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.
Thursday, June
8, 2023
AVL’s Arts Build Community Grant
Tryon Fine Arts Center Summer Art Camps Registration Open
Biltmore Estate: Ciao! From Italy Sculptural Postcard Display
Exhibition: NEO MINERALIA
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Exhibition: Something earned, Something left behind
Exhibition: Crafting Denim
Italian Renaissance Alive
Black Mountain College and Mexico (BMC/MX): Exhibition
Pulp Potential: Works in Handmade Paper
Grandfather Presents: Ian Shive
A Narrative from the Inside: Hendersonville’s 9th Avenue School
Since 2018, the Arts Build Community grant supports innovative, arts-based projects that inspire diverse groups of participants to be more active, involved, and civically-engaged by creating together. Grants range from $1,000-2,500.
Arts and culture are a fundamental part of our community. They help us connect with one another and better understand history, people, and new ideas. When people become involved in the design, creation, and upkeep of places, they develop a vested interest in using and maintaining these spaces. When neighbors have a true sense of “ownership” or connection to the places they frequent, the community becomes a better place to live, work, and visit.
Description & Eligibility
Organizations must have been in operation for at least one year and be physically located in Buncombe County. Priority is given to projects based in low-income neighborhoods and communities in need.
The arts must be centered in the proposed project. Funds may be used to cover expenses such as art supplies, professional artists’ fees and travel, space rental, advertising, marketing and publicity, website and electronic media, scripts, costumes, sets, props, music and equipment rental.
Funds are for projects taking place from July 1, 2023- June 30, 2024. This can be a reimbursement for projects occurring during this funding period that have already taken place or for projects that have not yet occurred. Projects must be completed by June 30, 2024.
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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!
Photo credit:
Sae Honda. Courtesy of the Artist.
NEO MINERALIA suggests that recent rock formations no longer fit within the traditional groups: Igneous, Metamorphic, and Sedimentary. Instead, the Anthropocene, the era of human influence on the climate and environment, has introduced two post-natural rocks: Synthetic and Digital.
NEO MINERALIA presents a selection of new geological specimens crafted by ten international artists exploring rocks as reflections of our effects on human and nonhuman ecologies. By embedding synthetic materials (plastics, e-waste) and layers of data points (critical, financial, social) into the craftsmanship of these artifacts, the artists transgress the definition of rocks, turning them from passive aggregates of minerals into metaphorical aggregates of data. Within their apparent “rockness” we can decode hopes, warnings, and speculative future scenarios.
The featured works stemming from places as varied as Mexico, Japan, Poland, and Australia (including a curated artists’ books library), collectively signal a new era of planetary and geological consciousness where we are asked to read, feel, and listen to rocks in new ways.
Photo credit:
J Diamond, “Pony II,” 2022. Courtesy of the Artist
Something earned, Something left behind is an exhibition of objecthood; a critical analysis of the transactional and political languages of everyday and culturally significant objects. This exhibition challenges a history of exclusion and inclusion of People of Color (POC) and their narratives from the canon of craft based on subject matter. It dissects this history’s origins and precedent as an economic transaction to gain access to white spaces.
Racial and ethnic identity influences the way individuals perceive themselves, the way others perceive them, and the way they choose to behave. For this reason, People of Color are expected to perform certain roles in order to fit into hegemonic institutions. These roles can be an active shrinking of themselves and the racialized part of them, or a personal exploitation of their racialized selves. This exhibition addresses and redresses the ways narrowed populations have been included, and the ways in which they have been asked to participate.
Together, this work creates space for and legitimizes POC narratives with depth and care. The exhibiting artists’ practices work against institutionalized expectations of POC work, expanding discourse and inserting new subjectivity into the canon of craft art. It engages with a community hungry for the revitalization and resuscitation of non-Western voices within art spaces. This exhibition challenges the expectations of art from artists of marginalized backgrounds and embraces a new subjectivity of interrogating one’s inherited experiences.
