Calendar of Events

The mirror has been a powerful symbol invoked in the arts across centuries and cultures. Mirrors double reality, question the veracity of your perception, open portals to other dimensions, and act as objects of magic and divination. In the series Black Mirror/Espejo Negro (2007, ongoing), Pedro Lasch employs the mirror as an emblem that interrogates the tension between presence and absence, colonial histories, and the politics of visibility. The selections from the series displayed in this installation conceptually bring together canonical works of art from early modern Europe and prominent pre-Columbian sculptural figures, whose superimposed images emerge specter-like through darkened glass. Each work includes an accompanying text the artist produced for that pairing.

The Asheville Art Museum presents Native America: In Translation, an
exhibition curated by Apsáalooke artist Wendy Red Star, on view from May 22 through November 3,
2025. Featuring work by seven Indigenous photographers and lens-based artists from across North
America, the exhibition explores urgent questions of identity, heritage, land rights, and the ongoing
impact of colonialism.

Building on Red Star’s role as guest editor of the Fall 2020 issue of Aperture magazine, Native
America: In Translation continues the conversation through personal and often experimental visual
storytelling. Using self-portraits, performance-based imagery, and multimedia assemblages, the
artists offer new perspectives on Native life and representation today.

viewshed illuminates the enduring impact of Black Mountain College as a crucible of artistic experimentation and exchange, tracing the transmission of ideas across generations and exploring how BMC’s radical pedagogical approaches continue to shape contemporary artistic practice. The exhibition stages a dynamic dialogue between past and present, featuring contemporary artists Richard Garet, Jennie MaryTai Liu, Deanna Sirlin, and Susie Taylor alongside seminal BMC figures such as Dorothea Rockburne, Sewell (Si) Sillman, and Jacob Lawrence. By engaging with transparency, structure, color, collaboration, and expanded forms, viewshed brings into focus the porous boundaries between disciplines, unfolding as a sensorial and conceptual investigation into the shifting terrain of artistic influence. The exhibition highlights works that span painting, textile, sound, and performance, inviting viewers to consider the ways in which artistic methodologies evolve and reverberate across time. At its core, viewshed underscores the ways in which BMC’s experimental ethos continues to inspire artists to challenge, reinterpret, and expand the possibilities of creative expression.

Join us in this hands on class where you will make a hammered sterling silver wide band ring. One of Ignite’s talented instructors will take you through the process step by step including soldering, shaping, hammering, and finishing your ring.

These also make great wedding bands!

You’ll leave with a beautiful ring made to size in our downtown Asheville metalsmithing studio.

$120 person *All Materials Included

*Class times and avialbalility are subject to change. SIgn up in advance online to ensure your time and space.

This is a Weekly Recurring Event
Runs from May 23, 2025 to Jun 27, 2025 and happens every:
Fridays: 1:15pm – 3:30pm Timezone: EDT
Saturdays: 1:15pm – 3:30pm Timezone: EDT

End your week on a high not and join us every second Friday this summer for free live music in Biltmore Park Town Square! Bring your friends and family to dance, play games, and enjoy eats and treats from Biltmore Park restaurants.

Returning to Concerts in the Park is “Mission Accomplished,” an Asheville, NC based classic rock cover band made up entirely of Mission Health colleagues. Who knew that three surgeons, a nurse, a pharmacist and a data scientist could have so much fun rocking out together? Playing classic rock and blues tunes from the 60’s, 70’s and 80’s, Mission Accomplished delivers on the expectation that the audience “may not know what they like – but they like what they know!”

Our latest exhibition, Iron and Ink: Prints from America’s Machine Age, focuses on a dynamic era in American history when industrialization and advances in technology transformed urban landscapes and redefined the nature of work and leisure nationwide.

