

Due to the off-campus nature of Yale Consort events, they will not be livestreamed. We invite you to join us in person as you are able.

Yale Consort, a newly formed professional vocal ensemble conducted by Professor James O’Donnell and sponsored by the Yale Institute of Sacred Music, provides high quality choral music for a series of evening services in local parishes and chapels.

For full information and schedule, see the ISM's Yale Consort page.

For those already comfortable making metal sculpture, take your practice to the next level and develop new ideas using all types of materials.

Includes one 3-hour weekly practice session during monitored practice hours.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Learn the basics of preparing and operating a loom. Participants will weave a sampler piece combining a wide range of useful weaves. Beginning students will complete one or two simple projects of their choice by the end of this term. Intermediate and advanced students will weave projects with more complex structures using multi-harness looms.

Beginning students have a materials fee of $18 payable to the instructor.

Includes one 3-hour weekly practice session during monitored practice hours.

Explore and create your own series of linoleum prints in this engaging class.

The instructor will guide students in developing original designs and preparing a linoleum block for inking and printing. The process of carving and printing a 4” x 6” block will be demonstrated, along with a variety of inking and printing techniques. Examples of linoleum prints will be available for inspiration.

This course welcomes both beginners and advanced students. All inks are water-based and easily cleaned with soap and water. Students may purchase their own paper or additional blocks after the first session.

Includes one 3-hour weekly practice session during monitored practice hours.

Dive into the creative process of monotype printmaking using direct drawing, stencils, and masking techniques.

This hands-on class introduces innovative approaches to printmaking, allowing students to create bold, dynamic images with clean lines and striking contrasts. Whether you’re an artist looking to expand your skills or a hobbyist seeking a new creative outlet, this class provides the tools and knowledge to make stunning prints.

Students will design and customize stencils from a variety of materials and explore layering techniques in inking to create complex, multi-colored prints. Topics include working with gel plates, screen printing, and plexiglass monotypes. No prior experience is required.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

Want to try something new? Build your existing skills to grow ideas in a stimulating group of intermediate and advanced potters. Individual projects are encouraged, with demonstrations designed to inspire new ways of looking at throwing, hand-building, and overall design.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Using both hand-building techniques and the potter’s wheel, participants learn the foundational skills needed to create basic ceramic cups, bowls, and floral containers. As students refine these skills, they will work on more complex projects. This will enable them to combine techniques, push their creativity, and practice creative problem-solving.

Glazing, slips, and other surface treatments will be explored. There will be instructor demonstrations and individual consultations. Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Etching, a classic intaglio printing technique, involves incising lines into copper through a protected surface and then “etching” them in acid—a method dating back to Dürer and used from the Renaissance to modern times.

This class introduces environmentally friendly alternatives to traditional etching featuring different types of water-based inks, Baldwin’s Ink Ground (B.I.G) and Lascaux grounds, and coffee-lift techniques.

Some products used in this class may be irritating to highly sensitive people.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

If you are interested in making ceramic pieces for the home, this class is for you.

Making functional pots is important to all levels of students, whether you throw pots on the wheel or prefer to build by hand. Students will learn ways to modify forms to create pieces uniquely their own.

Classes will include various techniques for pot making as well as considerations pertaining to each form. Surface treatments including engobes, stains, and glazes will also be covered.

Both teacher demonstrations and one-on-one student instruction will occur each week.

Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Learn how to make a clamshell box–a box that looks like a book, especially when set on a shelf. The design can be easily adapted in shape and size to accommodate a wide range of objects from prints, small objects, or books. Students will to the pieces and construct the two-tray cloth-covered box accented with decorative paper. Many of the basic bookbinding techniques will be taught such as measuring, cutting, and gluing.

No experience necessary. Intermediate students may work on independent box projects.

Plus receive one 3-hour monitored open bench session each week.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Join Yale Consort for a service of Choral Evensong, focused on music, readings, and quiet contemplation. Through hymns, psalms, canticles, and reflections, the centuries-old tradition of Choral Evensong invites us to come together in stillness and prayer.

Free and open to the public.

Due to the off-campus nature of Yale Consort events, they will not be livestreamed. We invite you to join us in person as you are able.

