Calendar of Events

Christmas at Biltmore Daytime Celebration*
Saturday, November 3, 2018 – Sunday, January 6, 2019 (daily)

*Included with estate admission.
*Does not include “Candlelight Christmas Evenings”

Experience the holidays wreathed with the wonder of Biltmore. Our celebration presents Christmas on a grand scale with more than 55 trees decorated by our talented staff, accented with miles of ribbon, garlands, and lights. Festive menus in our restaurants and holiday wine tastings make for a memorable visit.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/104655743803303/?event_time_id=104655830469961

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.

As Virginia Woolf said, “one cannot think well, love well, sleep well, if one has not dined well.” Food and water are essential for survival, but mankind’s relationship to food has transformed over time from one of sustenance to one laden with personal and cultural significance.

A Matter of Taste explores depictions of food and drink in art and reveals how images of fruits and vegetables can function as complex metaphors for excess, status, memory, and politics. Drawn from southern museums and private collections, this exhibition showcases over 35 paintings, decorative arts, and works on paper by artists such as Andy Warhol, Wayne Thiebaud, Henri Cartier-Bresson and Claes Oldenburg.

This show spans 400 years and multiple continents, revealing the evolving role of food and drink in various media and cultural contexts. While depictions of fruit and vegetables appeared in ancient times, still life painting as an independent genre dates to 16th-century Holland.

In 19th-century America, still life paintings remained popular but evolved in terms of subject matter, media, and message. Painters such as Thomas Wightman, George Forster, and De Scott Evans embraced Dutch still lifes and used food as commentary on the current political climate and the transient state of the human condition.

Illustrated newspapers led to an increase of cartoons by artists such as Winslow Homer and William Hogarth, who utilized food and drink as social satire. The 20th-century modern art movement further changed the perception of food. The culture of mass production enabled Pop artists to elevate seemingly mundane foodstuffs to high art. Yet, other contemporary artists explored the symbolic and nostalgic role of food seen in works by Tim Tate, Linda Armstrong, and Laquita Thomson.

Visitors will also experience an elaborately set dining table fit for a sumptuous feast. Dining became its own art form over time and communicated one’s social standing and wealth. Each of the table’s six place settings represent a different culture and offer a glimpse into global dining customs. Selective drinkware will accompany this section revealing how tea sets and even punch bowls reflected an owner’s prestige.

Open 5:00 – 10:00 p.m. Advance Tickets Required. Enjoy the wonder of the park dazzlingly lit for the holidays, with a nighttime train and more.

Candlelight Christmas Evenings*
Saturday, November 3, 2018 – Saturday, January 5, 2019 (Select Dates)

*Check website for availability/dates
*By reservation only.
*Pricing varies by date.

Candlelight, firelight, and live music bring holiday warmth to the extravagant holiday décor of Biltmore House, creating an evening to remember. Evening guests can also take advantage of Antler Hill Village & Winery to enjoy free wine tastings. Advance reservations are required for evening visits.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/1524627331014393/?event_time_id=1524627427681050

Mack Kell’s Christmas party

https://www.facebook.com/events/1681764688607584/

Christmas at Biltmore Daytime Celebration*
Saturday, November 3, 2018 – Sunday, January 6, 2019 (daily)

*Included with estate admission.
*Does not include “Candlelight Christmas Evenings”

Experience the holidays wreathed with the wonder of Biltmore. Our celebration presents Christmas on a grand scale with more than 55 trees decorated by our talented staff, accented with miles of ribbon, garlands, and lights. Festive menus in our restaurants and holiday wine tastings make for a memorable visit.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/104655743803303/?event_time_id=104655827136628

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.

As Virginia Woolf said, “one cannot think well, love well, sleep well, if one has not dined well.” Food and water are essential for survival, but mankind’s relationship to food has transformed over time from one of sustenance to one laden with personal and cultural significance.

A Matter of Taste explores depictions of food and drink in art and reveals how images of fruits and vegetables can function as complex metaphors for excess, status, memory, and politics. Drawn from southern museums and private collections, this exhibition showcases over 35 paintings, decorative arts, and works on paper by artists such as Andy Warhol, Wayne Thiebaud, Henri Cartier-Bresson and Claes Oldenburg.

This show spans 400 years and multiple continents, revealing the evolving role of food and drink in various media and cultural contexts. While depictions of fruit and vegetables appeared in ancient times, still life painting as an independent genre dates to 16th-century Holland.

In 19th-century America, still life paintings remained popular but evolved in terms of subject matter, media, and message. Painters such as Thomas Wightman, George Forster, and De Scott Evans embraced Dutch still lifes and used food as commentary on the current political climate and the transient state of the human condition.