Showcasing Collection prints from 1905 to the 1940s, Iron and Ink explores connections between industrial labor, urbanization, and the growing middle class. The exhibition highlights works by Works Progress Administration artists from the 1930s whose powerful images of machinery, skyscrapers, and daily life—both at work and recreation—capture this transformational era in American society.

This exhibition is organized by the Asheville Art Museum and Robin Klaus, PhD, assistant curator.

The mirror has been a powerful symbol invoked in the arts across centuries and cultures. Mirrors double reality, question the veracity of your perception, open portals to other dimensions, and act as objects of magic and divination. In the series Black Mirror/Espejo Negro (2007, ongoing), Pedro Lasch employs the mirror as an emblem that interrogates the tension between presence and absence, colonial histories, and the politics of visibility. The selections from the series displayed in this installation conceptually bring together canonical works of art from early modern Europe and prominent pre-Columbian sculptural figures, whose superimposed images emerge specter-like through darkened glass. Each work includes an accompanying text the artist produced for that pairing.

The Asheville Art Museum presents Native America: In Translation, an
exhibition curated by Apsáalooke artist Wendy Red Star, on view from May 22 through November 3,
2025. Featuring work by seven Indigenous photographers and lens-based artists from across North
America, the exhibition explores urgent questions of identity, heritage, land rights, and the ongoing
impact of colonialism.

Building on Red Star’s role as guest editor of the Fall 2020 issue of Aperture magazine, Native
America: In Translation continues the conversation through personal and often experimental visual
storytelling. Using self-portraits, performance-based imagery, and multimedia assemblages, the
artists offer new perspectives on Native life and representation today.

viewshed illuminates the enduring impact of Black Mountain College as a crucible of artistic experimentation and exchange, tracing the transmission of ideas across generations and exploring how BMC’s radical pedagogical approaches continue to shape contemporary artistic practice. The exhibition stages a dynamic dialogue between past and present, featuring contemporary artists Richard Garet, Jennie MaryTai Liu, Deanna Sirlin, and Susie Taylor alongside seminal BMC figures such as Dorothea Rockburne, Sewell (Si) Sillman, and Jacob Lawrence. By engaging with transparency, structure, color, collaboration, and expanded forms, viewshed brings into focus the porous boundaries between disciplines, unfolding as a sensorial and conceptual investigation into the shifting terrain of artistic influence. The exhibition highlights works that span painting, textile, sound, and performance, inviting viewers to consider the ways in which artistic methodologies evolve and reverberate across time. At its core, viewshed underscores the ways in which BMC’s experimental ethos continues to inspire artists to challenge, reinterpret, and expand the possibilities of creative expression.

Cane Creek is marking this new era with a ribbon cutting and celebration on Saturday, June
14th at the new Experience Center at 355 Cane Creek Rd., Fletcher, NC 28732. The ribbon
cutting will be at 1pm. This event is open to the public and will feature group rides starting at
9am with the party kicking off at 12pm. Join this staple WNC company for skills clinics, a
bounce house and family fun, merch deals, BBQ, and more on Saturday!

Join us in this hands on class where you will make a hammered sterling silver wide band ring. One of Ignite’s talented instructors will take you through the process step by step including soldering, shaping, hammering, and finishing your ring.

These also make great wedding bands!

You’ll leave with a beautiful ring made to size in our downtown Asheville metalsmithing studio.

$120 person *All Materials Included

*Class times and avialbalility are subject to change. SIgn up in advance online to ensure your time and space.

This is a Weekly Recurring Event
Runs from May 23, 2025 to Jun 27, 2025 and happens every:
Fridays: 1:15pm – 3:30pm Timezone: EDT
Saturdays: 1:15pm – 3:30pm Timezone: EDT

Step into a world where art and nature intertwine at the Enchanted Garden Art Show, opening Saturday, June 14, at Grovewood Gallery,
with a reception from 2-5 PM.

Our latest exhibition, Iron and Ink: Prints from America’s Machine Age, focuses on a dynamic era in American history when industrialization and advances in technology transformed urban landscapes and redefined the nature of work and leisure nationwide.

