Calendar of Events

Included with admission

Embark on a scenic journey across George Vanderbilt’s Italy with a large-scale outdoor display that combines brilliant botanical designs with authentic messages written by Vanderbilt himself.

Beautifully handcrafted of natural elements, each sculptural postcard depicts a location or landmark Vanderbilt visited more than a century ago. This captivating complement to Biltmore’s Italian Renaissance Alive exhibition reveals Vanderbilt’s passions for travel, culture, architecture, and art as well as his personal experience of such renowned Italian cities as Milan, Florence, Venice, Pisa, and Vatican City.

Adding to the charm and visual appeal of Ciao! From Italy—sure to be a hit among kids of all ages—is the G-scale model train that travels in and out of each postcard in this enlightening display!

Andrea Rich’s intricately designed, carved, and printed woodcuts draw viewers in for an up-close look.

Some of the artist’s earliest memories are of drawing animals. Childhood encounters with pets, livestock, and wildlife, including birds, deer, and toads, created a lasting connection to the natural world. Through encounters with creatures both tame and wild, Rich developed a fascination and a compassion for animals integral to her art.

“My prints are a visual record of the intriguing creatures that have enriched my life. The woodcut process challenges me to focus on the essence of my subjects. At the same time, I am drawn to the smell of the wood, its texture and grain, and the pleasure I experience while carving. I begin working on a block of wood and realize later that hours have passed without notice.”

Rich uses a centuries-old medium that requires one carved wood panel for each color – varying from one to sixteen – necessary to develop the composition. These panels are painstakingly aligned one atop another sequentially and pulled through a printing press to create the final woodcut.

The subjects of Rich’s woodcuts range from the wilderness of the Australian outback and the lush tropical Amazon forests to the roaring rivers of Yellowstone Park. Rich has traveled worldwide to study wildlife habitats and these varied firsthand experiences are reflected in her work.

Among Rich’s many achievements are international recognition for her woodcut prints, including a 2009 Award of Excellence from the Society of Animal Artists and a 2009 Medal of Excellence from the Artists for Conservation Foundation. She was named Master Artist by the Leigh Yawkey Woodson Art Museum in 2006. In 2010 her work was featured in a solo exhibition at the Mass Audubon Visual Arts Center, Canton, Massachusetts. Rich is a member of the California Society of Printmakers, Artists for Nature Foundation, the Society of Animal Artists, and Society of Wildlife Artists.

In 2000 Rich designated the Woodson Art Museum as the repository for her artistic oeuvre. An Abundance of Riches is drawn from these holdings, which include an example of each of her woodcuts created since the mid-1980s.

Explore Biltmore House with an Audio Guide that introduces you to the Vanderbilt family and their magnificent home’s history, architecture, and collections of fine art and furnishings.

PLUS: Immersive, multi-sensory Italian Renaissance Alive exhibition created by Grande Experiences

PLUS: FREE next-day access to Biltmore’s Gardens and Grounds

This visit includes access to:

• Italian Renaissance Alive at Amherst at Deerpark®
• 8,000 Acres of Gardens and Grounds for two consecutive days
• Antler Hill Village & Winery
• Complimentary Wine Tastings at the Winery
• Tastings require a Day-of-Visit Reservation, which can be made by:
  • Scanning the QR Code found in your Estate Guide
  • Visiting any Guest Services location
• Complimentary parking

Art Exhibition: Italian Renaissance Alive

This fascinating experience takes you on a spellbinding tour of Italy, fully immersing you in the beauty and brilliance of iconic masterworks from the greatest artistic period in history

Ilene Kay will be demonstrating cutting, polishing, soldering, and assembling her argentium silver and colored titanium jewelry.

An enrolled member of the Eastern Band of Cherokee Indians, Luzene Hill advocates for Indigenous sovereignty—linguistically, culturally, and individually. Revelate builds upon Hill’s investigation of pre-contact cultures. This has led Hill to incorporate the idea of Ollin, the Nahuatl word for the natural rhythms of the universe, in Aztec cosmology in her work. Before Europeans arrived in North America, Indigenous societies were predominantly matrilineal. Women were considered sacred, involved in the decision-making process, and thrived within communities holding a worldview based on equilibrium.

Ollin emphasizes that we are in constant state of motion and discovery. Adopted as an educational framework, particularly in social justice and ethnic studies, Ollin guides individuals through a process of reflection, action, reconciliation, and transformation. This exhibition combines Hill’s use of mylar safety blankets alongside recent drawings. Capes constructed of mylar burst with energy and rustle with subtle sound, the shining material a signifier of care, awareness, displacement, and presence. Though Hill works primarily in sculpture, drawing has increasingly become an essential part of her practice as she seeks to communicate themes of feminine and Indigenous power across her entire body of work. The energy within her drawings extends to the bursts of light reflecting from her capes or the accumulation of materials in other installation works.

