Calendar of Events
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.
Check Out Our New Arts Discounts Page
We have exciting news! The ArtsAVL website has a new feature: a discounts page!
At any time, you can head on over to artsavl.org/discounts to see special discount offers our members are offering.
View Offerings
Artists are invited to create artworks with the theme of “Red, White and Blue.“ Apply these patriotic colors at the center of your subjects, however there are no limits to your creativity, your artworks don’t need to be primarily patriotic theme, but viewers should be able to spot the use of recognizable amount of red, white and blue colors.
Located on the second floor until September 18th, the show continues the historical relationship between the Southern Highland Craft Guild and Haywood, an educational center of the Guild. This new generation of craft is led by instructors Amy Putansu in fiber, Brian Wurst in wood, Emily Reason in clay, and Robert Blanton in metals & jewelry. Students of the Haywood program come from all over, with or without prior experience of craft, and sometimes pursuing it as a second or third career. The course of study is challenging, combining craft concentrations with supplemental classes in design, drawing, craft history, business, marketing and photography.
Haywood Community College and the Southern Highland Craft Guild share a history that documents the role of craft education in preserving traditional culture, creating economic opportunity and fostering professional practice. All of the artists represent the vitality and creativity of craft practice today, which is the ultimate purpose of both institutions. Many Haywood graduates have become individual members of the Southern Highland Craft Guild and have served the Guild in various capacities.
Instructor Brian Wurst of the Professional Crafts Wood program says, “Our programs have thrived for nearly five decades, and our relationship with the Craft Guild has been a key part of that. We’re always thrilled to have work showcased at the Folk Art Center, and in turn scores of our alumni have gone on to become active Guild members. The Graduate Show is the capstone of two hard years by these students, and it’s a delight to share it in this beautiful space.”
Haywood Community College is located in Clyde, North Carolina, just west of Asheville. The college’s Professional Crafts Program began in recognition of the region’s strong craft heritage. It was envisioned that students would learn the basics of craft media and how to transform that craft into a business. The clay studio was the first to open in 1974. With the addition of jewelry, wood and fiber studios, a comprehensive curriculum was in place by 1977.
Anyone interested in taking courses at Haywood Community College can contact the success coach, Farrah Rodriguez [email protected] 828.627.4505.
The Haywood Community College Professional Crafts Program, Graduate Show, Class of 2024 is a free exhibit at the Folk Art Center on the Blue Ridge Parkway in East Asheville. For more information, visit www.craftguild.org or call 828-523-4110. For more information about the Professional Crafts Program, call 828-627-4674 or visit creativearts.haywood.edu.
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.
Susan is a native of the coal mining village of Shady Spring, West Virginia. As a child, she watched her mother, Mae Alice Taylor, weave functional baskets. In 2002, after back surgery limited Mae’s mobility, it was time for mother to pass to daughter her precious knowledge of the art of basket weaving. Susan describes that time as “finally coming home”. The combination of fibers and artistry had opened a new avenue of self-discovery for her. Susan’s baskets are known for their quality, attention to detail, and visual excitement. A ‘natural’ in 3-dimensional arts, Susan also enjoys pottery, gourd projects, jewelry making, beadwork, wood turning, and felting wool.
Artists are invited to create artworks with the theme of “Red, White and Blue.“ Apply these patriotic colors at the center of your subjects, however there are no limits to your creativity, your artworks don’t need to be primarily patriotic theme, but viewers should be able to spot the use of recognizable amount of red, white and blue colors.
Located on the second floor until September 18th, the show continues the historical relationship between the Southern Highland Craft Guild and Haywood, an educational center of the Guild. This new generation of craft is led by instructors Amy Putansu in fiber, Brian Wurst in wood, Emily Reason in clay, and Robert Blanton in metals & jewelry. Students of the Haywood program come from all over, with or without prior experience of craft, and sometimes pursuing it as a second or third career. The course of study is challenging, combining craft concentrations with supplemental classes in design, drawing, craft history, business, marketing and photography.
Haywood Community College and the Southern Highland Craft Guild share a history that documents the role of craft education in preserving traditional culture, creating economic opportunity and fostering professional practice. All of the artists represent the vitality and creativity of craft practice today, which is the ultimate purpose of both institutions. Many Haywood graduates have become individual members of the Southern Highland Craft Guild and have served the Guild in various capacities.
Instructor Brian Wurst of the Professional Crafts Wood program says, “Our programs have thrived for nearly five decades, and our relationship with the Craft Guild has been a key part of that. We’re always thrilled to have work showcased at the Folk Art Center, and in turn scores of our alumni have gone on to become active Guild members. The Graduate Show is the capstone of two hard years by these students, and it’s a delight to share it in this beautiful space.”
