Calendar of Events

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

This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.

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

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

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

Learn how to make altered books and make a page for one of the volumes of Turning the Page on Helene. All supplies are provided free of charge. No previous art experience is necessary.

Turning the Page on Helene is a community-based art project that is using the transformative power of altered books to tell our communities’ stories of Hurricane Helene through the visual arts. The goal is to create a safe space for community members to share experiences of the hurricane as well as their hopes for rebuilding a better and brighter future.

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

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

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

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

This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.

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

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

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

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

These also make great wedding bands!

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

$120 person *All Materials Included

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

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

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

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

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

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

This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.

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

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

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

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

These also make great wedding bands!

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

$120 person *All Materials Included

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

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

Known for its unified support of visual arts, Asheville is once again welcoming back the Downtown Asheville Festival of the Arts this Memorial Day Weekend. Residents and visitors will see some of the finest locally made art alongside national artists’ works during this free, outdoor event. A scenic stroll amongst sparkling jewels, one of a kind paintings, exquisitely crafted glasswork, stunning sculpture and every medium of hand-made art, all in the artist’s mecca that is downtown Asheville, rounds out the perfect Memorial Day Weekend for art appreciators around the county. The show is set up on the streets of North Pack Square and South Pack Square around the Vance Memorial as well as Reuter Terrace.

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

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

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

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

This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.

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

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

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

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

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

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

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

This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.

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

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

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

Calling all young storytellers ages 8-13!
Gallery Tales is a 6-week program where kids explore various art pieces in the gallery to spark their imaginations and create incredible stories. Each week, participants will engage in interactive writing lessons, write unique tales, and gain the skills and confidence to become published authors. At the end of the program, every young writer will leave with their very own professionally published book and the opportunity to share their work and accomplishments with an audience of family and friends at a special Kids Open Mic Showcase!

Pricing Tiers:
Standard Tier: $397 (Includes all program materials, publishing, and showcase support)
Supporter Tier: $500 (Covers program materials, publishing, showcase support, and helps provide scholarships for other young writers)
Scholarship Option: Available to ensure every child has the opportunity to participate.

Limited spots are available for this unique program that celebrates art, and creativity, and inspires young writers to shine. Sign up today!

About the Gallery Tales Instructor:
Kate Wargo is a passionate educator with a decade of experience teaching in elementary classrooms. Holding a bachelor’s degree in Elementary Education, she brings her expertise in child development and creative learning to every program she designs. Kate is deeply committed to nurturing the whole child, blending art, writing, and community to create meaningful and transformative experiences. As an advocate for bringing the soul and love back into writing and supporting children’s mental health and well-being, she strives to create safe and inspiring spaces where they can discover their voices and shine as confident, creative storytellers.

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

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

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