Luzene Hill was born in Atlanta, GA, in 1946. She received her bachelor of fine art and master of fine art from Western Carolina University. She lives and works on the Qualla Boundary, Cherokee, NC.

Natural Collector is organized by the Asheville Art Museum. IMAGE: Christian Burchard, Untitled (nesting bowls), 1998, madrone burl, various from 6 × 6 × 6 to ⅜ × ⅜ × ⅜ inches. Gift of Fleur S. Bresler, 2021.76.01.

Natural Collector | Gifts of Fleur S. Bresler features around 15 artworks from the collection of Fleur S. Bresler, which include important examples of modern and contemporary American craft including wood and fiber art, as well as glass and ceramics. These works that were generously donated by contemporary craft collector Bresler to the Asheville Art Museum over the years reflect her strong interest in wood-based art and themes of nature. According to Associate Curator Whitney Richardson, “This exhibition highlights artworks that consider the natural element from which they were created or replicate known flora and fauna in unexpected materials. The selection of objects displayed illustrates how Bresler’s eye for collecting craft not only draws attention to nature and artists’ interest in it, but also accentuates her role as a natural collector with an intuitive ability to identify themes and ideas that speak to one another.” This exhibition presents work from the Collection representing the first generation of American wood turners like Rude Osolnik and Ed Moulthrop, as well as those that came after and learned from them, such as Philip Moulthrop, John Jordan, and local Western North Carolina (WNC) artist Stoney Lamar. Other WNC-based artists in Natural Collector include Anne Lemanski, whose paper sculpture of a snake captures the viewer’s imagination, and Michael Sherrill’s multimedia work that tricks the eye with its similarity to true-to-life berries. Also represented are beadwork and sculpture by Joyce J. Scott and Jack and Linda Fifield.

Paul Wong, Carbon, silver and gold, 2016, pigmented linen and cotton pulp, publisher: Dieu Donné, New York, edition 3/25, 18 × 11 inches. Gift of Dieu Donné, New York, 2022.27.06. © Paul Wong.

On View March 8 through July 24, 2023
The Van Winkle Law Firm Gallery • Level 1

Paper is an essential part of the art-making process for many artists, serving as the base for drawing, painting, printmaking, and other forms of art. As a substrate, paper can vary in weight, absorbency, color, size, and other aspects. Since industrialization, paper has primarily been produced through mechanical means that allow for consistency and affordability.

What happens, then, when an artist chooses to return to the foundations of paper, wherein it is made by hand using pulps, fibers, and dyes that reflect the human element through variations, inconsistencies, flaws, and surprises? Certain artists have sought out these qualities and embraced them, making paper not just a support on which to work, but fully a medium in and of itself.

Pulp Potential: Works in Handmade Paper is organized by the Asheville Art Museum and curated by Hilary Schroeder, former assistant curator, with assistance from Alexis Meldrum, curatorial assistant. Special thanks to Dieu Donné, New York, NY.

In the past 50 years in the United States and beyond, artists have sought to break down social and political hierarchies that include issues of identity, gender, power, race, authority, and authenticity. Unsurprisingly, these decades generated a reconsideration of the idea of pattern and decoration as a third option to figuration and abstraction in art. From 1972 to 1985, artists in the Pattern and Decoration movement worked to expand the visual vocabulary of contemporary art to include ethnically and culturally diverse options that eradicated the barriers between fine art and craft and questioned the dominant minimalist aesthetic. These artists did so by incorporating opulence and bold intricacies garnered from such wide-ranging inspirations as United States quilt-making and Islamic architecture. Too Much Is Just Right: The Legacy of Pattern and Decoration features more than 70 artworks in an array of media from both the original time frame of the Pattern and Decoration movement, as well as contemporary artworks created between 1985 and the present. The artworks in this exhibition demonstrate the vibrant and varied approaches to pattern and decoration in art. Artworks from the 21st century elucidate contemporary perspectives on the employment of pattern to inform visual vocabularies and investigations of diverse themes in the present day. Artworks drawn from the Asheville Art Museum’s Collection join select major loans and feature Pattern and Decoration artists Valerie Jaudon, Joyce Kozloff, Robert Kushner, and Miriam Schapiro, as well as Anni Albers, Elizabeth Alexander, Sanford Biggers, Tawny Chatmon, Margaret Curtis, Mary Engel, Cathy Fussell, Samantha Hennekke, John Himmelfarb, Anne Lemanski, Rashaad Newsome, Peter Olson, Don Reitz, Sarah Sense, Billie Ruth Sudduth, Mickalene Thomas, Shoku Teruyama, Anna Valdez, Kehinde Wiley, and more. This exhibition is organized by the Asheville Art Museum and guest curated by Marilyn Laufer & Tom Butler.

