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.
THE UNTOLD TRUE STORY OF A BROOKLYN KID WHO BECAME A CHART-BUSTING, SHOW-STOPPING, AWARD-WINNING AMERICAN ICON
Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway-and head out on the road across America.
Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is an inspiring, exhilarating, energy-filled musical memoir that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.
A BEAUTIFUL NOISE is recommended for audiences of all ages.
The Grey Eagle and Worthwhile Sounds Present Michigander with Sydney Sprague.
Michigander, who delivers elevated and eloquent songcraft, uplifting instrumentation, and plainspoken heartland storytelling punctuated by alternative flare, has racked up over 60 million career streams globally and garnered the acclaim of NPR, Paste, Consequence, SPIN, Forbes, BrooklynVegan, Guitar World, Ones To Watch, and more. In 2016, the now Nashville-based singer, songwriter, producer, and guitarist’s independent debut single “Nineties” achieved viral success, claiming real estate on multiple major Spotify playlists. Michigander’s first two EPs, Midland [2018] and Where Do We Go From Here [2019], have become fan favorites, with the latter’s standout single “Misery” eclipsing 10 million streams and earning Michigander his first Triple A radio hit. 2021’s critically lauded EP Everything Will Be Ok Eventually (C3 Records) elevated his career via the Top 5 Triple A radio hit “Let Down” and Top 10 Triple A radio hit “Better.” On the road, Michigander has shared the stage with Manchester Orchestra, Band of Horses, The Lumineers, Hippo Campus, Mt. Joy, and graced the stages of such marquee festivals as Lollapalooza, Electric Forest, Summerfest, Shaky Knees and more as well as SXSW. In 2023, Michigander was back, breaking personal records, charting at radio again, and on the road with a new set of songs and a re-energized passion for his craft. Listen to the latest EP It Will Never Be The Same everywhere, out now via C3 Records and look out for a new project coming from Singer in ’24.
“Sydney Sprague channels her sadness, anxiety, and existential dread through driving guitars, shimmering melodies, and the deceptively sweet weapons of indie pop-rock and keen observation.
Self-aware with a knowing injection of dark humor, her songs summon the best of 90s alt-rock and classic power-pop without sacrificing a melancholy befitting of the end times. Her music is intimate, vulnerable, confrontational, autobiographical, and strangely uplifting. Her sophomore record, somebody in hell loves you, is as devilishly saccharine as the title implies, boldly accessible and smart.
The positive press, word-of-mouth, and a stellar tour with Jimmy Eat World and Dashboard Confessional helped make organic streaming hits out of songs like “steve,” “quitter,” and “i refuse to die”; “object permanence” boasts nearly 1 million streams on Spotify alone. “As a smaller artist, it’s almost impossible financially,” Sydney says of her relentless schedule. “But I love it so much.”
Sydney wrote most of somebody in hell loves you during the pandemic lockdowns, and yet, it’s decidedly less angsty than its predecessor. “And not because I’m a less angsty person,” she clarifies. “Obviously, none of us were in a good place in 2020. It was a depressing time. But I didn’t want to wallow in that. I wrote more as an exercise to distract myself from my woes.” A lot of the songs became observational storytelling, exploring the drama of people around her and revisiting her past.”
Leave what you think you know about hip-hop at the door: This suite of works is designed to challenge popular perceptions of street dance — shaking the art form at its foundations to reveal the complex narratives and artistic ingenuity at its core. One of the most respected hip-hop choreographers in the country, Rennie Harris leads his company into a progressive new era of dance in “Nuttin’ But A Word,” where individuality, creativity and innovation reign supreme.
Coinciding with Rennie Harris Puremovement’s Asheville performances, Wortham Center Artist-in-Residence Otto Vazquez will host hip-hop dance classes in the performing arts complex’s Henry LaBrun Studio. Joining Harris to lead pre-show discussions on Jan. 17 and 18, Vazquez is a prolific street dancer, choreographer, filmmaker and educator. This season, he partners with the Wortham Center to offer education and community engagement programs and to present events through his production company, Nu Paradigm. ovazquez.net
Connect with the art and artists in classes and pre-show discussions.
