From November 10th to December 14th, Food Lion is hosting their Food Lion Feeds For the Holidays campaign. Customers have the opportunity to participate in the in-store food drive at Food Lion stores by purchasing and donating a Food Lion Feeds For the Holidays box of food, which will then be donated to MANNA. When you are next at Food Lion be on the lookout for their Food Lion Feeds For the Holidays food boxes.

The 29th Annual National Gingerbread House Competition™ – the largest in the world – will be held at the resort on Monday, November 22, 2021. This year, the Competition will be a combination of aspects from The 2020 National Gingerbread House Competition™, while bringing back the in-person events that make this experience so special to the competitors, Gingerbread enthusiasts, and the hotel. It is our mission to ensure that the Competition’s legacy built on design, innovation and tradition continues for future generations.

Like last year, the Competition will conduct the first round of judging virtually. This will enable documentation of the creation process, enhance the first round of the judging experience, and ensure the competition will continue safely, even if unforeseen circumstances were to arise. The first round is meant to give the judges a visual idea of the creation by showcasing a framework and different portions of the piece that highlight the story behind it- even if your final product is not yet completed. More details on this below.

The second round of judging will be done in-person at the hotel in the Grand Ballroom as in years past. The Omni Grove Park Inn is thrilled to once again display all Gingerbread entries at the Resort for public viewing to celebrate the hard work and dedication that goes into these edible works of art. All Gingerbread entries will be reviewed in-person during the second round to ensure the integrity of the Gingerbread creation physically meets the criteria.

For those who may not travel this season, the hotel will continue, “The 12 Days of Gingerbread” by releasing one of the Top 12 finalists, per day, on the hotel’s Facebook (@omnigroveparkinn) and Instagram (@omnigrovepark) channels from December 1 – 12, 2021 to spark Ginger-love for all during the happiest season of the year! This provides an in-person and virtual way for all to enjoy.

The winning creations will be on display Sunday, November 28, 2021 – Sunday, January 2, 2022. The Omni Grove Park Inn invites guests not staying at the Resort to view the display after 3:00 p.m. on Sundays or anytime Monday through Thursday, based on parking availability and excluding holidays and the following dates: December 23, 24, 25, 29, 30, 31 and January 1. Public viewing on December 26 and January 2 will reopen after 3:00 p.m. Please note that only Registered Resort Pets will be permitted. No outside pets will be allowed.

Artist Michael Fowler creates evocative abstract landscape paintings by incorporating vibrant colors with subtle, complex details. His semi-large-scale approach invites viewers to step into his work and build a sense of wonder and contemplation surrounding the natural world. Fowler’s artistic response in contemplating nature is to capture something of a landscape’s pleasantness, which is often unexpected harmonies of color and shape. In his latest exhibit, Arbor Huescapes, Fowler highlights the distinctive vegetation – primarily trees – and topography of North and South Carolina’s midlands and piedmont regions.

Fowler received his Bachelor of Arts from Harding University in Searcy, Arkansas with a focus in Advertising Design. He then attended the University of Nebraska where he received a Master’s degree in Fine Arts in Painting and Drawing with a minor in Art History. From there, he attended the University of Memphis where he earned a Doctorate in Higher Education. Based in North Augusta, South Carolina, Fowler is currently an associate professor of design and computer graphics and serves as the Mary Durban Toole Chair of Art at the University of South Carolina in Aiken. His paintings are in a number of public and private collections nationally, and he actively exhibits in regional and national shows.

Please note: Arbor Huescapes has been rescheduled due to the COVID-19 crisis and will now open in fall 2021. The exhibit is on display daily September 18, 2021 – January 9, 2022, from 9 a.m. to 5 p.m. inside the Baker Exhibit Center. All works are available for purchase and a portion of sales will be donated to The North Carolina Arboretum Society.

Come celebrate the season at our first Winter Wonderland! Our D Space Gallery, will be adorned with glass ornaments, snowflakes, snowmen, candy canes, and whatever else Asheville area glassblowers dream up. Shop for holiday gifts or festive decor for your home while watching live glassblowing in our studio. Winter Wonderland will be open during our normal gallery hours. The opening of this show coincides with River Arts District Studio Stroll, so there will be plenty to do and see in the area. NCGC is a non-profit glassblowing studio and gallery. Your purchases help to support local artists and our mission of education, exploration, and collaboration in all forms of glass.