Photo credit:
Photograph by Bowery Blue Makers
Jeans – with their standardized pockets, rivets, and denim – are so much a part of everyday wardrobes that they are easy to overlook. Yet, in workshops across the nation, independent makers are reevaluating the garment and creating jeans by hand, using antiquated equipment and denim woven on midcentury looms. Crafting Denim explores how and why jeans have come to exist at the intersections of industry and craft, modernity, and tradition.
A product of industrial factory production for over a century, jeans are being recast by a new cohort of small-scale makers including craftspeople like Ryan Martin of W.H. Ranch Dungarees, Takayuki Echigoya of Bowery Blue Makers, and Sarah Yarborough and Victor Lytvinenko of Raleigh Denim, who favor choice materials and small-batch fabrication. The jeans they make merge craft traditions with industry and extend the conversation between hand and machine.
Each maker creates a distinctive product but shares a deep appreciation for materials, tools, history, and denim. These jeans are in dialogue with the past and in line with contemporary interests in sustainability. The small workshops featured here are sites of innovation and preservation, and visitors are invited to take a close look at an everyday item and imagine alternative contexts for making and living in our own clothes.
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
Black Mountain College and Mexico (BMC/MX): Exhibition, Publication, and Public Programming
Black Mountain College (1933–1957), a small but remarkably influential liberal arts school in rural North Carolina, had important links to Mexico that until now have been little investigated. A crucible of twentieth-century creativity, BMC galvanized and inspired artists and intellectuals from around the world, while Mexico’s innovations and age-old traditions—in fine and applied arts, architecture, poetry, music, performance, and more—dovetailed with, and indeed drove, global impulses toward modernism and beyond. Among the many key BMC figures whose lives were importantly touched by experiences in Mexico were Anni and Josef Albers, Ruth Asawa, John Cage, Jean Charlot, Elaine de Kooning, Buckminster Fuller, Carlos Mérida, Robert Motherwell, Charles Olson, Clara Porset, M.C. Richards, and Aaron Siskind. In turn, engagements with BMC and its legacy have played a significant role in shaping contemporary approaches to art in Mexico, evident in the works of Jorge Méndez Blake, Iñaki Bonillas, Abraham Cruzvillegas, Jose Dávila, Gerda Gruber, Lake Verea, Gabriel Orozco, and Damián Ortega, among others.
The exhibition BMC/MX features works by these and other prominent contemporary Mexican artists alongside a selection of historic works by BMC artists, highlighting the ways in which ideas and modalities are translated across materials, space, and time.
Related programming, planned in collaboration with Mexican artists, features a series of public events, including a performance by artist (and BMC/MX co-curator) David Miranda to take place at Different Wrld; an exhibition visit (in Spanish and English) with BMC/MX Project Director Eric Baden; and a series of experiential art events in the BMCM+AC library.
The exhibition is accompanied by the book Black Mountain College and Mexico (forthcoming late summer 2023), which investigates the people, ideas, and practices linking BMC and Mexico during the life of the school, as well as resonances between BMC and the work of contemporary Mexican artists. With contributions by BMC/MX’s curators, as well as by artist Abraham Cruzvillegas, design scholar Ana Elena Mallet, and author and activist Margaret Randall, this fully illustrated volume brings new light to this complex and underexplored subject.
BMC/MX is an investigation into modes of communication—the arenas in which new ideas and alliances may come to be—between Black Mountain College and Mexico, between past and present, between form and idea.
About the Curators
BMC/MX’s Project Director Eric Baden is a photographer and from 1994 to 2022 was professor of photography at Warren Wilson College in Swannanoa, North Carolina. He is the founding director of photo+, a multidisciplinary arts event held in Asheville, North Carolina.
Artist and educator David Miranda is curator at the Museo Experimental El Eco (Universidad Nacional Autónoma de México, UNAM), and teaches at the Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” in Mexico City.
Diana Stoll is an editor, writer and curator who works with institutions such as The Museum of Modern Art and the J. Paul Getty Museum. She has served as an editor at Aperture and Artforum magazines, and contributes writings to prominent arts publications.
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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.
