Calendar of Events

“Qualla Arts and Crafts Mutual,” an exhibition showcasing varied examples of both traditional and modern styles of Cherokee art and historical photos, will be on view through December 8 in UNC Asheville’s Blowers Gallery.

The Qualla Arts and Crafts Mutual is the oldest Native American artists’ cooperative in the U.S. and was founded in 1946 in Cherokee, North Carolina. The legendary artistry, design, and durability of Cherokee crafts are admired throughout the world, and Qualla has played a key role in keeping those traditions alive while encouraging experimentation and innovation. The current exhibit, created by Western Carolina University’s Mountain Heritage Center, also includes many informational panels of crafting traditions of the Cherokee.

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!

Historians estimate that skilled Black artisans outnumbered their white counterparts in the antebellum South by a margin of five to one. However, despite their presence and prevalence in all corners of the pre-industrial trade and craft fields, the stories of these skilled workers go largely unacknowledged.

Borrowing its title from a Black culture and politics magazine of the same name, Hammer and Hope celebrates the life and labor of Black chairmakers in early America. Featuring the work of two contemporary furniture makers – Robell Awake and Charlie Ryland – the pieces in this exhibition are based on the artists’ research into ladderback chairs created by the Poynors, a multigenerational family of free and enslaved craftspeople working in central Tennessee between the early nineteenth and early twentieth centuries.

Through the objects featured in Hammer and Hope, Awake and Ryland explore, reinterpret, and reimagine what the field of furniture-making today would look like had the history and legacy of the Poynors – and countless others that have been subject to a similar pattern of erasure – been celebrated rather than hidden. Hammer and Hope represents Awake and Ryland’s attempts, in their own words,  “at fighting erasure by making objects that engage with these long-suppressed stories.”‍

Robell Awake and Charlie Ryland are recipients of the Center for Craft’s 2022 Craft Research Fund Artist Fellowship. This substantial mid-career grant is awarded to two artists to support research projects that advance, expand, and support the creation of new research and knowledge through craft practice.

​

​

Give the gift of holiday joy in the form of a unique, beautiful, locally made ornament! Handcrafted ornaments made by local artists will be for sale in our lobby on our Christmas tree through the middle of December. Gift the gift of art this year and support local artists in the process!

ONSITE | Friday, December 8, 10 a.m. – 2:30 p.m. | $65 Adult Non-Member (Arboretum member discount applies!) Pre-registration Required.

Get a start on a couple of indoor projects to keep you busy during the winter months. Fiber Artist Beth Ross Johnson will introduce participants to two different styles of sashiko stitching. With moyouzashi you can create simple shapes (we’ll look at some leaf shapes!) and hitomezashi produces geometric designs. All supplies will be provided.

Pre-register for this small-group experience and staff will  be in touch to finalize registration and payment.

Tyger Tyger Gallery is pleased to present Reckoning: Adornment as Narrative, a group exhibition curated by Asheville-based artist and curator Erika Diamond.

Reckoning: Adornment as Narrative is an exhibition of diverse practices, anchored at three points: methods of reckoning; the function of adornment; and the fusing of personal and cultural narrative. It features acts of glitz, embellishment, and homage by Shae Bishop, David Harper Clemons, Kashif Dennis, Annie Evelyn, Margaret Jacobs, Julia Kwon, Katrina Majkut, Heather Mackenzie, and Luis Sahagun. Through material language, each artist tells the story of their identity. Inherent to these stories are contradictions—between labor and value, feminine and masculine, natural and fabricated.

Sigal Music Museum’s current special exhibition, Worlds Apart: Musical Instruments from Secular to Sacred, highlights items from the JoAnn and Frank Edwinn Collection, which hails from all over the world. Showing November 2023 – May 2024, Worlds Apart uses a diverse range of historical instruments, objects, and visuals to bring together musical narratives from seemingly disparate parts of the globe.

 

Worlds Apart: Musical Instruments from Secular to Sacred aims to increase public access to historical instruments from around the world and improve visitors’ understanding of musical traditions at the global level. Expanding beyond the typical parameters of the Western musical canon, Worlds Apart seeks to expose audiences to musical instruments and customs that are often overlooked or exotified. The instruments and other exhibit materials will offer visitors new perspectives on global music and a chance to consider how music is used for prayer and leisure in cultures around the world. By celebrating these stories, the museum intends to further its mission to collect and preserve historical musical instruments, objects, and information, which engage and enrich people of all ages through exhibits, performances, and experiential programs.