Nancy Graves, Parable of Nostalgia from the Tango portfolio, 1991, intaglio on cotton rag paper, edition 12/26, publisher: Iris Editions, New York, image: 26 × 17 5/8 inches, sheet: 35 3/4 × 26 inches. Asheville Art Museum. © Nancy Graves Foundation, Inc. / Licensed by VAGA at Artists Rights Society (ARS), NY.

A Dance of Images and Words: The Nancy Graves/Pedro Cuperman Tango Portfolio features a series of eight intaglio prints that depict plants and animals alongside eleven sheets of prose that explore the steps of the Argentinian dance, the tango. Organized by the Asheville Art Museum from the Museum’s Collection and curated by Hilary Schroeder, assistant curator, this exhibition will be on view in The Van Winkle Law Firm Gallery at the Museum from September 29, 2021 through January 10, 2022.

The common idiom “it takes two to tango” is immediately called into question in both the imagery and words of the Tango portfolio. The portfolio is an expression of artist Nancy Graves (Pittsfield, MA 1939–1995 New York, NY) writer Pedro Cuperman’s (1936–2016 Buenos Aires, Argentina) meditations on the dance. Their imagery and words become paired in an illustrated book though their explorations take different formats and directions. Both Graves and Cuperman look towards humankind and nature as a place where beings come together in the experience of living. This exhibition presents Graves’s eight prints alongside the portfolio frontispiece and a page of Cuperman’s text to immerse visitors in the collaborative dance of the tango.

Rhiannon Skye Tafoya (Eastern Band of Cherokee Indians), Ul’nigid’, 2020, letterpress (photopolymer and Bembo & Cherokee Syllabary metal type) printed on handmade & color plan paper with paperweaving, closed: 11 × 11 ¼ inches, assembled: 23 ½ × 11 ¼ × 5 ⁵⁄₈ inches. Courtesy the Artist. © Rhiannon Skye Tafoya, image Rhiannon Skye Tafoya.

Living Language: Cherokee Syllabary and Contemporary Art features over 50 works of art in a variety of media by 30+ Eastern Band of Cherokee Indians (EBCI) and Cherokee Nation artists. The exhibition highlights the use of the written Cherokee language, a syllabary developed by Cherokee innovator Sequoyah (circa 1776–1843). Cherokee syllabary is frequently found in the work of Cherokee artists as a compositional element or the subject matter of the work itself. The exhibition will be on view at the Museum of the Cherokee Indian in Cherokee, NC from June 12, 2021 to October 31, 2021, and in the Asheville Art Museum’s Appleby Foundation Exhibition Hall from November 19, 2021 to March 14, 2022. The Cherokee Syllabary is a system of writing developed by Sequoyah in the early 1800s prior to the Removal period. Through Sequoyah’s innovative work, Cherokee people embraced the writing system as an expedient form of communication and documentation. During the Removal period, the syllabary was used as a tactic to combat land dispossession. Cherokee people continue to use the syllabary as a form of cultural expression and pride, which is showcased in the contemporary artwork of the Cherokee Citizens in this exhibition. “We’re pleased to host this gathering of works from contemporary Cherokee artists, who perfectly illustrate how our language is a living and evolving part of who we are. It’s moving to see how each artist finds inspiration in their own way from this language that connects us as Cherokee people,” said Shana Bushyhead Condill, executive director of the Museum of the Cherokee Indian. “The Asheville Art Museum and the Museum of the Cherokee Indian have been long-term collaborators, and we are delighted to further our partnership by working together to manage an open call to Cherokee artists and subsequently curate this exciting exhibition of contemporary works that take inspiration from, celebrate, preserve and interpret the syllabary,” said Pamela L. Myers, executive director of the Asheville Art Museum. “On view at both museums, we hope the exhibition engages a wide and diverse audience in dialogue with these extraordinary works.” A Living Language: Cherokee Syllabary and Contemporary Art is organized by the Asheville Art Museum and Museum of the Cherokee Indian, and curated by Hilary Schroeder, assistant curator at the Asheville Art Museum, with assistance from curatorial consultant Joshua Adams (Eastern Band of Cherokee Indians). Special thanks to S. Dakota Brown, education director at the Museum of the Cherokee Indian, and Alexis Meldrum, curatorial assistant at the Asheville Art Museum, for their support in the planning of this exhibition. This project is made possible in part by a grant from the Blue Ridge National Heritage Area Partnership, and sponsored in part by the Cherokee Preservation Foundation and Kevin Click & April Liou in memory of Myron E. Click. Eastern Band of Cherokee Indians artists include Joshua Adams, Jody Lipscomb Bradley, Nathan Bush, Kane Crowe, John Henry Gloyne, Shan Goshorn, Luzene Hill, Christy Long, Louise Bigmeat Maney, Christopher McCoy, Tara McCoy, Joel Queen, Sean Ross, Jakeli Swimmer, Rhiannon Skye Tafoya, Mary Thompson, Stan Tooni Jr.,  Alica Wildcatt, and Fred Wilnoty. Cherokee Nation artists include Roy Boney Jr., Jeff Edwards, Joseph Erb, Raychel Foster, Kenny Glass, Camilla McGinty, Jessica Mehta, America Meredith, Jane Osti, Lisa Rutherford, Janet L. Smith, Jennifer Thiessen, and Jennie Wilson. About the Museum of the Cherokee Indian Established in 1948, the Museum of the Cherokee Indian is one of the longest operating tribal museums. Recognized for its innovative storytelling, the Museum features exhibits, artwork, and hands-on technology that brings over 15,000 years of Cherokee history to life. Located in Cherokee, NC, the Museum is open daily except Thanksgiving, Christmas, and New Year’s Day. Learn more by visiting mci.org.