Yale Consort, a newly formed professional vocal ensemble conducted by Professor James O’Donnell and sponsored by the Yale Institute of Sacred Music, provides high quality choral music for a series of evening services in local parishes and chapels.

For full information and schedule, see the ISM's Yale Consort page.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Learn the basics of preparing and operating a loom. Participants will weave a sampler piece combining a wide range of useful weaves. Beginning students will complete one or two simple projects of their choice by the end of this term. Intermediate and advanced students will weave projects with more complex structures using multi-harness looms.

Beginning students have a materials fee of $18 payable to the instructor.

Includes one 3-hour weekly practice session during monitored practice hours.

Explore and create your own series of linoleum prints in this engaging class.

The instructor will guide students in developing original designs and preparing a linoleum block for inking and printing. The process of carving and printing a 4” x 6” block will be demonstrated, along with a variety of inking and printing techniques. Examples of linoleum prints will be available for inspiration.

This course welcomes both beginners and advanced students. All inks are water-based and easily cleaned with soap and water. Students may purchase their own paper or additional blocks after the first session.

Includes one 3-hour weekly practice session during monitored practice hours.

Want to try something new? Build your existing skills to grow ideas in a stimulating group of intermediate and advanced potters. Individual projects are encouraged, with demonstrations designed to inspire new ways of looking at throwing, hand-building, and overall design.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Dive into the creative process of monotype printmaking using direct drawing, stencils, and masking techniques.

This hands-on class introduces innovative approaches to printmaking, allowing students to create bold, dynamic images with clean lines and striking contrasts. Whether you’re an artist looking to expand your skills or a hobbyist seeking a new creative outlet, this class provides the tools and knowledge to make stunning prints.

Students will design and customize stencils from a variety of materials and explore layering techniques in inking to create complex, multi-colored prints. Topics include working with gel plates, screen printing, and plexiglass monotypes. No prior experience is required.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

Symphonia: Dialogues of Landscape, Ritual and Resilience aims to explore the profound and intricate intersections of religious, ecological, and expressive themes through the works of four Chicago-based artists: Joanne Aono, Karen Azarnia, Jon Seals, and Michelle Wasson. Envisioned as an artistic conversation that transcends traditional boundaries, the exhibition is designed to encourage contemplation and dialogue, creating an immersive experience for the viewer to explore.

As an artist and farmer, Joanne Aono explores the intersection of nature and the cultural significance of food sovereignty across communities, drawing on humanity's historical reliance on the earth for survival. Through large drawings on agricultural fabric and small panel drawings depicting foraged foods and cultivated plants, Aono conveys themes of impermanence, the passage of time, and the interconnectedness of life, emphasizing the essential care needed for the holistic sustenance of the Earth and its elements.

Through painting, Karen Azarnia explores themes of time, home, memory, and natural life cycles. Navigating the delicate balance between abstraction and representation, works from her Verdant series are characterized by lushness and generosity – an act of care for the viewer. The work seeks to inspire renewal and resilience, drawing parallels between the meditative rhythms of nature and the painting process.

Employing a unique mixed-media approach, Jon Seals utilizes materials directly harvested from environmentally shifting landscapes. The symbiotic exchange with the soil, water, and plant life is evident in artworks created through pouring, dipping, and combining hand-drawn and painted elements. The integration of water sourced on-site deepens the artist's connection with the land and sea.

Michelle Wasson's paintings serve as a sensual refuge, intuitively created from memory and imagination. Her canvases, flowing between landscape, still life, and the figurative, portray surreal planes where divine vessels evoke the power of nature to create, destroy, and create anew, offering a reflection of our shared humanity in the natural world.

While each artist in Symphonia offers a distinct viewpoint embodied through their own uniquely built worlds, together these worlds intertwine to culminate into something much larger. It is through this simple yet powerful act of shared connection in which Symphonia ultimately seeks to inspire a renewed sense of environmental consciousness, and a commitment to preserving the sacred harmony within our world.

Free and open to the public.

Exhibition co-curated by Karen Azarnia & Jon Seals.

This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from January 22-March 6 on Tuesdays, Wednesdays, and Thursdays from 12-4 p.m.

All are welcome to join us for an opening reception for this art exhibit on Wednesday, January 22 at 5 p.m.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

Contact: Anesu Nyamupingidza

Art credit: Michelle Wasson: Golden Lacuna, Aurea Nova Series, 2023

View event page.