 

Displaying various objects from the JoAnn and Frank Edwinn Collection, Worlds Apart: Musical Instruments from Secular to Sacred focuses on international musical instruments and cultures, celebrating rites and traditions with ancient histories and contemporary legacies. Frank Edwinn, a successful basso in the mid-20th century, studied and toured internationally, eventually settling in North Carolina, where he taught music at the University of North Carolina Asheville. Throughout his life, he purchased various objects from around the world, aiming to expose students, and himself, to the wide and wonderful world of musical instruments. This impressive collection occupies a unique position for educating audiences unfamiliar with the vast scope of global music.

And, UNCA’s Ramsey Library Special Collections is now processing the Edwinn’s papers and a few recordings that will be accessible next semester!

Images: Left: Minna Wright Citron, Squid Under Pier, 1948, color etching, soft-ground, and engraving on paper, edition 42/50, 15 x 17 7/8 inches, 2010 Collections Circle purchase, Asheville Art Museum. © Estate of Minna Citron/Licensed by VAGA at ARS, New York. Right: Dorothy Dehner, Woman #2, 1954, watercolor and ink on paper, 22 3/4 x 18”, courtesy of Dolan Maxwell.

The Asheville Art Museum is pleased to announce the upcoming exhibition American Art in the Atomic Age: 1940–1960, which explores the groundbreaking contributions of artists who worked at the experimental printmaking studio Atelier 17 in the wake of World War II. Co-curated by Marilyn Laufer and Tom Butler, American Art in the Atomic Age which draws from the holdings of Dolan/Maxwell, the Asheville Art Museum Collection, and private collections will be on view from November 10, 2023–April 29, 2024.

Atelier 17 operated in New York for fifteen years, between 1940 and 1955. The studio’s founder, Stanley William Hayter (1901–1988) established the workshop in Paris but relocated to New York just as the Nazi occupation of Paris began in 1940. Hayter’s new studio attracted European emigrants like André Masson, Yves Tanguy, and Joan Miró, as well as American artists like Dorothy Dehner, Judith Rothschild, and Karl Schrag, allowing for an exchange of artistic ideas and processes between European and American artists.

The Asheville Art Museum will present over 100 works that exemplify the cross-cultural exchange and profound social and political impact of Atelier 17 on American art. Prints made at Atelier 17—including those by Stanley William Hayter, Louise Nevelson, and Perle Fine—will be in conversation with works by European Surrealists who were working at the studio in the 1940s and 1950s. The exhibition will also feature a selection of domestic mid-century objects that exemplify how the ideas and aesthetics of post-war abstraction became a part of everyday life.

Throughout the history of painting from the mid-19th century forward, artists have used an endless variety of approaches to record their world. Beyond the Lens: Photorealist Perspectives on Looking, Seeing, and Painting continues this thread, offering an opportunity to explore a singular and still forceful aspect of American art. Photorealism shares many of the approaches of historical and modernist realism, with a twist. The use of the camera as a basic tool for organizing visual information in advance of painterly expression is now quite common, but Photorealists embraced the camera as the focal point in their creative process. Beyond the Lens presents key works from the collection of Louis K. and Susan Pear Meisel, bringing together paintings and works on paper dating from the 1970s to the present to focus on this profoundly influential art movement. The exhibition includes work by highly acclaimed formative artists of the movement such as Charles Bell, Robert Bechtle, Tom Blackwell, Richard Estes, Audrey Flack, and Ralph Goings as well as paintings by the successive generations of Photorealist artists Anthony Brunelli, Davis Cone, Bertrand Meniel, Rod Penner, and Raphaella Spence. Featured artworks in the exhibition include diverse subject matters, but the primary focus is on the common and every day: urban scenes, “portraits” of cars, trucks, and motorcycles, still life compositions using toys, food, candy wrappers, and salt and pepper shakers. All provide opportunities for virtuoso studies in how light, reflection, and the camera as intermediary shapes our perception of the material world. This multigenerational survey demonstrates how the 35-mm camera, and later technological advances in digital image-making, informed and impacted the painterly gesture. Taken together, the paintings and works on paper in Beyond the Lens show how simply spellbinding these virtuosic works of art can be. “Beyond the Lens offers a fascinating look into the Photorealism movement and delves into the profound connection between the artists’ observation and creative process,” says Pamela L. Myers, Executive Director of Asheville Art Museum. “We are delighted to present this curated collection of artworks encapsulating the creative vision and technical precision that defines this artistic genre.” Photorealism found its roots in the late 1960s in California and New York, coexisting with an explosion of new ideas in art-making that included Conceptual, Pop, Minimalism, Land and Performance Art. At first, representational realism coexisted with the thematic and conceptual explosion but was eventually relegated to the margins regarding critical and curatorial attention. Often misunderstood and sometimes negatively criticized or lampooned as a betrayal of modernism’s commitment to abstraction, the artists involved in Photorealism remained committed explorers of the trail they had blazed. In the decades of the late twentieth century and early twenty-first century, realistic and symbolic painting experienced a renaissance, as contemporary artists are increasingly drawn to narrative and storytelling. Concurrently, using a camera as a preparatory tool equally legitimate and valuable as pencils and pens has made the rubric of Photorealism increasingly relevant. This exhibition is organized by the Asheville Art Museum and guest curated by Terrie Sultan. This exhibition is sponsored in part by Jim and Julia Calkins Peterson.

