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Upcoming events and things to do in Asheville, NC. Below is a list of events for festivals, concerts, art exhibitions, group meetups and more.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
A lively language enrichment story time designed for children ages 4 to 18 months.
American Made: Paintings and Sculpture from the DeMell Jacobsen Collection features more than 100 works of art by renowned American artists. The exhibition beautifully illustrates distinctive styles and thought-provoking art explored by American artists over the past two centuries. Though many objects from the DeMell Jacobsen Collection have been on view at other museums, ranging from the Metropolitan Museum of Art and the Smithsonian American Art Museum to the Amon Carter Museum of American Art and Saint Louis Art Museum, this exhibition features the best of the collection brought together in one location. The exhibition begins with Colonial-era portraits by masters, such as Benjamin West, Thomas Sully, and Sarah Miriam Peale, and then moves on to highlight the development of mid-19th-century landscape painting. Viewers will discover works depicting the United States from coast to coast by artists, including Thomas Cole, Asher B. Durand, Jasper Francis Copsey, and even a monumental arctic scene by William Bradford.
Bill Viola’s Moving Stillness: Mount Rainier, 1979 on loan from Art Bridges is an immersive experience that explores the ideas of death and regeneration in nature. In a darkened room, sounds from nature envelop the viewer, as a placid pool of water reflects a projected image of Mount Rainier onto a screen. The water is periodically disturbed, causing the image to dissolve and slowly recompose as the pool settles. As an active volcano at rest, Mount Rainier embodies both quiet beauty and dramatic violence. Using time as both a tool and a theme in his work, Viola visualizes the dualities of nature’s rhythms of renewal, which include moments of both fragility and strength.
Tracey Morgan Gallery is pleased to present “The Boys Will Get Hungry if They See Fruit,” an exhibition of new paintings and soft sculptures by multidisciplinary artist Carly Owens Weiss. This is Weiss’ first solo exhibition with the gallery. A reception for the artist will be held Friday, November 15 from 6-8PM.
Regular gallery hours are Wed- Sat 11am-5pm
Ceramic artists throughout history have become masters of all four elements—creating clay from a mixture of earth and water to shape their work, drying it in air, and hardening it in fire. Throughout this process, the artist decides which aspects of the work will be tightly controlled, and when the elements can step in to leave nature’s mark. This exhibition traces the historical, stylistic, and conceptual origins of work that either embraces or refuses the element of chance in ceramics, looking at modern and contemporary work made in Western North Carolina.
The Asheville Art Museum is pleased to present Ginny Ruffner’s Reforestation of the Imagination, organized and toured by the Smithsonian American Art Museum. The exhibition imagines an apocalyptic landscape of withered plant forms that come to life when activated with augmented reality. In collaboration with animator and media artist Grant Kirkpatrick, Ruffner illuminates the delicate balance between nature and the artificial human-built world around us, putting forth an optimistic hope for the future: that technology can be a means to understand and help save the earth from environmental devastation. Visitors can download the free app “Reforestation” on their phones or use the iPads in the gallery to bring this second reality to life. When the tree rings of a stump are viewed through a device’s camera lens, a hologram of a fictional plant appears to sprout from the sculpture. These imagined fruits and flowers have evolved from existing flora, developing dramatic appendages and skills necessary to flourish in this radically different environment. In Ruffner’s fantastical reality, tulips develop stem flexibility, pears contain windows to the outside world, and flowers take on the form of birds. The installation includes Ruffner’s tongue-in-cheek descriptions of her surreal flora and their remarkable, sometimes humorous adaptations. Used as inspiration for the AR images, 19 original drawings by the artist will also be on view.
Tis the season to be jolly! The tradition continues with the same great holiday cheer to put you in the Christmas spirit. All new renditions of your holiday favorites will help you get those sleigh bells jinglin,’ and chestnuts roasting! There is truly no better way to kick off your holiday season. So, hurry on over with your family, friends, and loved ones to share in the joy and excitement of this seasonal spectacular that will have you feeling merry and bright! Ring-a-ling-a-ding-dong-ding, y’all!
Experience the sounds of winter and the holidays with the Blue Ridge Ringers as they present “A Winter Journey” concert series. This captivating musical journey is sure to bring audiences season’s cheer with an eclectic blend of rhythm, melody, and musicality. “A Winter Journey” showcases the ensemble’s versatility and artistry, featuring a mix of holiday favorites, expertly arranged for handbells.
Sippin’ Santa at The Tiki Easy Bar is back from Nov. 18 through Dec. 31. We’re throwing a tropical island-themed holiday party every single day—don’t miss the fun! Along with a curated menu of expertly crafted cocktails and over-the-top holiday decor, Sippin’ Santa’s much sought-after custom mugs and glassware will be available for purchase while supplies last.