Haywood Community College is located in Clyde, North Carolina, just west of Asheville. The college’s Professional Crafts Program began in recognition of the region’s strong craft heritage. It was envisioned that students would learn the basics of craft media and how to transform that craft into a business. The clay studio was the first to open in 1974. With the addition of jewelry, wood and fiber studios, a comprehensive curriculum was in place by 1977.
Anyone interested in taking courses at Haywood Community College can contact the success coach, Farrah Rodriguez [email protected] 828.627.4505.
The Haywood Community College Professional Crafts Program, Graduate Show, Class of 2024 is a free exhibit at the Folk Art Center on the Blue Ridge Parkway in East Asheville. For more information, visit www.craftguild.org or call 828-523-4110. For more information about the Professional Crafts Program, call 828-627-4674 or visit creativearts.haywood.edu.
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.
In the early 1900s, travel by train and automobile became more accessible in the United States, leading to an increase in tourism and a revitalized interest in landscape painting. The relative ease of transportation, as well as the creation of National Parks, allowed people to experience the breathtaking landscapes of the United States in new ways. Artists traveled along popular routes, recording the terrain they encountered.
This exhibition explores the sublime natural landscapes of the Smokey Mountains of Western North Carolina and Tennessee. While there were several regional schools of painting around this time, this group is largely from the Midwest and many of the artists trained at the Art Institute of Chicago or in New York City. Through their travels, they captured waterfalls, sunsets, thunderstorms, autumn foliage, lush green summers, and snow-covered mountains—elements that were novel for viewers from cities and rural areas. Though some of these paintings include people, they are usually used for scale and painted with little to no detail, highlighting the magnificence of nature.
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Rudolph F. Ingerle, Mirrored Mountain, not dated, oil on canvas, 28 × 32 inches. Courtesy of Allen & Barry Huffman, Asheville Art Museum. |
We have exciting news! The ArtsAVL website has a new feature: a discounts page!
At any time, you can head on over to artsavl.org/discounts to see special discount offers our members are offering.
View Offerings
Artists are invited to create artworks with the theme of “Red, White and Blue.“ Apply these patriotic colors at the center of your subjects, however there are no limits to your creativity, your artworks don’t need to be primarily patriotic theme, but viewers should be able to spot the use of recognizable amount of red, white and blue colors.
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.
In the early 1900s, travel by train and automobile became more accessible in the United States, leading to an increase in tourism and a revitalized interest in landscape painting. The relative ease of transportation, as well as the creation of National Parks, allowed people to experience the breathtaking landscapes of the United States in new ways. Artists traveled along popular routes, recording the terrain they encountered.
This exhibition explores the sublime natural landscapes of the Smokey Mountains of Western North Carolina and Tennessee. While there were several regional schools of painting around this time, this group is largely from the Midwest and many of the artists trained at the Art Institute of Chicago or in New York City. Through their travels, they captured waterfalls, sunsets, thunderstorms, autumn foliage, lush green summers, and snow-covered mountains—elements that were novel for viewers from cities and rural areas. Though some of these paintings include people, they are usually used for scale and painted with little to no detail, highlighting the magnificence of nature.
|
|
Rudolph F. Ingerle, Mirrored Mountain, not dated, oil on canvas, 28 × 32 inches. Courtesy of Allen & Barry Huffman, Asheville Art Museum. |
We have exciting news! The ArtsAVL website has a new feature: a discounts page!
At any time, you can head on over to artsavl.org/discounts to see special discount offers our members are offering.
View Offerings
Artists are invited to create artworks with the theme of “Red, White and Blue.“ Apply these patriotic colors at the center of your subjects, however there are no limits to your creativity, your artworks don’t need to be primarily patriotic theme, but viewers should be able to spot the use of recognizable amount of red, white and blue colors.
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.
In the early 1900s, travel by train and automobile became more accessible in the United States, leading to an increase in tourism and a revitalized interest in landscape painting. The relative ease of transportation, as well as the creation of National Parks, allowed people to experience the breathtaking landscapes of the United States in new ways. Artists traveled along popular routes, recording the terrain they encountered.
This exhibition explores the sublime natural landscapes of the Smokey Mountains of Western North Carolina and Tennessee. While there were several regional schools of painting around this time, this group is largely from the Midwest and many of the artists trained at the Art Institute of Chicago or in New York City. Through their travels, they captured waterfalls, sunsets, thunderstorms, autumn foliage, lush green summers, and snow-covered mountains—elements that were novel for viewers from cities and rural areas. Though some of these paintings include people, they are usually used for scale and painted with little to no detail, highlighting the magnificence of nature.