Opening Reception for the Artist Nov. 3, 6-8PM.

Tracey Morgan Gallery is pleased to present A Mirror, Not a Window, an exhibition of new and recent work by artist Hannah Cole. This is Cole’s second solo exhibition with the gallery. A reception for the artist will be held Friday, November 3 from 6-8PM.

This collection of paintings and sculptures continues Cole’s interest in creating, completely by hand, reproductions of small details and objects culled from her everyday life, turning the viewer’s attention to often overlooked aspects of our surrounding environment and reframing the very definition of representational art. With nods to pop art, trompe l’oeil, and modern American painters, Cole poses big questions about the nature of the artist’s hand, and the drive to (re)create.

A grouping of wall sculptures of nearly exact replicas of books which are hand-painted on wood blocks are included in the exhibition. These books are all non-fiction, mostly art related, though now un-readable. Instead of looking to books for answers, these objects force the viewer to provide the substance. The most self-referential of the group is Jean Baudrillard’s Simulacra and Simulation in which the French philosopher talks in dense prose about our culture of signs and signals eventually becoming copies without any originals. In Cole’s tongue-in-cheek nod, her faithful replica of Baudriallard’s philosophical work becomes an art object whose meaning has shifted completely from the original. Cole’s painted wood block cannot be read and has no actual utility at all, except as an object to contemplate.

A recurring element in Cole’s paintings is a hand-rendered tape measure running along the edge of her canvases. By including this common, easily recognizable object, Cole calls to question the “truth” of representation. Can we trust these measurements simply because they have identifiable markings? Other paintings on Styrofoam show painted wood grain edges, subverting the viewer’s expectation of where the painting itself is, and what it’s made of. We expect a painting to be on the outward-facing surface, but what if the faithful representation is painted on the sides?

In this contemporary age of Artificial Intelligence flooding us with copies, reproductions, fakes, and deliberate decep-tions, anxieties regarding authenticity and authorship run high. Cole’s work invites contemplation of these deeply philosophical issues with a playful tone, presenting serious questions by way of common objects.

Hannah Cole studied at Yale University and Boston University. Her work has been exhibited at The Turchin Center for Visual Arts, NC; the Drawing Center, NY; the University of Maine Museum of Art; the Sherman Gallery at Boston University, MA; Tiger Strikes Asteroid, Greenville, NC; and the North Carolina Museum of Art, Raleigh, among other national and international institutions. She currently lives and works in Asheville, NC.

“This Holiday Sip & Shop offers a refreshing alternative to big-box retail chains, as every item in
our shop is American-made,” says the gallery’s marketing manager Ashley Van Matre.
Discover beauty in small batches while shopping for unique gift items handmade by Asheville
artists and beyond. Grovewood Gallery showcases over 9,000 square feet of finely crafted
jewelry, wooden bowls and utensils, ceramic tableware, blown glass, fiber art, and much more.
Local makers will demonstrate their craft each day. Participating artists include Eddie Aaronson
of Windthrow, Lisa Gluckin, Deanna Lynch, and Janna Mattson.

Demo Descriptions:

Eddie Aaronson of Windthrow – Dec. 8 + 9
Black and white sketch etchings of Western North Carolina landscapes.

Lisa Gluckin – Dec. 8 + 9
Hand-building clay vessels and surface design.