Award-winning author, photographer and filmmaker Ian Shive presents “From America’s National Parks to the National Wildlife Refuge System.” A speaker in our Grandfather Presents series, Ian has authored several award-winning books including “The National Parks: An American Legacy” (2020), which is where the evening journey will begin — with iconic locations of “America’s Best Idea” but also an exploration of what National Parks represent today and in the future of conservation. Through the lens of Ian’s work on Yellowstone National Park’s 150th anniversary, to recovery efforts on Channel Islands National Park, in California, Shive will share two decades of stories in the parks and how they compare to one of America’s other great, protected areas, the National Wildlife Refuge System. There is perhaps no other person in the world who has been to more protected areas in both the parks and refuges than Shive.
Ian is an Ansel Adams award-winning American photographer and filmmaker whose work documents some of the world’s most pristine environments and brings to the public important conservation stories from around the globe. In March 2021, Ian took audiences to a protected and remote Alaskan archipelago with the launch of his documentary, “The Last Unknown,” as well as an ASMR experience in our National Wildlife Refuge System with “Secret Islands of the Pacific,” both now streaming on Discovery+. In 2020, Ian Shive launched a digital series on Discovery Channel titled “Nature in Focus,” where he explores our planet as host and executive producer. In 2019, Ian led several expeditions to some of the world’s most remote coral atolls for the giant-screen film, “Hidden Pacific,” which he directed and produced. “Hidden Pacific” brings to life in IMAX 3D the vibrant marine national monuments at the far reaches of the Pacific Ocean — thriving ecosystems filled with colorful coral reefs, large colonies of birds and threatened species that depend on these habitats for survival.
Ian’s work has been critically acclaimed in the New York Times, Wall Street Journal, Smithsonian, CNN and countless other media. Since its inception in 2010, Ian has worked as CEO of the company he founded, Tandem Stills + Motion, Inc., a leading health, fitness and environmental media company. He is proud to be a steward of his local community’s injured and vulnerable wildlife as a member of the board at the Santa Barbara Wildlife Care Network.
Follow Ian’s adventures on social media @ianshivephoto and learn more about Tandem at tandemstillsmotion.com.
Tickets
Buy tickets below beginning May 15, 2023.
“VIP” tickets include a VIP reception with the guest speaker that includes heavy hors d’oeuvres, in addition to the program and the “meet-and-greet” session after the event. Admission to the park for the day is also included.
- $60 “VIP” Adult
- $51 “VIP” Bridge Club Member
“Regular” tickets are a more cost-effective option and include only the speaker’s program and the “meet-and-greet” session after the event.
- $25 “Regular” Adult
- $20 “Regular” Bridge Club Member
- Children 12 and under admitted for free (max of four free children per purchase)
Schedule
- 8 a.m. | Park opens for the day and “VIP” ticket holders allowed access to the park
- 4:45 p.m. | “Regular” ticket holders allowed to enter the park and head to the Wilson Center for the event
- 5 – 5:30 p.m. | “VIP” Reception in one of the classrooms in the Wilson Center (VIP ticket holders only)
- 5:45 – 6:45 p.m. | Speaker Presentation in the Classroom in the Clouds
- 6:45 – 7:30 p.m. | Meet-and-Greet or Book Signing with Speaker
- 7:45 p.m. | Park should be clear of all Grandfather Presents guests
Join the Asheville Museum of History Thursday, June 8 at 6pm for this special program. This hybrid event is held in-person at OLLI at UNC Asheville and livestreamed via Zoom. It will also be recorded.
Hendersonville’s 9th Avenue School—a union school merging grades 1-12—served African American students from Polk, Transylvania, and Henderson counties from 1951-1965. When the Brown v Board decisions eventually went into effect, the school finally became integrated in 1966, bringing great change and some challenges.
The presentation will share information from both the students and teachers perspective about: busing from surrounding counties, education expectations and what has been learned from the teachers’ perspective, their education qualifications, where they were from and where they resided while teaching at the 9th Avenue School, and what happened after integration.