Jan. 14 at 7 p.m.: Hip-hop dance pop-up class with Otto Vazquez, Henry LaBrun Studio, Wortham Center
Jan. 17 & 18 at 7 p.m.: Rennie Harris and Otto Vazquez lead pre-show discussions
Jan. 18 at 1 p.m.: Street Dance & Hip-Hop Master Class with Rennie Harris Puremovement company dancers
Feb. 4–March 25 at 7 p.m.: 8-week hip-hop class with Otto Vazquez, Henry LaBrun Studio, Wortham Center
Spinning tall tales of folklore, myth, urban legend and conspiracy theory through the kaleidoscope eye of soul, rock & roll and pre-war r&B, Harvey McLaughlin’s piano playing (and guitar slinging) antics have been ever present in the music scene for the better part of the last twenty years.
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.
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.
Center your mind, body and spirit with a soothing Sound Bath!
Join your host Kristin Hillegas, for a one-hour Serenity Sound Bath and experience a deeply immersive, full-body sound and vibrational experience. A sound bath can cleanse your soul, restore your balance, surround you with peace and tranquility and stimulate healing.
Note: Please bring a yoga mat/pillow/blanket since you will be lying on the floor. Wear warm, comfortable, and flexible clothing.
The Sound Bath will take place upstairs in the Education Building. Choose your space starting at 12:45 PM, doors close promptly at 1:00 PM.
This service is being offered on a Love Offering basis. Donations allow us to continue to provide these immersive experiences.
Accessible parking is available in the Center for Spiritual Living Asheville upper parking lot. The entrance to the upper parking lot is off of S. Bear Creek Rd between Science of Mind Way and Sand Hill Rd.
There is a boardwalk walk-way from the upper parking lot to the building entrance.
Jack’s long-running Traditional Irish Music Session is the perfect way to enjoy the Celtic-influenced sounds of talented pluckers from all over WNC & further afield! Stop in to enjoy a pint or afternoon Irish coffee with the music! Sláinte!
The Grey Eagle and Worthwhile Sounds Present Coverfest IV: A Benefit For Asheville Middle School.
STANDING ROOM ONLY
Get ready for an evening of incredible live music, community spirit, and heartfelt support at Coverfest IV, a one-of-a-kind benefit concert happening at The Grey Eagle in Asheville on January 19, 2025. The annual event will feature 10 outstanding local and regional acts, each performing mini-sets of cover songs from a wide range of genres and eras, Coverfest promises something for everyone — all in support of a great cause!
100% of ticket sales will go directly to benefit Asheville Middle School’s 8th Grade Capstone Trip to Washington, DC, which gives students the opportunity to experience history in the making with visits to monuments, museums, and landmarks in the nation’s capital. This trip is a unique educational experience, and Coverfest IV is dedicated to helping make it possible for every student to attend.
Double Love & the Trouble
Santiago y los Gatos
Eleanor Underhill & Friends
Moon and You
Moon Water
Fancy & the Gentleman
John Kirby JR & New Seniors
Paul Edelman (Jangling Sparrows)
THE UNTOLD TRUE STORY OF A BROOKLYN KID WHO BECAME A CHART-BUSTING, SHOW-STOPPING, AWARD-WINNING AMERICAN ICON
Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway-and head out on the road across America.
Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is an inspiring, exhilarating, energy-filled musical memoir that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.
A BEAUTIFUL NOISE is recommended for audiences of all ages.
Show: 8:30pm | Doors: 7:30pm
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.
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
Hosted by the witty & sagacious Jason Mencer, our epic pub trivia night runs every Monday from 7:30-9:30pm! Plus $5.00 well drinks all night!
Come test your brain power with tasty pub fare, an adult beverage or two — and a team of your smartest friends! Win prizes each round and crow a little about what a smarty-pants you are!
Join us at Soprana Rooftop Cucina for a prefixe menu special. The opportunity to try favorite salads, pizzettes and deserts all for $30 – it doesn’t get much better than that.
Soprana Rooftop Cucina is open Monday – Thursday from 5pm-10pm; Friday – Sunday from 12pm-10pm. The restaurant is located on the rooftop of Embassy Suites by Hilton Asheville Downtown (192 Haywood Street). For more information and upcoming events, visit www.sopranarooftop.com and follow on Instagram @SopranaRooftop. Enjoy complimentary parking during your stay. To book your reservation, call 828.333.7006.
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.
Incredible Business Networking: IBN Biz Lunch – Arden
3rd Tuesday Monthly, 11:30am-1pm, Wild Wing Cafe (https://www.wildwingcafe.com/location/asheville-south-nc), 65 Long Shoals Rd., Arden 28704
Meeting Leaders:
Mark and Cheryl Chambers of XP League (https://asheville.xpl.gg/home)
Why Attend IBN Biz Lunches?