Illustrated newspapers led to an increase of cartoons by artists such as Winslow Homer and William Hogarth, who utilized food and drink as social satire. The 20th-century modern art movement further changed the perception of food. The culture of mass production enabled Pop artists to elevate seemingly mundane foodstuffs to high art. Yet, other contemporary artists explored the symbolic and nostalgic role of food seen in works by Tim Tate, Linda Armstrong, and Laquita Thomson.

Visitors will also experience an elaborately set dining table fit for a sumptuous feast. Dining became its own art form over time and communicated one’s social standing and wealth. Each of the table’s six place settings represent a different culture and offer a glimpse into global dining customs. Selective drinkware will accompany this section revealing how tea sets and even punch bowls reflected an owner’s prestige.

Asheville’s newest downtown market!
Featuring Conscious Consumption, Craft & Conversation.

Calling all revolutionary hearts and wild spirited folks! Join us for craft and creative makers, mountain medicine, and metaphysics. This is an opportunity to get cozy with an amazing community of local vendors. Come for your handcrafted holiday gifts and stay for personal enjoyment!

Visit us on 2nd & 3rd SUNDAYS after your brunch or church of choice and see what’s happening!

Come get your Finklepott’s Original Fairy Hair Sparkles for the holidays!
Sing up below!

Come spend the holidays with your favorite SART family; THE SANDERS FAMILY! Jennifer O’Rear, Joshua Robinette Whitt, Natalie Brouwer Wilson, Lyn Nihart, Pem Price Tomaselli Brad Curtioff are back in this hysterical show. Timothy Wilds and Allen Law law are joining the Sanders Family this year and you don’t want to miss all the new funny moments!

Sanders Family Christmas is the sequel to Connie Ray and Alan Bailey’s wildly successful bluegrass gospel musical Smoke on the Mountain. It’s December 24, 1941, and America is going to war. So is Dennis Sanders, of the Sanders Family Singers. Join Pastor Mervin Oglethorpe and the rest of the Sanders family as they send Dennis off with hilarious and touching stories and twenty-five Southern Gospel Christmas favorites.

https://www.facebook.com/events/329224851172923/

Hot cocoa bar, Christmas music, and a heart-warming message. Bring the whole family to Ridgeline for Christmas in Asheville and have a holiday experience you’ll never forget. Meet Buddy the Elf and Santa! 35 Airport Rd. Arden, NC 28704. 5:00 PM – 6:00 PM.

Open 5:00 – 10:00 p.m. Advance Tickets Required. Enjoy the wonder of the park dazzlingly lit for the holidays, with a nighttime train and more.

Candlelight Christmas Evenings*
Saturday, November 3, 2018 – Saturday, January 5, 2019 (Select Dates)

*Check website for availability/dates
*By reservation only.
*Pricing varies by date.

Candlelight, firelight, and live music bring holiday warmth to the extravagant holiday décor of Biltmore House, creating an evening to remember. Evening guests can also take advantage of Antler Hill Village & Winery to enjoy free wine tastings. Advance reservations are required for evening visits.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/1524627331014393/?event_time_id=1524627424347717

Christmas at Biltmore Daytime Celebration*
Saturday, November 3, 2018 – Sunday, January 6, 2019 (daily)

*Included with estate admission.
*Does not include “Candlelight Christmas Evenings”

Experience the holidays wreathed with the wonder of Biltmore. Our celebration presents Christmas on a grand scale with more than 55 trees decorated by our talented staff, accented with miles of ribbon, garlands, and lights. Festive menus in our restaurants and holiday wine tastings make for a memorable visit.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/104655743803303/?event_time_id=104655833803294

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.

As Virginia Woolf said, “one cannot think well, love well, sleep well, if one has not dined well.” Food and water are essential for survival, but mankind’s relationship to food has transformed over time from one of sustenance to one laden with personal and cultural significance.

A Matter of Taste explores depictions of food and drink in art and reveals how images of fruits and vegetables can function as complex metaphors for excess, status, memory, and politics. Drawn from southern museums and private collections, this exhibition showcases over 35 paintings, decorative arts, and works on paper by artists such as Andy Warhol, Wayne Thiebaud, Henri Cartier-Bresson and Claes Oldenburg.

This show spans 400 years and multiple continents, revealing the evolving role of food and drink in various media and cultural contexts. While depictions of fruit and vegetables appeared in ancient times, still life painting as an independent genre dates to 16th-century Holland.

In 19th-century America, still life paintings remained popular but evolved in terms of subject matter, media, and message. Painters such as Thomas Wightman, George Forster, and De Scott Evans embraced Dutch still lifes and used food as commentary on the current political climate and the transient state of the human condition.