About the Speaker:
Ronnie Pepper grew up in Hendersonville and attended the 9th Avenue School. He served in the U.S. army before becoming a Head Start teacher. In addition to researching and telling the story of the Happy Land Kingdom, Ronnie serves his community on numerous boards. He also serves as the Chair of the Black History Research Committee of Henderson County. He has travelled abroad representing Henderson County groups, and has won several awards for his work including the Spirit of Diversity Award by the Latino Advocacy Coalition of Henderson County and the Scholastic Early Childhood Professional Award. Ronnie is currently a librarian at the Hendersonville County Public Library, and a storyteller in the region.
Tickets: $5 for AMoH and OLLI members/ $10 for General Admission. We also have no-cost, community-funded tickets available. We want our events to be accessible to as many people as possible. If you are able please consider making a donation along with your ticket purchase. These donations are placed in our Community Fund, which allows us to offer tickets at no cost to those who would not be able to attend otherwise.
Viewing: Registrants will receive a Zoom link with which to view the program. It will also be recorded and later available on our website.
In-Person Location: Reuter Center, 300 Campus View Rd, Asheville, NC 28804
(Images: The newly-completed Hendersonville 9th Avenue School and first incoming class, in The Tiger [Yearbook], 1952, courtesy Henderson County Public Library)
For questions, email Trevor Freeman at [email protected]
Friday, June
9, 2023
Asheville Art Museum 75th Anniversary Spring Annual Fund
Asheville Regional Airport: art exhibit highlighting local artists
AVL’s Arts Build Community Grant
Grandfather Mountain Nature Photography Weekend
Tryon Fine Arts Center Summer Art Camps Registration Open
Biltmore Estate: Ciao! From Italy Sculptural Postcard Display
Eidolon art exhibition
Exhibition: NEO MINERALIA
Exhibition: Something earned, Something left behind
Exhibition: Crafting Denim
Italian Renaissance Alive
Black Mountain College and Mexico (BMC/MX): Exhibition
Pulp Potential: Works in Handmade Paper
Eidolon Opening Reception at Tyger Tyger Gallery
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Celebrate with us by contributing to the future of the arts in Western North Carolina.
Make your 75th Anniversary Spring Annual Fund donation today! |
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! The Diamond Anniversary is a time to honor our rich heritage and—more importantly—envision our future as the premier visual arts organization in this vibrant, creative region.
Founded in 1948 by a group of local artists to showcase the scope and depth of creativity in Western North Carolina (WNC), the Museum brings art of international significance to the region and encourages lively, diverse dialogue.
The Museum’s original home was a modest, unheated, three-room building on Charlotte Street in the former sales office of Dr. E.W. Grove. The building was designed by Richard Sharp Smith and provided to the Museum by the City of Asheville. Exhibitions by local painters and sculptors could only be staged in warmer weather, and Sunday afternoon receptions gave the community an opportunity to view original art and to listen to artists talk about their work. By the 1950s, the Museum had become an invaluable part of Asheville’s cultural life. It also began acquiring artworks for its Collection.
Three quarters of a century later, the Museum has evolved into the preeminent cultural and educational hub for WNC—welcoming tens of thousands of visitors annually, hosting several major exhibitions each year, holding scores of special programs, and housing its Collection of more than 7,500 works in its state-of-the-art Pack Square location. From its humble beginnings on Charlotte Street to its breathtaking permanent home in the heart of downtown Asheville, the Museum has remained dedicated to Its mission to engage, enlighten, and inspire individuals and enrich the community through dynamic experiences in American art of the 20th and 21st centuries.
The Asheville Art Museum was built, cherished, and supported by the community throughout the past 75 years. Our anniversary celebration will give back through community partnerships and special programs, and by creating new reasons to visit or become a Member. We hope you’ll join us at one (or all) of our Diamond Anniversary special events: the 2023 Gala on June 17th, the 75th Anniversary Community Day Celebration in August, and the 75th Anniversary Dance Party in November!
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Edge, the newest exhibit showing in the airport art gallery, is open to the public now through July 21, 2022. The local art is unique, bold and is sure to capture the imaginations of its viewers.