Deanna Lynch Textiles – Dec. 8 + 9
Mending antique quilts.

Janna Mattson – Dec. 9Needle felting wool landscapes.

About Grovewood Gallery

Established in 1992, Grovewood Gallery is noted for its charming, old-world setting and rich
craft heritage. The gallery is located in the historic Grovewood Village complex, which once
housed the weaving and woodworking operations of Biltmore Industries, a force in American
craft and textiles that grew to become one of the largest producers of handwoven wool in the
country. Today, the gallery offers two expansive floors of fine American-made art and crafts
contributed by more than 350 makers.
Hours are Monday through Sunday from 10 am – 5 pm. Free parking is available on-site.

Romare Bearden (Charlotte, NC 1911–1988 New York, NY), African American writer and artist, is renowned for his collages. He constantly experimented with various techniques to achieve his artistic goals throughout his career. This exhibition highlights works on paper and explores his most frequently used mediums, including screen-printing, lithography, hand-colored etching, collagraph, monotype, relief print, photomontage, and collage.

Bearden’s work reflects his improvisational approach to his practice. He considered his process akin to that of jazz and blues composers. Starting with an open mind, he would let an idea evolve spontaneously.

“Romare Bearden: Ways of Working highlights Bearden’s unique artistic practice and masterful storytelling through art,” says Pamela L. Myers, Executive Director of the Asheville Art Museum. “We are thrilled to collaborate with Jerald Melberg Gallery to present these extraordinary works on paper in conversation with Bearden’s collage Sunset Express, 1984 in the Museum Collection (on view in the Museum’s SECU Collection Hall). This exhibition will also provide a glimpse into the cultural histories and personal interests that influenced his art-making practice, and we hope it encourages introspection and dialogue with our visitors.”

Jerald Melberg states, “Romare Bearden’s groundbreaking artistic practice continues to captivate audiences worldwide. With an unparalleled legacy of creativity and innovation, Bearden’s contributions to art remain deeply influential years beyond his life.” We have enjoyed organizing this exhibition with the Asheville Art Museum to showcase his artistic genius and inspire visitors from the Western North Carolina region and beyond.”

This exhibition is made possible in part by the Judy Appleton Fund. Many thanks to the Jerald Melberg Gallery for the loan of these important artworks and to Mary and Jerald Melberg for their long-standing support of the arts, artists, and the Asheville Art Museum.

Tracey Morgan Gallery is pleased to present an exhibition of paintings by artist Stella Alesi in our project space. This is Alesi’s first exhibition with the gallery and is presented in conjunction with Hannah Cole: A Mirror, Not a Window in our main gallery space. A reception for both artists will be held Friday, November 3 from 6-8PM.

The works on view are from the SQUISHY series, a group of geometric, abstract oil on oil paper paintings. With the use of simple shapes and a limited color palette, these works explore the visceral experience of living at this current moment. Alesi’s colorful, “squishy” shapes bend to the demands placed on them by their seemingly heavy, unforgiving counterparts. With this work, Alesi confronts contemporary issues such as climate change and political turmoil, as well as personal trials, using basic shapes, both hard and malleable to express a state of being. The shapes are gestural, fluid, and animated – sometimes resembling body parts even in their minimalism. The effect is a playful interpretation of heavy topics – a visual play on the deep and multi-layer well of human emotions.

Stella Alesi works across several styles and mediums, including drawing, painting, photography, collage, and large wall works. Their practice is characterized by a willingness to try new approaches in the ongoing investigation into new materials and visual languages, always exploring new ways to represent the visceral nature of the human experience. Born on Long Island, New York in 1963, Alesi was raised in New Jersey. They studied at Parsons School of Design, New York City; University Hampshire, Durham; and University of Massachusetts, Amherst. Their work has been purchased by many private and commercial collections. Career highlights include a recent solo exhibit (spring of 2023) at the Northern-Southern gallery, Austin, TX and a large-scale permanent installation in the lobby of The Foundry, Austin TX. Alesi currently lives and works in both Austin, TX and Asheville, NC.