Reservations are not required, but if you’d like to book our private room “Cynamon Cove” for 6-10 people, visit: tiki-easy-at-hi-wire-brewing.resos.com/booking.
Throwing a holiday party or a larger gathering? Email [email protected] to inquire.
Monday-Thursday 4-9pm
Friday & Saturday 3-10pm
Sunday 3-9pm
The Tiki Easy Bar is a hidden tropical oasis behind Hi-Wire’s South Slope tap room.
Official Menu: sippinsantapopup.com/menu
Mocktails, Frozen Drinks, & Spirits: bit.ly/tikieasysippinsantamenu
Winter Lights is a spectacular open-air walk-through light show made from over one million lights! Located at the North Carolina Arboretum in Asheville, North Carolina, this year’s event features favorites like the famously tall 50-foot lighted tree and the Quilt Garden, along with enchanting new details designed to delight and surprise. All prices are per vehicle. No pets allowed.
Winter Lights features live entertainment nightly and food and beverages from the Bent Creek Bistro, the Cocoa Shack and the Cocoa Cabin! Open nightly from 6:00 – 10:00 p.m.
Trivia Every Thursday w/ Not Rocket Science
Don’t miss your chance to check out some of the best pickers from all over WNC at our amazing Bluegrass Jam curated by the talented Drew Matulich — every Thursday starting at 7:00 pm! A real show-stopping performance only at Jack of the Wood! Open jam starts at 9:30 pm.
Tis the season to be jolly! The tradition continues with the same great holiday cheer to put you in the Christmas spirit. All new renditions of your holiday favorites will help you get those sleigh bells jinglin,’ and chestnuts roasting! There is truly no better way to kick off your holiday season. So, hurry on over with your family, friends, and loved ones to share in the joy and excitement of this seasonal spectacular that will have you feeling merry and bright! Ring-a-ling-a-ding-dong-ding, y’all!
The Western Front, Christmas, 1914. Out of the violence a silence, then a song. A German soldier steps into No Man’s Land singing “Stille Nacht.” Thus begins an extraordinary time of camaraderie, music, and peace in a spontaneous ceasefire during World War 1. A remarkable true story, told in the words and songs of the men who lived it.
“A beautiful musical retelling of a World War I ceasefire
with gifts of music, poetry, and melody.”
-New York Times
Just when we thought things couldn’t get any worse, here come the Holidays breathing down our necks. Sure, it starts out nice, pretty decorations, warm feelings, but all that slowly starts to crumble as we stress ourselves to the brink searching for the perfect gift, or not being able to escape our weird family, or being reminded or our fundamental loneliness. At The Campfireball: Humans vs. Holidays at Story Parlor on December 12th you finally have a chance to fight back. In this battle for the ages, the audience will go toe-to-toe with the ghosts of Christmases past, present, and future (plus all the other holidays from ‘this time of year’) in a part game-show, part existential escape room, part group therapy immersive storytelling experience. Mark your calendars, the fate of humanity depends on you.
This dance is fragrance-free (no perfume, cologne, strong deodorant, etc.), out of respect for those with sensitivities.
If this is your first time dancing with us, your second dance is free!
Whenever you want!
Supplies available at
2 Sulphur Springs Road
If you need to request supplies for the same or next day, please call 828-254-1776.
Organizing a litter cleanup with your friends, neighbors, co-workers, or other community members is easier than you may think! Asheville GreenWorks provides cleanup supplies and safety information, and will coordinate trash pick up as needed. Available supplies include safety vests, gloves, trash grabbers, trash bags, and SHARPs containers (upon request).
Review the attached guides for instructions and safety information.
Need to know
Please review the attached documents and contact [email protected] with any questions. Your supplies will be available for pickup on the date you’ve requested at Asheville GreenWorks’ office at 2 Sulphur Springs Road, Asheville, NC 28806.
All cleanups should be reported using the online form and supplies should be returned after your cleanup.
1 hour and 30 minutes
Bachelorette/Bachelor Parties are not permitted on this tour. The Fender Bender Bus is bachelorette/bachelor friendly!
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.
13 and up. No exceptions.
10 minute beer & bathroom break at Green Man Brewery
Guided tour of Asheville on a Purple Bus
Funny actors, fun bits
Actual History about Asheville
Green Man Brewery Stop
Beer/Wine (Must be purchased from LaZoom or the Brewery Stop)
Cash! You’ll want to tip the guides for changing your life for the better.