The local artists’ work featured in this exhibit consist of many different mediums. Diane Bronstein creates complex and mesmerizing pieces with photographs, embroidery floss and other materials. Susan Devitt uses bold colors and vivid details to capture the beauty and possibilities of nature with her acrylic paintings. Jen Pacicci crafts peaceful and majestic collages of landscapes using watercolor and torn paper. Kurt Ross designs clay vessels of varying materials and glazes that are each unique in their thoughtful and clean design. Paul Silverman presents ceramic figures of various tools and vintage items that trick the eye in their realistic appearance and awe with their attention to detail.
“The Edge exhibit welcomes travelers and residents to Asheville with a vibrant and unique display this spring at AVL,” said Alexandra Ingle, Brand and Experience Designer at AVL and curator of the gallery. “We are excited at each gallery opening to bring a fresh taste of our talented WNC art community into the airport.”
Artwork can be purchased from the gallery by emailing [email protected]. Details about the program and how to apply can be found on the airport’s website at flyavl.com.
Since 2018, the Arts Build Community grant supports innovative, arts-based projects that inspire diverse groups of participants to be more active, involved, and civically-engaged by creating together. Grants range from $1,000-2,500.
Arts and culture are a fundamental part of our community. They help us connect with one another and better understand history, people, and new ideas. When people become involved in the design, creation, and upkeep of places, they develop a vested interest in using and maintaining these spaces. When neighbors have a true sense of “ownership” or connection to the places they frequent, the community becomes a better place to live, work, and visit.
Description & Eligibility
Organizations must have been in operation for at least one year and be physically located in Buncombe County. Priority is given to projects based in low-income neighborhoods and communities in need.
The arts must be centered in the proposed project. Funds may be used to cover expenses such as art supplies, professional artists’ fees and travel, space rental, advertising, marketing and publicity, website and electronic media, scripts, costumes, sets, props, music and equipment rental.
Funds are for projects taking place from July 1, 2023- June 30, 2024. This can be a reimbursement for projects occurring during this funding period that have already taken place or for projects that have not yet occurred. Projects must be completed by June 30, 2024.
This popular shutterbug weekend includes presentations from top nature photographers, hands-on breakout sessions, a friendly contest and the rare opportunity to photograph the mountain’s spectacular scenery and native animals before and after regular business hours.
This revamped version of the popular weekend will include changes to better welcome all levels of photographers, making it more fun and engaging for all – while better connecting participants with the wonders and unique ecology of Grandfather Mountain. This year, more than ever, we hope to not only help participants learn about photography, but to also inspire them to preserve the natural world. Activities begin Friday evening and conclude Sunday midday.
New pricing, speakers and a schedule will be announced in April. Registration opens May 8, 2023, at 10 a.m.
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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!
Exhibition dates: June 9 – July 23
Hours: Tuesday-Saturdays from 10-5 pm, Sundays 11-4 pm
Eidolon is an ancient term from Greek -oeidēs “form”. Early meanings included “mental image”, “appearance”, and “reflection” (as in a mirror or pool), and later, “apparition” or “imaginary entity”, among other things. Expanding beyond the definition pointing to a phantasm or specter, eidolon also sounds like some kind of astral or idyllic place in a novel or poem about an imaginary world. Eidolon features the work of Jacqueline Shatz and Margaret Thompson.
Jacqueline Shatz’s small sculptures of ambiguous and hybridized figures float, entwine, swim, commune with animals and collapse into abstract arabesques and gestures, hinting at mythology, in-between states, and the permeable nature of existence. Margaret Thompson’s paintings are inspired by elements of the symbolist movement and magical realism; she channels dreams and the associative powers of the imagination into her practice, painting subjects that live between our physical realm and spaces beyond the categories of known experience: they are unrestrained, undefined, and free.
Photo credit:
Sae Honda. Courtesy of the Artist.
NEO MINERALIA suggests that recent rock formations no longer fit within the traditional groups: Igneous, Metamorphic, and Sedimentary. Instead, the Anthropocene, the era of human influence on the climate and environment, has introduced two post-natural rocks: Synthetic and Digital.