Stop by the restaurant to enjoy 15% off of your order!

Robert Rauschenberg, John from the Ruminations series, 1999, photogravure on paper, edition 3/46, publisher: Universal Limited Art Editions, Bay Shore, NY, 29 ½ × 38 7/8 inches. Asheville Art Museum. © Robert Rauschenberg Foundation / VAGA at Artists Rights Society (ARS), New York.

Ruminations on Memory contends with the act of remembrance and reflection, featuring a rare presentation of all nine prints from Robert Rauschenberg’s Ruminations portfolio, Judy Chicago’s Retrospective in a Box portfolio, and selections from the Museum’s Collection. Organized by the Asheville Art Museum and curated by Hilary Schroeder, assistant curator, this exhibition will be on view in Appleby Foundation Exhibition Hall at the Museum from November 19, 2021 through March 14, 2022 in conjunction with A Living Language: Cherokee Syllabary and Contemporary Art. 

Artworks are vessels for processing, recalling, and reflecting on the past. Artists often draw upon materials from their own pasts and grasp at fleeting moments in time in the creation of an object. For the viewer, observation of an artwork can draw out personal memories.

Artworks in a variety of media explore various ways of remembering, including individual memories that focus on the moments from an artist’s past; generational memory that looks back to one’s ancestors, whether recent or long past; and collective memory, wherein in an image might evoke bygone times that balance between constructed and real. Through these artworks that ruminate upon the past, viewers may discover the stirrings of their own thoughts and recollections prompted by the works before them.

Ruminations on Memory offers a unique opportunity to experience the entirety of a major print portfolio by American painter Robert Rauschenberg (Port Arthur, TX 1925–2008 Captiva, FL). Rauschenberg was a student at Black Mountain College in NC for the 1948–1949 and 1951–1952 academic sessions and for the 1951 and 1952 summers. His Ruminations series consists of nine color photogravures which were printed in 1999 and reflect on Rauschenberg’s early life, his friends and family, and the memories he held dear. The series represents especially significant mature work by Rauschenberg that looks back to his most formative moments as an artist including his time at Black Mountain College and the friendships and ideas formed there.

Also presented in the exhibition is an important series of prints by Judy Chicago (born Chicago, IL 1939). Five decades into her career, Chicago stands as one of the foremost artists of the 20th and 21st centuries, having committed to socially minded work, uplifting in particular experiences salient to her feminine and Jewish identities. Retrospective in a Box consists of seven prints and a portfolio created in collaboration with the master printers at Landfall Press, and provides an overview of her major motifs and ideas, including the print Spring the Dinner, a nod to her seminal 1979 work The Dinner Party.