Located within the wildly-popular and botanically beautiful Southern Appalachian Mountains, The North Carolina Arboretum offers more than 10 miles of hiking trails that connect to many other area attractions such as Lake Powhatan, the Pisgah National Forest and the Blue Ridge Parkway. Visitors of all ages and abilities can enjoy their hiking experience at the Arboretum as trail options include easy, moderate, and difficult challenge levels. All trails are dog-friendly and visitors are asked to adhere to the proper waste disposing procedures for pets.
Part of a running group that would like to use the Arboretum as a starting point or parking location? Please review our Running Group Guidance and email [email protected] with any questions.
Find the perfect gift this holiday season for everyone on your list at the 10th annual 𝗛𝗼𝗹𝗶𝗱𝗮𝘆 𝗣𝗼𝗽 𝗨𝗽 𝗦𝗵𝗼𝗽! Shop local, shop small and support local artists, makers, and vintage collectors.
We’ve decked the halls of the Ideation Lab inside the Center for Craft in Downtown Asheville. Shop over 100 vendors; housewares, handmade jewelry, ceramics, apparel, vintage clothes, ornaments, candles, gifts for our furry friends and more.
WHEN:
Open Nov 29 through Dec 24
10am-8pm daily
WHERE:
The Ideation Lab inside the Center for Craft
67 Broadway St, Asheville, NC 28801
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
These early literacy programs for kids and their caregivers are designed to develop a joy for learning through books, songs, and activities.
Story time takes place in our library community room. This is not a ticketed event.
American Made: Paintings and Sculpture from the DeMell Jacobsen Collection features more than 100 works of art by renowned American artists. The exhibition beautifully illustrates distinctive styles and thought-provoking art explored by American artists over the past two centuries. Though many objects from the DeMell Jacobsen Collection have been on view at other museums, ranging from the Metropolitan Museum of Art and the Smithsonian American Art Museum to the Amon Carter Museum of American Art and Saint Louis Art Museum, this exhibition features the best of the collection brought together in one location. The exhibition begins with Colonial-era portraits by masters, such as Benjamin West, Thomas Sully, and Sarah Miriam Peale, and then moves on to highlight the development of mid-19th-century landscape painting. Viewers will discover works depicting the United States from coast to coast by artists, including Thomas Cole, Asher B. Durand, Jasper Francis Copsey, and even a monumental arctic scene by William Bradford.
Bill Viola’s Moving Stillness: Mount Rainier, 1979 on loan from Art Bridges is an immersive experience that explores the ideas of death and regeneration in nature. In a darkened room, sounds from nature envelop the viewer, as a placid pool of water reflects a projected image of Mount Rainier onto a screen. The water is periodically disturbed, causing the image to dissolve and slowly recompose as the pool settles. As an active volcano at rest, Mount Rainier embodies both quiet beauty and dramatic violence. Using time as both a tool and a theme in his work, Viola visualizes the dualities of nature’s rhythms of renewal, which include moments of both fragility and strength.
Tracey Morgan Gallery is pleased to present “The Boys Will Get Hungry if They See Fruit,” an exhibition of new paintings and soft sculptures by multidisciplinary artist Carly Owens Weiss. This is Weiss’ first solo exhibition with the gallery. A reception for the artist will be held Friday, November 15 from 6-8PM.
Regular gallery hours are Wed- Sat 11am-5pm
Ceramic artists throughout history have become masters of all four elements—creating clay from a mixture of earth and water to shape their work, drying it in air, and hardening it in fire. Throughout this process, the artist decides which aspects of the work will be tightly controlled, and when the elements can step in to leave nature’s mark. This exhibition traces the historical, stylistic, and conceptual origins of work that either embraces or refuses the element of chance in ceramics, looking at modern and contemporary work made in Western North Carolina.
The Asheville Art Museum is pleased to present Ginny Ruffner’s Reforestation of the Imagination, organized and toured by the Smithsonian American Art Museum. The exhibition imagines an apocalyptic landscape of withered plant forms that come to life when activated with augmented reality. In collaboration with animator and media artist Grant Kirkpatrick, Ruffner illuminates the delicate balance between nature and the artificial human-built world around us, putting forth an optimistic hope for the future: that technology can be a means to understand and help save the earth from environmental devastation. Visitors can download the free app “Reforestation” on their phones or use the iPads in the gallery to bring this second reality to life. When the tree rings of a stump are viewed through a device’s camera lens, a hologram of a fictional plant appears to sprout from the sculpture. These imagined fruits and flowers have evolved from existing flora, developing dramatic appendages and skills necessary to flourish in this radically different environment. In Ruffner’s fantastical reality, tulips develop stem flexibility, pears contain windows to the outside world, and flowers take on the form of birds. The installation includes Ruffner’s tongue-in-cheek descriptions of her surreal flora and their remarkable, sometimes humorous adaptations. Used as inspiration for the AR images, 19 original drawings by the artist will also be on view.