Showcasing Collection prints from 1905 to the 1940s, Iron and Ink explores connections between industrial labor, urbanization, and the growing middle class. The exhibition highlights works by Works Progress Administration artists from the 1930s whose powerful images of machinery, skyscrapers, and daily life—both at work and recreation—capture this transformational era in American society.

This exhibition is organized by the Asheville Art Museum and Robin Klaus, PhD, assistant curator.

The mirror has been a powerful symbol invoked in the arts across centuries and cultures. Mirrors double reality, question the veracity of your perception, open portals to other dimensions, and act as objects of magic and divination. In the series Black Mirror/Espejo Negro (2007, ongoing), Pedro Lasch employs the mirror as an emblem that interrogates the tension between presence and absence, colonial histories, and the politics of visibility. The selections from the series displayed in this installation conceptually bring together canonical works of art from early modern Europe and prominent pre-Columbian sculptural figures, whose superimposed images emerge specter-like through darkened glass. Each work includes an accompanying text the artist produced for that pairing.

The Asheville Art Museum presents Native America: In Translation, an
exhibition curated by Apsáalooke artist Wendy Red Star, on view from May 22 through November 3,
2025. Featuring work by seven Indigenous photographers and lens-based artists from across North
America, the exhibition explores urgent questions of identity, heritage, land rights, and the ongoing
impact of colonialism.

Building on Red Star’s role as guest editor of the Fall 2020 issue of Aperture magazine, Native
America: In Translation continues the conversation through personal and often experimental visual
storytelling. Using self-portraits, performance-based imagery, and multimedia assemblages, the
artists offer new perspectives on Native life and representation today.

Join us in the beautiful Asheville neighborhood of Olivette for an outdoor concert by *dream folk* trio South for Winter. BYOB • BYOC (chair) • KIDS ARE FREE!

With a blend of dreamy acoustic duets, foot-stomping folk and bluesy murder ballads, New Zealand-formed and Nashville-based South for Winter’s sound is as eclectic as their origins. The band is composed of New Zealander Nick Stone, Coloradan Dani Cichon, and Michigander Alex Stradal, and together the three multi-instrumentalists and songwriters combine elements such as classically-trained cello, percussive guitar, mandolin, suitcase stomp, poetic lyricism, and haunting melodies into a genre-bending sound described by American Songwriter as “impeccable”.

viewshed illuminates the enduring impact of Black Mountain College as a crucible of artistic experimentation and exchange, tracing the transmission of ideas across generations and exploring how BMC’s radical pedagogical approaches continue to shape contemporary artistic practice. The exhibition stages a dynamic dialogue between past and present, featuring contemporary artists Richard Garet, Jennie MaryTai Liu, Deanna Sirlin, and Susie Taylor alongside seminal BMC figures such as Dorothea Rockburne, Sewell (Si) Sillman, and Jacob Lawrence. By engaging with transparency, structure, color, collaboration, and expanded forms, viewshed brings into focus the porous boundaries between disciplines, unfolding as a sensorial and conceptual investigation into the shifting terrain of artistic influence. The exhibition highlights works that span painting, textile, sound, and performance, inviting viewers to consider the ways in which artistic methodologies evolve and reverberate across time. At its core, viewshed underscores the ways in which BMC’s experimental ethos continues to inspire artists to challenge, reinterpret, and expand the possibilities of creative expression.

Our latest exhibition, Iron and Ink: Prints from America’s Machine Age, focuses on a dynamic era in American history when industrialization and advances in technology transformed urban landscapes and redefined the nature of work and leisure nationwide.

Showcasing Collection prints from 1905 to the 1940s, Iron and Ink explores connections between industrial labor, urbanization, and the growing middle class. The exhibition highlights works by Works Progress Administration artists from the 1930s whose powerful images of machinery, skyscrapers, and daily life—both at work and recreation—capture this transformational era in American society.