In addition to the artworks from the Museum’s Collection, visitors will be able to experience Felix Gonzales-Torres’s “Untitled” (L.A.), on loan from the Art Bridges collection. “Untitled” (L.A.) is one of the artist’s iconic interactive candy installations where memories are engaged not only through sight but through sound, touch, taste, and smell as well.

Learn more about Ruminations on Memory and A Living Language: Cherokee Syllabary and Contemporary Art at ashevilleart.org.

Artist Walter B. Stephen (Clinton, IA 1875–1961 Asheville, NC) contributed to Western North Carolina’s identity as a flourishing site for pottery production and craftsmanship in the early 20th century. Walter B. Stephen Pottery: Cameo to Crystalline features art pottery and functional vessels from each stage of Stephen’s career, from his origins discovering the medium alongside his mother Nellie C. Randall Stephen in Shelby County, TN from 1901 through 1910 to his multi-decade production just outside of Asheville. This exhibition will be on view in the Asheville Art Museum’s Debra McClinton Gallery July 28, 2021 through January 17, 2022.

In 1926, Stephen founded his third and last pottery studio, Pisgah Forest, in Arden, NC, which he operated until his death in 1961. It was at this studio that the artist perfected the “cameo” decoration technique for which he became best known. His hand-painted images, achieved with layers of white translucent clay, often feature American folk imagery, from covered wagons and livestock to cabins and spinning wheels. A selection of works from the Museum’s Collection showcase his innovation in form and in decorative surface details, including experimentation with crystalline glazing.

Start your new holiday tradition with LaZoom! Our top rated Hey Asheville Tour gets an extra dose of holiday cheer for the season. We’ll laugh all the way as the purple bus roams the historical streets of Asheville as you learn new holiday traditions, and meet colorful characters that are sure to bring joy to the world.

Historical and hysterical, The Hey Asheville tour features outrageously entertaining tour guides, outlandish comedy skits complete with special appearances and loads of Asheville information. You’ll get to see the best of downtown Asheville and the rarely seen but stunningly beautiful Montford neighborhood, not to mention the burgeoning River Arts District! You’ve never had a ride like this. It’s like a vaudeville show on wheels!

Find out what makes Asheville so unique on LaZoom’s City Comedy Tour. It’s the perfect mix of history, comedy, and entertainment. Our guides are trained professional actors working with an original script. It’s like a theatre on wheels! The tour highlights downtown Asheville, historic neighborhoods, the South Slope, and the River Arts District.

Visit the galleries on a scavenger hunt for inspiration, then join us in the studio to create handmade cards! We’ll experiment with stamping, monoprinting, and relief printing. This program is perfect for date-night, me time, or catching up with family and friends.

Please note:

• In accordance with Buncombe County and city directives, a limited number of people can be in the studio at one time. To ensure all participants have time to create, we may ask you to limit your time

Free outdoor movies on our giant LED screen are always a hit with all ages.  Rabbit Rabbit is a huge outdoor venue with enough space to accommodate 3000 people, so we have plenty of seats for everyone!

Isaac Hayes first came to prominence not as a performer or an artist in his own right, but as a staggeringly successful in-house songwriter, session player and producer for legendary Memphis-based Stax Records. The list of hit songs by other artists but with an Isaac Hayes writing credit is beyond impressive: “Soul Man,” “Hold On, I’m Comin’,” “B-A-B-Y,” “Wrap it Up,” and more than 30 other charting singles between 1966 and 1970.

So successful was Hayes that Stax gave him a record deal of his own. 1968’s Presenting Isaac Hayes was a commercial dud, but in retrospect, it hinted at Hayes’ future superstar status. Six of his next seven albums hit the #1 spot on the R&B chart (the other made it to #2), and underscoring his wide appeal, all seven of those LPs made it to the Top 20 on the mainstream album chart as well. His 1971 double-LP Shaft soundtrack also claimed #1 spot on the mainstream LP charts.