Included with admission

Embark on a scenic journey across George Vanderbilt’s Italy with a large-scale outdoor display that combines brilliant botanical designs with authentic messages written by Vanderbilt himself.

Beautifully handcrafted of natural elements, each sculptural postcard depicts a location or landmark Vanderbilt visited more than a century ago. This captivating complement to Biltmore’s Italian Renaissance Alive exhibition reveals Vanderbilt’s passions for travel, culture, architecture, and art as well as his personal experience of such renowned Italian cities as Milan, Florence, Venice, Pisa, and Vatican City.

Adding to the charm and visual appeal of Ciao! From Italy—sure to be a hit among kids of all ages—is the G-scale model train that travels in and out of each postcard in this enlightening display!

Andrea Rich’s intricately designed, carved, and printed woodcuts draw viewers in for an up-close look.

Some of the artist’s earliest memories are of drawing animals. Childhood encounters with pets, livestock, and wildlife, including birds, deer, and toads, created a lasting connection to the natural world. Through encounters with creatures both tame and wild, Rich developed a fascination and a compassion for animals integral to her art.

“My prints are a visual record of the intriguing creatures that have enriched my life. The woodcut process challenges me to focus on the essence of my subjects. At the same time, I am drawn to the smell of the wood, its texture and grain, and the pleasure I experience while carving. I begin working on a block of wood and realize later that hours have passed without notice.”

Rich uses a centuries-old medium that requires one carved wood panel for each color – varying from one to sixteen – necessary to develop the composition. These panels are painstakingly aligned one atop another sequentially and pulled through a printing press to create the final woodcut.

The subjects of Rich’s woodcuts range from the wilderness of the Australian outback and the lush tropical Amazon forests to the roaring rivers of Yellowstone Park. Rich has traveled worldwide to study wildlife habitats and these varied firsthand experiences are reflected in her work.

Among Rich’s many achievements are international recognition for her woodcut prints, including a 2009 Award of Excellence from the Society of Animal Artists and a 2009 Medal of Excellence from the Artists for Conservation Foundation. She was named Master Artist by the Leigh Yawkey Woodson Art Museum in 2006. In 2010 her work was featured in a solo exhibition at the Mass Audubon Visual Arts Center, Canton, Massachusetts. Rich is a member of the California Society of Printmakers, Artists for Nature Foundation, the Society of Animal Artists, and Society of Wildlife Artists.

In 2000 Rich designated the Woodson Art Museum as the repository for her artistic oeuvre. An Abundance of Riches is drawn from these holdings, which include an example of each of her woodcuts created since the mid-1980s.

The summer workshop series at The Village Potters Clay Center continues with a hands-on, week-long workshop with Sarah Wells Rolland focusing on “The Teapot”.

The workshop will take place April 17-21, 2023 in the Hands-On Workshop space at The Village Potters Clay Center in Asheville’s historic River Arts District.  Daily workshop hours will run from 9am-3pm, and students will have access to work in studio until 6pm each day.

This workshop will explore all elements of the teapot, including multiple forms, pouring spouts, lids, and approaches to handles. The teapot is every functional potters’ glorious pursuit, and Sarah Wells Rolland loves to explore the unique challenges that come with the making of teapots. The lively, week-long workshop includes demonstrations, slide presentations, “what if” critiques, interactive discussion, sharing with each other, and concentrated time at the wheel. An intermediate skill set is highly recommended. Seasoned beginners who can center, open, and control clay when making walls are also ready for this class and all involved will find all skills taken to another level! Please contact The Village Potters Clay Center if you have any questions about this workshop.

The Village Potters are Sarah Wells Rolland, Judi Harwood, Lori Theriault, Julia Mann, Katie Meili Messersmith,  Ruth Fischer Rutkowsky, and Caroline Renee Woolard, along with Director of Operations, Lindsey Mudge. They comprise an intentional Collective of potters who share a commitment to nurture creative exploration through education, experience, and community. The Village Potters includes a fine craft gallery, a Teaching Center offering ongoing classes in wheel, hand building, and sculpture for adults, an Advanced Ceramic Studies Program, a Hands-On Workshop Studio, and online demonstrations and workshops. The Village Potters Clay Center is an educational member of The Craft Guild of the Southern Highlands, and is an official distributor for Laguna Clays.