Using both hand-building techniques and the potter’s wheel, participants learn the foundational skills needed to create basic ceramic cups, bowls, and floral containers. As students refine these skills, they will work on more complex projects. This will enable them to combine techniques, push their creativity, and practice creative problem-solving.

Glazing, slips, and other surface treatments will be explored. There will be instructor demonstrations and individual consultations. Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Includes one 3-hour weekly practice session during monitored practice hours on a first-come, first-served basis.

Etching, a classic intaglio printing technique, involves incising lines into copper through a protected surface and then “etching” them in acid—a method dating back to Dürer and used from the Renaissance to modern times.

This class introduces environmentally friendly alternatives to traditional etching featuring different types of water-based inks, Baldwin’s Ink Ground (B.I.G) and Lascaux grounds, and coffee-lift techniques.

Some products used in this class may be irritating to highly sensitive people.

Includes one 3-hour practice session per week during monitored practice hours.

The tuition for this class includes a materials fee of $20 for basic materials provided by CAW.

If you are interested in making ceramic pieces for the home, this class is for you.

Making functional pots is important to all levels of students, whether you throw pots on the wheel or prefer to build by hand. Students will learn ways to modify forms to create pieces uniquely their own.

Classes will include various techniques for pot making as well as considerations pertaining to each form. Surface treatments including engobes, stains, and glazes will also be covered.

Both teacher demonstrations and one-on-one student instruction will occur each week.

Wear clothes that can get dirty.

Pottery tool kits are available for sale in the studio for $27. Cash or check only.

Firing fees are $3/pound. Cash or check only.

Sacred Music and Science of Changing Coasts is a concert and symposium featuring the Coastal Conservatory with EcoSono Ensemble and Yale University special guests.

This event will be held in Harkness Hall's Sudler Hall, 100 Wall Street, New Haven, CT.

Integrating eco-acoustic performance with intellectual exchange across science and ethics, the Coastal Conservatory creates immersive ways of listening to coastal change. In this concert, EcoSono Ensemble will perform music made with data produced by the Virginia Coast Reserve Long-term Ecological Research site about sea level rise, oyster reef restoration, shorebird extinction, and sea grass meadows. In symposial reflections, scholars and scientists will consider how music made from sonified data and with ecological relations may be heard as a new sacred music of the environment. Co-directed by faculty from music, environmental sciences, and religious studies from the University of Virginia, the Conservatory has been recognized by the Mellon Foundation, NSF, and NPR for its integrative way into relations by which coasts are being transformed. This event includes Yale students and faculty in live performance and scholarly conversation. 

Speakers and performers include Matthew Burtner, Karen McGlathery, Willis Jenkins and the EcoSono Ensemble.

EcoSono Ensemble:

• Lisa Edwards-Burrs, voice
• I-Jen Fang, percussion
• Kelly Sulick, flute
• Kevin Davis, cello

Free and open to the public.

View event site for more details.

Sponsored by the Institute of Sacred Music’s Religion, Ecology, and Expressive Culture Initiative.

All are welcome to attend a performance of Schola Cantorum with Juilliard415, conducted by Schola's principal guest conductor Masaaki Suzuki.

Repertoire:

JS Bach Köthener Trauermusik, BWV 244a

Free and open to the public.

Livestream link

View event page for more details.

Schola Cantorum is a chamber choir that performs sacred music from the sixteenth century to the present day in concert settings and choral services around the world. It is sponsored by Yale Institute of Sacred Music and led by interim conductor Stefan Parkman. Masaaki Suzuki is the ensemble’s principal guest conductor. Open by audition to students from all departments and professional schools across Yale University, the choir has a special interest in historically informed performance practice, often in collaboration with instrumentalists from Juilliard415.

Learn how to make a clamshell box–a box that looks like a book, especially when set on a shelf. The design can be easily adapted in shape and size to accommodate a wide range of objects from prints, small objects, or books. Students will to the pieces and construct the two-tray cloth-covered box accented with decorative paper. Many of the basic bookbinding techniques will be taught such as measuring, cutting, and gluing.

No experience necessary. Intermediate students may work on independent box projects.

Plus receive one 3-hour monitored open bench session each week.