The Asheville Art Museum is thrilled to announce a captivating December Live Music Series, bringing a harmonious fusion of art and music to the galleries. This unique series showcases Western North Carolina-based musicians Jessie Meltz, Monique Pinelli, and Laura Boswell. Audience members are invited to immerse themselves in an unparalleled cultural experience as our galleries transform into an intimate setting for these exceptional live performances. “The December Live Music Series aims to create an ambiance where visual and auditory senses intertwine, providing a memorable and enriching experience for all attendees,” says Adult Programs and Community Outreach Manager Magdalena Van Thienen. Harpist Jessie Meltz will kick off the series and play a wide repertoire to provide audiences with an eclectic musical experience. Monique Pinelli will perform a diverse set of holiday and classical music on the violin. The series will conclude with an enchanting folk-classical performance on the guitar by Laura Boswell. The December Live Music Series is free for Museum Members or included in Museum admission. Tickets are available for purchase in advance but are not required. December Live Music Series Schedule: Jessie Meltz Friday, December 8 • 1–5pm Jessie Meltz performs far more than classical music and often surprises those listening with songs ranging from familiar classical standards to pop and rock and roll favorites. Meltz will perform in the Perspective Café and the Western North Carolina Glass exhibition.

Get ready to deck the halls with our Holiday Crafting Event on December 8th from 4-6 pm! Join Interior Designer Melissa Sposatto for a hands-on experience crafting paper ornaments, stars, and snowflakes at ID.ology Interiors & Design. All materials provided, just bring your festive spirit! Tickets are $20, family-friendly, and include refreshments. Don’t miss out on this creative holiday celebration for all ages!

Wanna hear the best local music ​and​ drink the best local beers? Hop aboard LaZoom’s Purple Bus and rock out with a local band while we take you on a journey to Asheville’s premiere local breweries.

Get ready to embrace the spirit of Christmas with Elf: The Musical, a heartwarming and hilarious adaptation of the beloved 2003 holiday film. This enchanting musical follows the journey of Buddy, a human raised by elves at the North Pole who embarks on a journey to New York City to find his real father. Through catchy, uplifting songs and zany comedic antics, Elf: The Musical serves a healthy dose of holiday cheer, laughter, and life lessons about identity, family, and the true meaning of Christmas. It’s a magical, festive spectacle guaranteed to light up the holiday season for all ages!

A talkback with the cast & crew of Elf: The Musical will be held following the performances on December 3rd and 10th.

Three chords and the truth

It’s country music’s famous, straight-to-the-bone foundation, and the core of countess iconic hits. But as a new generation of artists emerge, it can sometimes feel like a relic. … Then there’s Columbia Nashville’s Kameron Marlowe. For him, three chords and the truth isn’t just a motto, it’s the only way he knows to make music. Fusing steel-toed toughness with a visceral approach to songwriting, it’s the truth itself that guides his hard-to-pin-down mix. And with his debut album, We Were Cowboys, he confronts it head on.

“This is me and this is what I wanna show the world,” Marlowe explains. “I’ve really tried to fight for this record in a way that it doesn’t sound like everybody else. … Basically, I tried to make it my own.”

About two years in the making, the project marks a creative arrival for the Kannapolis, North Carolina native. Wielding a high-voltage vocal and a country style to match, Marlowe’s sound is built around edgy electric twang, shades of gritty rock and a touch of bluesy tenderness, living comfortably in the darker corners of the honky tonk. With a self-made background, Marlowe grew up singing and started a high-school band, inspired by everything from ‘70s and ‘80s country to Stevie Ray Vaughn, Ray Charles and Kings of Leon. A family-first kind of guy with a strong connection to his grandparents, the youngster grew to appreciate things that last, and by soaking up the music of his elders along with current hits, created a unique vocal mix that evident early on: Classic sincerity and modern swagger. He carried on singing for fun in college, but he left school after one semester to help support his family after his mother was injured. The young talent took a desk job selling car parts for General Motors instead but still shared performance videos via social media. This is where he was discovered by a producer for The Voice – singing “Tennessee Whiskey” by Chris Stapleton – and landed a coveted spot directly in the show’s live auditions. Though his stint on The Voice was short-lived, Marlowe returned to his love of songwriting and jumped into his music headfirst after the end of a long-term relationship.

“I was 19 years old and head over heels for this girl,” he explains. “So I got a ring, I had a house I was looking at, and I was just super pumped. It was like, ‘This is where life starts for me.’”

