Calendar of Events

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

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

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

The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.

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

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

The works in Identitas examine culture & heritage through personal narratives, reflecting each included artist’s distinctly unique perspective on self and experience. Paradoxically, the word “identity” comes from the Latin “identitas” meaning “sameness,” a profound reminder that at our core we are more similar than divergent.

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

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

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

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

The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.

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

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

The works in Identitas examine culture & heritage through personal narratives, reflecting each included artist’s distinctly unique perspective on self and experience. Paradoxically, the word “identity” comes from the Latin “identitas” meaning “sameness,” a profound reminder that at our core we are more similar than divergent.

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

Guests are invited to step into CYCLE 3 of The Radical’s ongoing, quarterly art series. This exhibit “It Was All a Dream” is a collective of local artists including Kevin Andrew, Colton Dion, Rebecca Harnish, and Stacy Kraft. Located at The Radical Gallery, attendees can connect with the artists and enjoy a complimentary beverage as they step into the new exhibit. The exhibit is free and open to the public, and the gallery is located directly outside Golden Hour, convenient for dinner after the event.

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

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

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

The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.

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

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

The works in Identitas examine culture & heritage through personal narratives, reflecting each included artist’s distinctly unique perspective on self and experience. Paradoxically, the word “identity” comes from the Latin “identitas” meaning “sameness,” a profound reminder that at our core we are more similar than divergent.

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

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

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

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

The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.

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

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

The works in Identitas examine culture & heritage through personal narratives, reflecting each included artist’s distinctly unique perspective on self and experience. Paradoxically, the word “identity” comes from the Latin “identitas” meaning “sameness,” a profound reminder that at our core we are more similar than divergent.

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

Get in Gear Fest is noon – 5 p.m. at the Adventure Center of Asheville. This free festival showcases the Outdoor Industry Hub of the East with demos, sales, discounts and giveaways. Enjoy local food and beverages. ACA will offer family activities. High adventure activities will also be available at regular price: Asheville Ziplines, Asheville Treetops Adventure Park, KidZip, Kolo Bike Park. All proceeds from the ACA activities will benefit Camp Lakey Gap Autism Programs. For more information and to book a high adventure activity, visit ashevilletreetopsadventurepark.com/get-in-gear-festival.

Join us for Appalachia Day at Hickory Nut Gap Farm on April 26! Enjoy a free, family-friendly festival from 12-6 pm with live music, local artisans, food trucks, and fun farm activities. Plus, don’t miss the evening concert with Darren Nicholson Band (ticketed event). Proceeds benefit SAHC.

We’re so excited to begin our 11th season on 4/27! Uncommon Market is a curated pop-up market for antiques, art, vintage decor, jewelry and beyond. We’ll be on the AB Tech Campus in the parking lot adjacent to the Conference Center with 100 vendors.
Details: • FREE ADMISSION & PARKING!! • Outdoors – rain or shine • Friendly dogs are welcome • Mountain Pet Rescue will be here with adoptable pets.  • Food & beverage options available!
See you there!!