A new partnership from Buncombe County and the City of Asheville aims to help reduce greenhouse gases and organic matter in the landfill by offering residents a place to drop off compostable matter. Starting Oct. 4, County residents can drop off food scraps and other compostable materials at the Buncombe County Landfill Convenience Center to be recycled into compost. The City of Asheville is operating a drop-off location at Stephens-Lee Recreation Center that also opens to the public on Oct. 4. Read more about that initiative here.

Organic waste in landfills generates methane, a potent greenhouse gas. By composting wasted food and other organics, methane emissions may be significantly reduced. For residents who are interested in composting but worry about bears or finding the space for backyard composting Buncombe County is proud to partner with the City of Asheville and Food Waste Solutions to open two compost drop-off locations for County residents.

In alignment with the Buncombe County Strategic Plan goals, the Landfill compost drop-off center is part of a pilot program designed to assess interest and engagement for food waste diversion and composting in Buncombe County.

How the compost drop-off works

• Collect compostable materials at home and make sure to remove all produce stickers, rubber bands, wrappers, ties, bags, and plastics.
• To collect materials use a compost pail, bucket, paper bags, or other certified compostable bag.
• At the landfill scalehouse let us know you would like to drop off your compostable materials and staff will direct you to the drop-off location.
• Empty food scraps and compostable waste into the cart on-site.
• Close and secure lid when finished.
• Do not overfill.

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.

Healthcare.gov is Open with Record-Low Premiums
New Savings Mean More People Qualify for Quality, Affordable Health Insurance

Free Help Is Available
Trained navigators are ready to help local people – at no cost – who would like help reviewing the plans and signing up. Make an appointment at pisgahlegal.org/aca or call (828) 210-3404.

Consumers enrolling in a plan on HealthCare.gov (for Spanish-speakers Cuidadodesalud.gov) are guaranteed to receive comprehensive coverage and cannot be denied coverage based on pre-existing conditions. All plans cover essential benefits, including doctor and hospital visits, prescription drugs, mental health treatment, and maternity care. In addition, consumers receive free preventive care services, such as immunizations and health screenings. Testing and treatment of COVID-19 are considered essential health benefits and are covered by all HealthCare.gov plans.

Consumers should avoid insurance plans offered outside of HealthCare.gov that seem too good to be true. “Junk insurance” products and short-term limited duration plans pose huge financial risks to consumers. These products can refuse to pay for care for pre-existing conditions, charge consumers more based on their gender, and impose annual coverage limits. HealthCare.gov is the only website where North Carolina consumers are guaranteed to get comprehensive coverage.

Pisgah Legal and other enrollment partners of WNC participating organizations give local people free, unbiased health insurance information and enrollment assistance in the NC Health Insurance Marketplace. These organizations include: Council on Aging of Buncombe County, Blue Ridge Community Health Services, Legal Aid of North Carolina, Mountain Projects, Inc., Western Carolina Medical Society, and Pisgah Legal Services. Pisgah Legal Services is a member of the North Carolina Navigators Consortium.

Since 1978, nonprofit Pisgah Legal Services has provided free civil legal aid to help people with low incomes seek justice and meet their basic needs including preventing homelessness, stopping domestic violence and securing health care. PLS provides a broad array of free legal services. Last year Pisgah Legal served more than 20,000 people across the mountain region.

PLS has offices in Asheville, Burnsville, Brevard, Hendersonville, Highlands/Cashiers, Marshall, Newland, Rutherfordton and Spruce Pine. Pisgah Legal employs staff attorneys and relies heavily on the pro bono legal services of approximately 300 volunteer attorneys.

‘Tis the season to give handmade gifts! On December 10-12 from 10 am – 5 pm, Grovewood Gallery will be offering a refreshing alternative to big-box retail chains during their annual Handmade Holiday Sale. Shoppers can enjoy three days of artist demonstrations and 10% off American-made gifts and merchandise (excluding artwork by Lyman Whitaker).

Dancing Rabbi Menorah by Scott Nelles.

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.

Brunch B’Yahad is now available through Zoom meeting here.   

Join new and old friends for light brunch, socialization and lively discussion.  Featured guest speakers, and relevant cultural and timely topics will fill our minds.

Here at Mountain Made, we are proud that since 2010 master scientific glass blower, Jason Probstein has been presenting live glassblowing demonstrations here at our art gallery.

And once again we are proud to announce that Jason will be blowing his unique Christmas ornaments here at Mountain Made until December 20th, or until his gas tanks run dry!

The exhibit was developed as part of the celebration of the 450th anniversary of the Juan Pardo expeditions. Several years ago, archaeologists identified a site near Morganton as the location of Joara, one of the largest Native American towns in what is today Western North Carolina.

Joara was occupied from approximately 1400-1600 A.D. Two Spanish expeditions led respectively by Hernando de Soto and Juan Pardo visited the town in the 1500s. The Pardo expedition was part of a larger effort to establish a string of forts from the coast of present-day South Carolina all the way to Mexico. In 2013, archaeologists confirmed that Joara was also the site of Fort San Juan, established by Pardo in 1567, nearly 20 years before the English settlement at Roanoke on the coast of North Carolina and 40 years before the settlement at Jamestown.

Through various artifacts uncovered by the archaeology, the exhibit showcases the Spanish occupation of Fort San Juan and the lives of the native people who lived in the Joara area.

The exhibit is on loan from the Exploring Joara Foundation Inc. Exploring Joara engages the public in archaeology in the Carolinas, and emphasizes the discovery of the Native American town of Joara and Fort San Juan. The exhibit will be on display at the Western North Carolina Historical Association’s gallery inside the Smith-McDowell House through December 15.

The gallery is open for visitation Thursday, Friday, and Saturday between 10:30am and 4:00pm. Reservations are recommended.

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!

Noir Collective AVL located in the historic Black business district, referred to as The Block, is a Black-owned boutique shop and art gallery featuring Black entrepreneurs. Noir Collective AVL is a community network of wellness warriors, creative activists, and social justice visionaries, cultural keepers and peace makers. We believe that in order to achieve collective liberation, our community needs to focus on opening greater opportunities for access, especially economically, that has been historically denied to African Americans and other people of color. Noir Collective AVL supports Black Liberation through Arts, Culture, and Kinship by featuring the wares of local and regional artists, designers and craftspeople. Our mission is simple, Bringing Black back to the Block.

Entrepreneurs will have products and information on hand:

Jewelry. Original Art. Tea. Shea Butter. Prints. Black Soap. Cards. Books.

& Featured services:

Realty. Exercise & Fitness. Landscaping. Catering. Heritage Tours and more.

We have open spots for Makers and Creatives!

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.