This exhibition is organized by the Asheville Art Museum and Robin Klaus, PhD, assistant curator.

The mirror has been a powerful symbol invoked in the arts across centuries and cultures. Mirrors double reality, question the veracity of your perception, open portals to other dimensions, and act as objects of magic and divination. In the series Black Mirror/Espejo Negro (2007, ongoing), Pedro Lasch employs the mirror as an emblem that interrogates the tension between presence and absence, colonial histories, and the politics of visibility. The selections from the series displayed in this installation conceptually bring together canonical works of art from early modern Europe and prominent pre-Columbian sculptural figures, whose superimposed images emerge specter-like through darkened glass. Each work includes an accompanying text the artist produced for that pairing.

The Asheville Art Museum presents Native America: In Translation, an
exhibition curated by Apsáalooke artist Wendy Red Star, on view from May 22 through November 3,
2025. Featuring work by seven Indigenous photographers and lens-based artists from across North
America, the exhibition explores urgent questions of identity, heritage, land rights, and the ongoing
impact of colonialism.

Building on Red Star’s role as guest editor of the Fall 2020 issue of Aperture magazine, Native
America: In Translation continues the conversation through personal and often experimental visual
storytelling. Using self-portraits, performance-based imagery, and multimedia assemblages, the
artists offer new perspectives on Native life and representation today.

viewshed illuminates the enduring impact of Black Mountain College as a crucible of artistic experimentation and exchange, tracing the transmission of ideas across generations and exploring how BMC’s radical pedagogical approaches continue to shape contemporary artistic practice. The exhibition stages a dynamic dialogue between past and present, featuring contemporary artists Richard Garet, Jennie MaryTai Liu, Deanna Sirlin, and Susie Taylor alongside seminal BMC figures such as Dorothea Rockburne, Sewell (Si) Sillman, and Jacob Lawrence. By engaging with transparency, structure, color, collaboration, and expanded forms, viewshed brings into focus the porous boundaries between disciplines, unfolding as a sensorial and conceptual investigation into the shifting terrain of artistic influence. The exhibition highlights works that span painting, textile, sound, and performance, inviting viewers to consider the ways in which artistic methodologies evolve and reverberate across time. At its core, viewshed underscores the ways in which BMC’s experimental ethos continues to inspire artists to challenge, reinterpret, and expand the possibilities of creative expression.

✍️ For young writers ages 8–13

Join us in celebration of the Summer Solstice with an evening of bold, imaginative storytelling!

We’ll begin with a short introduction to tall tales—a playful style of story where characters are bigger than life, the details are wildly exaggerated, and nothing is too impossible to imagine. Think tornado-taming, moon-jumping, pancake-stacking kind of adventures.
Then, kids will explore the gallery to find a piece of art that sparks their own tall tale. With notebooks in hand, they’ll write their stories and return for a joyful story-sharing circle to close the night.

📓 Please bring a notebook or journal to write in!
🎟️ Free event, space is limited NO NEED TO RSVP— just arrive!

Our latest exhibition, Iron and Ink: Prints from America’s Machine Age, focuses on a dynamic era in American history when industrialization and advances in technology transformed urban landscapes and redefined the nature of work and leisure nationwide.

Showcasing Collection prints from 1905 to the 1940s, Iron and Ink explores connections between industrial labor, urbanization, and the growing middle class. The exhibition highlights works by Works Progress Administration artists from the 1930s whose powerful images of machinery, skyscrapers, and daily life—both at work and recreation—capture this transformational era in American society.

This exhibition is organized by the Asheville Art Museum and Robin Klaus, PhD, assistant curator.