NEO MINERALIA presents a selection of new geological specimens crafted by ten international artists exploring rocks as reflections of our effects on human and nonhuman ecologies. By embedding synthetic materials (plastics, e-waste) and layers of data points (critical, financial, social) into the craftsmanship of these artifacts, the artists transgress the definition of rocks, turning them from passive aggregates of minerals into metaphorical aggregates of data. Within their apparent “rockness” we can decode hopes, warnings, and speculative future scenarios.
The featured works stemming from places as varied as Mexico, Japan, Poland, and Australia (including a curated artists’ books library), collectively signal a new era of planetary and geological consciousness where we are asked to read, feel, and listen to rocks in new ways.
Photo credit:
J Diamond, “Pony II,” 2022. Courtesy of the Artist
Something earned, Something left behind is an exhibition of objecthood; a critical analysis of the transactional and political languages of everyday and culturally significant objects. This exhibition challenges a history of exclusion and inclusion of People of Color (POC) and their narratives from the canon of craft based on subject matter. It dissects this history’s origins and precedent as an economic transaction to gain access to white spaces.
Racial and ethnic identity influences the way individuals perceive themselves, the way others perceive them, and the way they choose to behave. For this reason, People of Color are expected to perform certain roles in order to fit into hegemonic institutions. These roles can be an active shrinking of themselves and the racialized part of them, or a personal exploitation of their racialized selves. This exhibition addresses and redresses the ways narrowed populations have been included, and the ways in which they have been asked to participate.
Together, this work creates space for and legitimizes POC narratives with depth and care. The exhibiting artists’ practices work against institutionalized expectations of POC work, expanding discourse and inserting new subjectivity into the canon of craft art. It engages with a community hungry for the revitalization and resuscitation of non-Western voices within art spaces. This exhibition challenges the expectations of art from artists of marginalized backgrounds and embraces a new subjectivity of interrogating one’s inherited experiences.
Photo credit:
Photograph by Bowery Blue Makers
Jeans – with their standardized pockets, rivets, and denim – are so much a part of everyday wardrobes that they are easy to overlook. Yet, in workshops across the nation, independent makers are reevaluating the garment and creating jeans by hand, using antiquated equipment and denim woven on midcentury looms. Crafting Denim explores how and why jeans have come to exist at the intersections of industry and craft, modernity, and tradition.
A product of industrial factory production for over a century, jeans are being recast by a new cohort of small-scale makers including craftspeople like Ryan Martin of W.H. Ranch Dungarees, Takayuki Echigoya of Bowery Blue Makers, and Sarah Yarborough and Victor Lytvinenko of Raleigh Denim, who favor choice materials and small-batch fabrication. The jeans they make merge craft traditions with industry and extend the conversation between hand and machine.
Each maker creates a distinctive product but shares a deep appreciation for materials, tools, history, and denim. These jeans are in dialogue with the past and in line with contemporary interests in sustainability. The small workshops featured here are sites of innovation and preservation, and visitors are invited to take a close look at an everyday item and imagine alternative contexts for making and living in our own clothes.
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
Black Mountain College and Mexico (BMC/MX): Exhibition, Publication, and Public Programming
Black Mountain College (1933–1957), a small but remarkably influential liberal arts school in rural North Carolina, had important links to Mexico that until now have been little investigated. A crucible of twentieth-century creativity, BMC galvanized and inspired artists and intellectuals from around the world, while Mexico’s innovations and age-old traditions—in fine and applied arts, architecture, poetry, music, performance, and more—dovetailed with, and indeed drove, global impulses toward modernism and beyond. Among the many key BMC figures whose lives were importantly touched by experiences in Mexico were Anni and Josef Albers, Ruth Asawa, John Cage, Jean Charlot, Elaine de Kooning, Buckminster Fuller, Carlos Mérida, Robert Motherwell, Charles Olson, Clara Porset, M.C. Richards, and Aaron Siskind. In turn, engagements with BMC and its legacy have played a significant role in shaping contemporary approaches to art in Mexico, evident in the works of Jorge Méndez Blake, Iñaki Bonillas, Abraham Cruzvillegas, Jose Dávila, Gerda Gruber, Lake Verea, Gabriel Orozco, and Damián Ortega, among others.