Illustrated newspapers led to an increase of cartoons by artists such as Winslow Homer and William Hogarth, who utilized food and drink as social satire. The 20th-century modern art movement further changed the perception of food. The culture of mass production enabled Pop artists to elevate seemingly mundane foodstuffs to high art. Yet, other contemporary artists explored the symbolic and nostalgic role of food seen in works by Tim Tate, Linda Armstrong, and Laquita Thomson.

Visitors will also experience an elaborately set dining table fit for a sumptuous feast. Dining became its own art form over time and communicated one’s social standing and wealth. Each of the table’s six place settings represent a different culture and offer a glimpse into global dining customs. Selective drinkware will accompany this section revealing how tea sets and even punch bowls reflected an owner’s prestige.

Open 5:00 – 10:00 p.m. Advance Tickets Required. Enjoy the wonder of the park dazzlingly lit for the holidays, with a nighttime train and more.

Candlelight Christmas Evenings*
Saturday, November 3, 2018 – Saturday, January 5, 2019 (Select Dates)

*Check website for availability/dates
*By reservation only.
*Pricing varies by date.

Candlelight, firelight, and live music bring holiday warmth to the extravagant holiday décor of Biltmore House, creating an evening to remember. Evening guests can also take advantage of Antler Hill Village & Winery to enjoy free wine tastings. Advance reservations are required for evening visits.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/1524627331014393/?event_time_id=1524627431014383

Christmas at Biltmore Daytime Celebration*
Saturday, November 3, 2018 – Sunday, January 6, 2019 (daily)

*Included with estate admission.
*Does not include “Candlelight Christmas Evenings”

Experience the holidays wreathed with the wonder of Biltmore. Our celebration presents Christmas on a grand scale with more than 55 trees decorated by our talented staff, accented with miles of ribbon, garlands, and lights. Festive menus in our restaurants and holiday wine tastings make for a memorable visit.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/104655743803303/?event_time_id=104655840469960

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.

As Virginia Woolf said, “one cannot think well, love well, sleep well, if one has not dined well.” Food and water are essential for survival, but mankind’s relationship to food has transformed over time from one of sustenance to one laden with personal and cultural significance.

A Matter of Taste explores depictions of food and drink in art and reveals how images of fruits and vegetables can function as complex metaphors for excess, status, memory, and politics. Drawn from southern museums and private collections, this exhibition showcases over 35 paintings, decorative arts, and works on paper by artists such as Andy Warhol, Wayne Thiebaud, Henri Cartier-Bresson and Claes Oldenburg.

This show spans 400 years and multiple continents, revealing the evolving role of food and drink in various media and cultural contexts. While depictions of fruit and vegetables appeared in ancient times, still life painting as an independent genre dates to 16th-century Holland.

In 19th-century America, still life paintings remained popular but evolved in terms of subject matter, media, and message. Painters such as Thomas Wightman, George Forster, and De Scott Evans embraced Dutch still lifes and used food as commentary on the current political climate and the transient state of the human condition.

Illustrated newspapers led to an increase of cartoons by artists such as Winslow Homer and William Hogarth, who utilized food and drink as social satire. The 20th-century modern art movement further changed the perception of food. The culture of mass production enabled Pop artists to elevate seemingly mundane foodstuffs to high art. Yet, other contemporary artists explored the symbolic and nostalgic role of food seen in works by Tim Tate, Linda Armstrong, and Laquita Thomson.

Visitors will also experience an elaborately set dining table fit for a sumptuous feast. Dining became its own art form over time and communicated one’s social standing and wealth. Each of the table’s six place settings represent a different culture and offer a glimpse into global dining customs. Selective drinkware will accompany this section revealing how tea sets and even punch bowls reflected an owner’s prestige.

Open 5:00 – 10:00 p.m. Advance Tickets Required. Enjoy the wonder of the park dazzlingly lit for the holidays, with a nighttime train and more.

Candlelight Christmas Evenings*
Saturday, November 3, 2018 – Saturday, January 5, 2019 (Select Dates)

*Check website for availability/dates
*By reservation only.
*Pricing varies by date.

Candlelight, firelight, and live music bring holiday warmth to the extravagant holiday décor of Biltmore House, creating an evening to remember. Evening guests can also take advantage of Antler Hill Village & Winery to enjoy free wine tastings. Advance reservations are required for evening visits.

Learn more about #ChristmasAtBiltmore or plan your visit: biltmore.com/Christmas

https://www.facebook.com/events/1524627331014393/?event_time_id=1524627461014380