Free To Attend, No Dues Or Fees
No Membership Required
No Attendance Requirements
No Category Restrictions
No Exclusions – All Inclusive!
Buy Food/Drink If You Wish (Optional)
All are invited to attend and promote their business, products, and services, and meet new referral contacts. Bring a big stack of business cards / flyers and invite your business contacts to attend.
Have a Door Prize? (optional) Bring one if you like.
IBN Biz Lunch events are free to attend thanks to these companies, our Incredible Business Networking Sponsors!
Mr. Rooter Plumbing WNC
https://www.mrrooter.com/asheville
One Health Direct Primary Care
https://www.onehealthdpc.com
PMI Mountain & Main Property Management
https://www.ashevillepropertymanagementinc.net
Big Frog Custom T-Shirts & More
Pisgah Roofing and Restoration
Double the deliciousness – Asheville Restaurant Week returns January 21-27 & February 17-23!
For many, the delicious culinary creations of local restaurants are a big part of what makes Asheville special. Asheville Restaurant Week celebrates Asheville’s great food scene. Show your favorite restaurants some love or try someplace new!
Check back for additional menus/special offerings.
Asheville Restaurant Week – Asheville Area Chamber of Commerce
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
The Strumbellas with Wildermiss
All Ages. The Grey Eagle.
Doors: 7pm // Show: 8pm
STANDING ROOM ONLY
Ever since forming in 2008 and releasing their debut album, 2012’s My Father and the Hunter, two-time JUNO award-winning alternative group The Strumbellas have steadily released follow-ups containing every ounce of stomping, hand-clapping, alt-country gusto, from 2013’s We Still Move on Dance Floors to 2016’s Hope to 2019’s Rattlesnake. They’ll soon round the corner with a brand-new fifth studio album, Part Time Believer, a collection that signals The Strumbellas’ grand return and rebirth.
Join us at Soprana Rooftop Cucina for a prefixe menu special. The opportunity to try favorite salads, pizzettes and deserts all for $30 – it doesn’t get much better than that.
Soprana Rooftop Cucina is open Monday – Thursday from 5pm-10pm; Friday – Sunday from 12pm-10pm. The restaurant is located on the rooftop of Embassy Suites by Hilton Asheville Downtown (192 Haywood Street). For more information and upcoming events, visit www.sopranarooftop.com and follow on Instagram @SopranaRooftop. Enjoy complimentary parking during your stay. To book your reservation, call 828.333.7006.
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.
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.
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.
Incredible Business Networking: IBN Biz Lunch – West Asheville
4th Wednesday Monthly. 11:30am-1pm, Gemelli Restaurant (https://gemelli.restaurant/), 70 Westgate Parkway, Asheville 28806
Meeting Leaders:
Myriah Wood, Photographer
Nick Gomez, Mountain Vantage Properties (https://mvpwnc.com/)
Why Attend IBN Biz Lunches?
Free To Attend, No Dues Or Fees
No Membership Required
No Attendance Requirements
No Category Restrictions
No Exclusions – All Inclusive!
Buy Food/Drink If You Wish (Optional)
All are invited to attend and promote their business, products, and services, and meet new referral contacts. Bring a big stack of business cards / flyers and invite your business contacts to attend.
Have a Door Prize? (optional) Bring one if you like.
Incredible Business Networking – Western North Carolina is Sponsored by the following fine companies that make it possible for everyone else to attend for free!:
Mr. Rooter Plumbing WNC
https://www.mrrooter.com/asheville
One Health Direct Primary Care
https://www.onehealthdpc.com
PMI Mountain & Main Property Management
https://www.ashevillepropertymanagementinc.net
Big Frog Custom T-Shirts & More
Pisgah Roofing and Restoration
Double the deliciousness – Asheville Restaurant Week returns January 21-27 & February 17-23!
For many, the delicious culinary creations of local restaurants are a big part of what makes Asheville special. Asheville Restaurant Week celebrates Asheville’s great food scene. Show your favorite restaurants some love or try someplace new!
Check back for additional menus/special offerings.
Asheville Restaurant Week – Asheville Area Chamber of Commerce
Grab some dinner and a pint while enjoying our long-running Old-Time jam! Featuring many talented musicians from the local WNC area, our traditional Appalachian mountain music jam runs from 5-9pm every Wednesday night at Jack of the Wood!