The exhibition BMC/MX features works by these and other prominent contemporary Mexican artists alongside a selection of historic works by BMC artists, highlighting the ways in which ideas and modalities are translated across materials, space, and time.
Related programming, planned in collaboration with Mexican artists, features a series of public events, including a performance by artist (and BMC/MX co-curator) David Miranda to take place at Different Wrld; an exhibition visit (in Spanish and English) with BMC/MX Project Director Eric Baden; and a series of experiential art events in the BMCM+AC library.
The exhibition is accompanied by the book Black Mountain College and Mexico (forthcoming late summer 2023), which investigates the people, ideas, and practices linking BMC and Mexico during the life of the school, as well as resonances between BMC and the work of contemporary Mexican artists. With contributions by BMC/MX’s curators, as well as by artist Abraham Cruzvillegas, design scholar Ana Elena Mallet, and author and activist Margaret Randall, this fully illustrated volume brings new light to this complex and underexplored subject.
BMC/MX is an investigation into modes of communication—the arenas in which new ideas and alliances may come to be—between Black Mountain College and Mexico, between past and present, between form and idea.
About the Curators
BMC/MX’s Project Director Eric Baden is a photographer and from 1994 to 2022 was professor of photography at Warren Wilson College in Swannanoa, North Carolina. He is the founding director of photo+, a multidisciplinary arts event held in Asheville, North Carolina.
Artist and educator David Miranda is curator at the Museo Experimental El Eco (Universidad Nacional Autónoma de México, UNAM), and teaches at the Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” in Mexico City.
Diana Stoll is an editor, writer and curator who works with institutions such as The Museum of Modern Art and the J. Paul Getty Museum. She has served as an editor at Aperture and Artforum magazines, and contributes writings to prominent arts publications.
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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.
Exhibition dates: June 9 – July 23
Opening Reception: June 9, 5-8 pm
Hours: Tuesday-Saturdays from 10-5 pm, Sundays 11-4 pm
Eidolon is an ancient term from Greek -oeidēs “form”. Early meanings included “mental image”, “appearance”, and “reflection” (as in a mirror or pool), and later, “apparition” or “imaginary entity”, among other things. Expanding beyond the definition pointing to a phantasm or specter, eidolon also sounds like some kind of astral or idyllic place in a novel or poem about an imaginary world. Eidolon features the work of Jacqueline Shatz and Margaret Thompson.
Jacqueline Shatz’s small sculptures of ambiguous and hybridized figures float, entwine, swim, commune with animals and collapse into abstract arabesques and gestures, hinting at mythology, in-between states, and the permeable nature of existence. Margaret Thompson’s paintings are inspired by elements of the symbolist movement and magical realism; she channels dreams and the associative powers of the imagination into her practice, painting subjects that live between our physical realm and spaces beyond the categories of known experience: they are unrestrained, undefined, and free.
Saturday, June
10, 2023
Asheville Art Museum 75th Anniversary Spring Annual Fund
Asheville Regional Airport: art exhibit highlighting local artists
AVL’s Arts Build Community Grant
Grandfather Mountain Nature Photography Weekend
Tryon Fine Arts Center Summer Art Camps Registration Open
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Celebrate with us by contributing to the future of the arts in Western North Carolina.
Make your 75th Anniversary Spring Annual Fund donation today! |
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! The Diamond Anniversary is a time to honor our rich heritage and—more importantly—envision our future as the premier visual arts organization in this vibrant, creative region.
Founded in 1948 by a group of local artists to showcase the scope and depth of creativity in Western North Carolina (WNC), the Museum brings art of international significance to the region and encourages lively, diverse dialogue.
The Museum’s original home was a modest, unheated, three-room building on Charlotte Street in the former sales office of Dr. E.W. Grove. The building was designed by Richard Sharp Smith and provided to the Museum by the City of Asheville. Exhibitions by local painters and sculptors could only be staged in warmer weather, and Sunday afternoon receptions gave the community an opportunity to view original art and to listen to artists talk about their work. By the 1950s, the Museum had become an invaluable part of Asheville’s cultural life. It also began acquiring artworks for its Collection.