As it turns out, he was right about that. Two weeks before Marlowe was planning to propose, his girlfriend abruptly broke off the relationship, and in frustration Marlowe turned back to his first love. Writing the first pieces of what became “Giving You Up” – a raw, razor sharp ballad whose deep wounds were overcome by a powerful sense of self-respect – the track laid Marlowe’s broken heart bare for the first time and sent him down a new path. Soon the young singer-songwriter was making the seven-hour drive to Nashville three times a week, joining random co-writes and always sharing his solo-penned “Giving You Up” with the group. He was told over and over it needed work, yet Marlowe stuck to his guns. He knew above all, the song was true.

“A lot of writers were like, ‘Man, it’s good – but it’s not great,’” he recalls. “That took the wind outta my sails a little bit, but then I ended up putting it out, and it became my first Gold single.”

“Giving You Up” was released independently in 2019, racking up millions of streams. Meanwhile Marlowe continued traveling back and forth between Nashville and North Carolina – booking Broadway gigs at Ole Red and once he didn’t even have gas money to make it to, unless the venue could give him an advance. They knew his voice was more than worth the investment, and the up-and-comer usually left with a pocket full of tips. “Giving You Up” ultimately landed him an artist deal with Sony Music Nashville/Columbia Nashville and a publishing deal with Sony Music Publishing. Marlowe kept writing and released a self-titled EP in 2020, sending the torchy “Burn ‘Em All” into Billboard’s Hot Country Top 40 and opening massive shows for Brad Paisley, Riley Green, Morgan Wallen and more. Now the story continues, with his full-length album debut putting him fully in the spotlight – and this time he’s not looking for anyone’s approval. Produced by ACM/CMA winner Dann Huff and GRAMMY-nominated Brad Hill (“Giving You Up,” “Burn ‘Em All”), We Were Cowboys features a massive, 16-song track list and a bold, take-me-as-I-come spirit. Marlowe had a hand in writing 10 of those tracks, and says he was committed to holding nothing back.

“It’s not in a cocky way,” he cautions. “It’s more like I want to be true to myself.”

Right from the top, his approach hits home. “We Were Cowboys” was co-written with Tyler Farr and Wyatt McCubbin on a last-minute trip to Wyoming and ended up capturing Marlowe’s artistic essence. A nostalgic tribute to childhood with a Western, epic feel, rough-riding vocals and vivid, lived-in details, the track became the jumping off point of the whole album.

“It felt special when we wrote it, and I haven’t really had a song that’s been that special to me since ‘Giving You Up,’” he says. “It really is my story. The ‘93 Silverado, the corduroy couch and John Wayne movies. It’s all a part of me.”

The same is true of tracks like “Country Boy’s Prayer,” which turns the bench seat of that Silverado into a church pew. And with the gravel-road rocker “This Old Town,” Marlowe finds the blink-and-you’ll-miss-it beauty of his rural upbringing – rootsy and refreshing with an upbeat accordion-and-fiddle melody. Meanwhile, romantic anthems like the soul-stinging “Ain’t Enough Whiskey” rekindle the pain of “Giving You Up,” and the hot-blooded “Girl On Fire” finds love flaming up in a summer fling. The blues rocker “Money Ain’t $hit” knows the value of straight talk and a strong character – values with playfully potency on “Grandma’s Got a Garden (for G’maw Jan)” – and the angelic “Steady Heart” kneels before a woman’s amazing grace. It’s all true to Marlowe’s world, and in typical fashion, it was even recorded with blunt honesty. Cutting vocals in live takes, Marlowe would simply sing the whole song a few times through, and then pick his favorite version. Grabbing quick, in-the-moment takes, the approach highlighted the best of Marlowe’s talent and kept all the all-natural character of his voice intact, but it’s not as easy as it sounds. It’s a music-making style that offers no place to hide – and as a result, almost no one does it anymore, especially on a debut album. But then again, Kameron Marlowe is no typical artist.

“We wanted to keep it organic and real and a little bit looser,” he explains. “What it came down to is not wanting to sound like any other record, and I hope people get to know me out of this.”

ROND has been playing their brand of humorous Rock n Roll in one incarnation or another around Asheville for the last 20 years.
The ROND live show aims to be chock full of danceable, knee-slapping anthems about some of life’s most embarrassing, human-type-situations.
Their high energy, self-deprecating original songs often end in rousing audience sing-a-longs, leaving their fans both sweaty and smiling.
ROND is looking forward to their annual holiday show at Fleetwoods complete with a local neighborhood feel and several special guest performances.
8pm doors $10 cover

Come join the Artists of the Phil Mechanic for Holiday sale

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!