The mirror has been a powerful symbol invoked in the arts across centuries and cultures. Mirrors double reality, question the veracity of your perception, open portals to other dimensions, and act as objects of magic and divination. In the series Black Mirror/Espejo Negro (2007, ongoing), Pedro Lasch employs the mirror as an emblem that interrogates the tension between presence and absence, colonial histories, and the politics of visibility. The selections from the series displayed in this installation conceptually bring together canonical works of art from early modern Europe and prominent pre-Columbian sculptural figures, whose superimposed images emerge specter-like through darkened glass. Each work includes an accompanying text the artist produced for that pairing.

The Asheville Art Museum presents Native America: In Translation, an
exhibition curated by Apsáalooke artist Wendy Red Star, on view from May 22 through November 3,
2025. Featuring work by seven Indigenous photographers and lens-based artists from across North
America, the exhibition explores urgent questions of identity, heritage, land rights, and the ongoing
impact of colonialism.

Building on Red Star’s role as guest editor of the Fall 2020 issue of Aperture magazine, Native
America: In Translation continues the conversation through personal and often experimental visual
storytelling. Using self-portraits, performance-based imagery, and multimedia assemblages, the
artists offer new perspectives on Native life and representation today.

viewshed illuminates the enduring impact of Black Mountain College as a crucible of artistic experimentation and exchange, tracing the transmission of ideas across generations and exploring how BMC’s radical pedagogical approaches continue to shape contemporary artistic practice. The exhibition stages a dynamic dialogue between past and present, featuring contemporary artists Richard Garet, Jennie MaryTai Liu, Deanna Sirlin, and Susie Taylor alongside seminal BMC figures such as Dorothea Rockburne, Sewell (Si) Sillman, and Jacob Lawrence. By engaging with transparency, structure, color, collaboration, and expanded forms, viewshed brings into focus the porous boundaries between disciplines, unfolding as a sensorial and conceptual investigation into the shifting terrain of artistic influence. The exhibition highlights works that span painting, textile, sound, and performance, inviting viewers to consider the ways in which artistic methodologies evolve and reverberate across time. At its core, viewshed underscores the ways in which BMC’s experimental ethos continues to inspire artists to challenge, reinterpret, and expand the possibilities of creative expression.

Our latest exhibition, Iron and Ink: Prints from America’s Machine Age, focuses on a dynamic era in American history when industrialization and advances in technology transformed urban landscapes and redefined the nature of work and leisure nationwide.

Showcasing Collection prints from 1905 to the 1940s, Iron and Ink explores connections between industrial labor, urbanization, and the growing middle class. The exhibition highlights works by Works Progress Administration artists from the 1930s whose powerful images of machinery, skyscrapers, and daily life—both at work and recreation—capture this transformational era in American society.

This exhibition is organized by the Asheville Art Museum and Robin Klaus, PhD, assistant curator.

The mirror has been a powerful symbol invoked in the arts across centuries and cultures. Mirrors double reality, question the veracity of your perception, open portals to other dimensions, and act as objects of magic and divination. In the series Black Mirror/Espejo Negro (2007, ongoing), Pedro Lasch employs the mirror as an emblem that interrogates the tension between presence and absence, colonial histories, and the politics of visibility. The selections from the series displayed in this installation conceptually bring together canonical works of art from early modern Europe and prominent pre-Columbian sculptural figures, whose superimposed images emerge specter-like through darkened glass. Each work includes an accompanying text the artist produced for that pairing.

The Asheville Art Museum presents Native America: In Translation, an
exhibition curated by Apsáalooke artist Wendy Red Star, on view from May 22 through November 3,
2025. Featuring work by seven Indigenous photographers and lens-based artists from across North
America, the exhibition explores urgent questions of identity, heritage, land rights, and the ongoing
impact of colonialism.

Building on Red Star’s role as guest editor of the Fall 2020 issue of Aperture magazine, Native
America: In Translation continues the conversation through personal and often experimental visual
storytelling. Using self-portraits, performance-based imagery, and multimedia assemblages, the
artists offer new perspectives on Native life and representation today.