Among that nearly unprecedented tun of creative and commercial triumphs, Isaac Hayes’ most significant release was the audaciously-titled Black Moses. A double LP released in 1971, just a few months after Shaft), Black Moses was not only an exemplar of the man’s inimitable style, it was an artistic, cultural and sociopolitical statement from a Black man at the peak of his powers.

A renaissance man for the ages, Hayes could do it all. In addition to writing, arranging and producing, he played piano, organ, flute, saxophone, vibraphone and percussion. Though there were many Black artists in the late’ 60s and early ‘70s who deserved creative autonomy, Isaac Hayes was one of relatively few to demand and receive it.

For the latest installment of Citizen Vinyl’s talks, Asheville-based author and music journalist Bill Kopp will be joined by musician/rapper Davaion Bristol (Spaceman Jones) to spin select cuts from the 2LP Black Moses, and to lead a discussion about the music and its place in history. This special evening is an opportunity to peer into a musical window and revel in the creative output of one of the great and influential renaissance men of soul music, and of popular music in general.

👉 Refreshments will be available from Session Bar and Café who will offer the full menu until 9pm

Decorate a dozen of your own take-home dog treats just in time for the holidays with Jackie from 3 Eggs Cakery of Asheville! Jackie will lead you through the decorating process to ensure you create some adorable treats for your pups.

This event will be in the bar. You’re welcome to bring your pups along to hangout and play while you decorate!

The WNC Historical Association presented the first Thomas Wolfe Memorial Literary Award to Wilma Dykeman in 1955 for The French Broad. Last year’s winner was Dr. Sandra Muse Isaacs for her work, Eastern Cherokee Stories: A Living Oral Tradition and Its Cultural Continuance. Other authors who have received the award include Charles Frazier, Robert Morgan, John Parris, Gail Godwin, John Ehle, Robert Brunk, Michael McFee, Lee Smith, Ron Rash, Wiley Cash, Wayne Caldwell, Fiona Ritchie, and Doug Orr.

A prize of $2,500.00 accompanies the Thomas Wolfe Memorial Literary Award and will be virtually presented to the author on Thursday, December 9 at 6:30pm during a live Zoom event that will include readings by the finalists. Please reserve this date.

The Award Panel this year consists of: Catherine Frank, Chair, Director, Osher Lifelong Learning Institute at UNC Asheville; Daniel Clare, English Department, A.C. Reynolds High School; Dee James, professor emeritus, UNC-Asheville; Leslee Johnson, English Department, UNC-Asheville; Tom Muir, Historic Site Manager, Thomas Wolfe Memorial; Gordon McKinney, professor emeritus, Berea College; Terry Roberts, Director, National Paideia Center; and Jim Stokely, President, Wilma Dykeman Legacy.

This year’s finalists were chosen from an original group of 40 nominations. The finalists, listed below, encompass a broad range of genres and forms.

Mary Othella Burnette

Lige of the Black Walnut Tree: Growing Up Black in Southern Appalachia

Wayne Caldwell

Woodsmoke

Annette Saunooke Clapsaddle

Even As We Breath: A Novel

Vicki Lane

And the Crows Took Their Eyes

Matthew Wimberley
All the Great Territories

Get dinner and drinks while you laugh the night away to some of the areas’ best Standup comics, in a ridiculously fun environment!! For more info contact Michele Scheve at [email protected].

“If you are looking to be blown away by raw talent, then look no further than Griffin House.” —American Songwriter

A very old saying goes that no one saves us but ourselves. Recognizing and breaking free from the patterns impeding our forward progress can be transformative — just ask Bully’s Alicia Bognanno. Indeed, the third Bully album, SUGAREGG , may not ever have come to fruition had Bognanno not navigated every kind of upheaval imaginable and completely overhauled her working process along the way.

“There was change that needed to happen and it happened on this record,” she says. “Derailing my ego and insecurities allowed me to give these songs the attention they deserved.”

SUGAREGG roars from the speakers and jumpstarts both heart and mind. Like My Bloody Valentine after three double espressos, opener “Add It On” zooms heavenward within seconds, epitomizing Bognanno’s newfound clarity of purpose, while the bass-driven melodies and propulsive beats of “Where to Start” and “Let You” are the musical equivalents of the sun piercing through a perpetually cloudy sky.