Three quarters of a century later, the Museum has evolved into the preeminent cultural and educational hub for WNC—welcoming tens of thousands of visitors annually, hosting several major exhibitions each year, holding scores of special programs, and housing its Collection of more than 7,500 works in its state-of-the-art Pack Square location. From its humble beginnings on Charlotte Street to its breathtaking permanent home in the heart of downtown Asheville, the Museum has remained dedicated to Its mission to engage, enlighten, and inspire individuals and enrich the community through dynamic experiences in American art of the 20th and 21st centuries.
The Asheville Art Museum was built, cherished, and supported by the community throughout the past 75 years. Our anniversary celebration will give back through community partnerships and special programs, and by creating new reasons to visit or become a Member. We hope you’ll join us at one (or all) of our Diamond Anniversary special events: the 2023 Gala on June 17th, the 75th Anniversary Community Day Celebration in August, and the 75th Anniversary Dance Party in November!
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Edge, the newest exhibit showing in the airport art gallery, is open to the public now through July 21, 2022. The local art is unique, bold and is sure to capture the imaginations of its viewers.
The local artists’ work featured in this exhibit consist of many different mediums. Diane Bronstein creates complex and mesmerizing pieces with photographs, embroidery floss and other materials. Susan Devitt uses bold colors and vivid details to capture the beauty and possibilities of nature with her acrylic paintings. Jen Pacicci crafts peaceful and majestic collages of landscapes using watercolor and torn paper. Kurt Ross designs clay vessels of varying materials and glazes that are each unique in their thoughtful and clean design. Paul Silverman presents ceramic figures of various tools and vintage items that trick the eye in their realistic appearance and awe with their attention to detail.
“The Edge exhibit welcomes travelers and residents to Asheville with a vibrant and unique display this spring at AVL,” said Alexandra Ingle, Brand and Experience Designer at AVL and curator of the gallery. “We are excited at each gallery opening to bring a fresh taste of our talented WNC art community into the airport.”
Artwork can be purchased from the gallery by emailing [email protected]. Details about the program and how to apply can be found on the airport’s website at flyavl.com.
Since 2018, the Arts Build Community grant supports innovative, arts-based projects that inspire diverse groups of participants to be more active, involved, and civically-engaged by creating together. Grants range from $1,000-2,500.
Arts and culture are a fundamental part of our community. They help us connect with one another and better understand history, people, and new ideas. When people become involved in the design, creation, and upkeep of places, they develop a vested interest in using and maintaining these spaces. When neighbors have a true sense of “ownership” or connection to the places they frequent, the community becomes a better place to live, work, and visit.
Description & Eligibility
Organizations must have been in operation for at least one year and be physically located in Buncombe County. Priority is given to projects based in low-income neighborhoods and communities in need.
The arts must be centered in the proposed project. Funds may be used to cover expenses such as art supplies, professional artists’ fees and travel, space rental, advertising, marketing and publicity, website and electronic media, scripts, costumes, sets, props, music and equipment rental.
Funds are for projects taking place from July 1, 2023- June 30, 2024. This can be a reimbursement for projects occurring during this funding period that have already taken place or for projects that have not yet occurred. Projects must be completed by June 30, 2024.
This popular shutterbug weekend includes presentations from top nature photographers, hands-on breakout sessions, a friendly contest and the rare opportunity to photograph the mountain’s spectacular scenery and native animals before and after regular business hours.
This revamped version of the popular weekend will include changes to better welcome all levels of photographers, making it more fun and engaging for all – while better connecting participants with the wonders and unique ecology of Grandfather Mountain. This year, more than ever, we hope to not only help participants learn about photography, but to also inspire them to preserve the natural world. Activities begin Friday evening and conclude Sunday midday.
New pricing, speakers and a schedule will be announced in April. Registration opens May 8, 2023, at 10 a.m.
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