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Rudolph F. Ingerle, Mirrored Mountain, not dated, oil on canvas, 28 × 32 inches. Courtesy of Allen & Barry Huffman, Asheville Art Museum. |
Fire cider is a great herbal tonic used to support the immune system, especially during the fall and winter season. It has been a traditional medicine of various cultures over the centuries. Come learn about the history of fire cider and make your own to take home with Education Coordinator Rosie Reeves. The information presented in this class is intended for educational purposes and should not be considered an endorsement of or recommendation for any medical treatment. Please consult your health care provider before pursuing any herbal or homemade treatments.
September 20, 2-4
$20 public/$15 friends. 20 person limit.
We have exciting news! The ArtsAVL website has a new feature: a discounts page!
At any time, you can head on over to artsavl.org/discounts to see special discount offers our members are offering.
View Offerings
Artists are invited to create artworks with the theme of “Red, White and Blue.“ Apply these patriotic colors at the center of your subjects, however there are no limits to your creativity, your artworks don’t need to be primarily patriotic theme, but viewers should be able to spot the use of recognizable amount of red, white and blue colors.
Join us on Saturday from 10 am-4 pm and Sunday from 12pm-4pm for a celebration of Southern Appalachian culture on the Blue Ridge Parkway. This festival has old-time music and demonstrations of the crafts of yesteryear. Chairmaking, quilting, heirloom apples, sheep shearing, cornshuck dolls, woodcarving, blacksmithing, weaving, stone carving, soap making, crocheting, knitting, spinning, rifle making, natural dyeing, basketry. Don’t Miss the World Gee Haw Whimmy Diddle Competition at 2:00 pm!!
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.
Saturdays from 10:30 AM – 12 PM
In the early 1900s, travel by train and automobile became more accessible in the United States, leading to an increase in tourism and a revitalized interest in landscape painting. The relative ease of transportation, as well as the creation of National Parks, allowed people to experience the breathtaking landscapes of the United States in new ways. Artists traveled along popular routes, recording the terrain they encountered.
This exhibition explores the sublime natural landscapes of the Smokey Mountains of Western North Carolina and Tennessee. While there were several regional schools of painting around this time, this group is largely from the Midwest and many of the artists trained at the Art Institute of Chicago or in New York City. Through their travels, they captured waterfalls, sunsets, thunderstorms, autumn foliage, lush green summers, and snow-covered mountains—elements that were novel for viewers from cities and rural areas. Though some of these paintings include people, they are usually used for scale and painted with little to no detail, highlighting the magnificence of nature.
|
|
Rudolph F. Ingerle, Mirrored Mountain, not dated, oil on canvas, 28 × 32 inches. Courtesy of Allen & Barry Huffman, Asheville Art Museum. |
Join us on Saturday from 10 am-4 pm and Sunday from 12pm-4pm for a celebration of Southern Appalachian culture on the Blue Ridge Parkway. This festival has old-time music and demonstrations of the crafts of yesteryear. Chairmaking, quilting, heirloom apples, sheep shearing, cornshuck dolls, woodcarving, blacksmithing, weaving, stone carving, soap making, crocheting, knitting, spinning, rifle making, natural dyeing, basketry. Don’t Miss the World Gee Haw Whimmy Diddle Competition at 2:00 pm!!
In the early 1900s, travel by train and automobile became more accessible in the United States, leading to an increase in tourism and a revitalized interest in landscape painting. The relative ease of transportation, as well as the creation of National Parks, allowed people to experience the breathtaking landscapes of the United States in new ways. Artists traveled along popular routes, recording the terrain they encountered.
This exhibition explores the sublime natural landscapes of the Smokey Mountains of Western North Carolina and Tennessee. While there were several regional schools of painting around this time, this group is largely from the Midwest and many of the artists trained at the Art Institute of Chicago or in New York City. Through their travels, they captured waterfalls, sunsets, thunderstorms, autumn foliage, lush green summers, and snow-covered mountains—elements that were novel for viewers from cities and rural areas. Though some of these paintings include people, they are usually used for scale and painted with little to no detail, highlighting the magnificence of nature.
|
|
Rudolph F. Ingerle, Mirrored Mountain, not dated, oil on canvas, 28 × 32 inches. Courtesy of Allen & Barry Huffman, Asheville Art Museum. |