Calendar of Events

The Fall Studio Tour Preview Exhibition opens in the Kokol Gallery, in Toe River Arts’ Spruce Pine location at 269 Oak Ave, October 29 and runs through the end December 2022.  This exhibition gives visitors an opportunity to have a glimpse into each studio and plan their route. It’s also a great place to begin the tour or take a break from a day of non-stop art and artists.

There’s something breathtaking and awe-inspiring about driving through the mountains of western North Carolina in the Fall.  The way the trees show off by turning vibrant shades of red, yellow, and orange before leaving bare branches to the crisp winds and snowy days of winter, reminds us that nature herself is the original artist.

For more than a quarter century, the Toe River Arts Studio Tour has intrigued those who make the journey to visit places of inspiration and creation. Situated between Roan Mountain which boasts the world’s largest rhododendron garden and Mt. Mitchell, the highest peak east of the Mississippi, the Toe River Arts Studio Tour is a free, self-guided journey of the arts. This arts adventure through Mitchell and Yancey Counties will take visitors along the meandering Toe River, across its many bridges, around barns, acres of fields and miles of forests all while visiting the 83 talented studio artists who often take inspiration from the mountains they call home and 8 galleries featuring local and international art.

It doesn’t matter if you live up the hill or across the state. The Studio Tour provides an adventure for the intrepid seeker of the art experience. Artist studios come in many iterations—the building off to the side of the house, or across the field or down the road or right off the main road or down a gravel one-lane. Two-stories with a gallery space or small and cozy with a table set up or cleared off for display. Still there are others that devote a corner to each artist sharing the space. Wherever and however they are set up, the studios are exciting places to visit because they demonstrate the dynamic process used to create a finished piece. Every artist has their own way of telling a story, inviting visitors to ask questions, hold their work, and share a moment.

The art is as diverse as the artists who create it and features the work of glassblowers, jewelers, printmakers, potters, fiber artists, ironworkers, painters, sculptors, and woodworkers.

Collage paintings, assemblages, textiles, & faux artifacts designed by Jean Hess to explore the 1920 WV mining labor dispute as metaphor for the human condition.

Three rooms are filled with an eclectic mix of collage paintings ranging in scale from 6×6” to 50×70”; 3-D assemblages and faux artifacts; hand-stitched textiles; documentation in the form of historic notes, catalog entries for a collection of ephemera, photographs.
Call 828-273-3332 for weekend hours or to make an appointment. Exhibits through November 30, 2022.
Flood Gallery Fine Art Center is a non-profit 501(c)3 organization, and educates, encourages, challenges and inspires the community through music, film, literary, and contemporary art.

“Matewan as Metaphor” is an experiment in artistic license. Mixed-media artist Jean Hess creates a personal story by combining real and imagined resources with the intention of healing her own memory and transcending limits on what is possible and allowed in creative and scholarly endeavors as well as in visual art. The 1920 mining labor dispute in Matewan, West Virginia, which involved her own family, stands for a full life and its adversities.

Matewan was, in 1920, the scene of an armed skirmish between coal miners, mining companies, local union officials and hired strike-breakers. Baldwin-Felts Detective Agency thugs hired by the coal operators traveled by train to cast striking miners and their families out of their homes. The local mayor and several Baldwin-Felts agents were killed. The chief of police, the Matewan mayor, and several other locals gathered at the train station to confront the hired guns about the unlawful evictions. The Baldwin-Felts agents refused to recognize the local authority, and a shootout ensued. The mayor, some miners, and several detectives were killed. This was one of many violent conflicts that took place in Southern WV between pro-union miners and men hired by coal companies to use force and intimidation to prevent miners from unionizing.

Jean Hess takes serious training in cultural anthropology and visual art to playful levels. Her mixed-media paintings and constructions come from personal memory and nostalgia, ancestral ties and historical fact. Mining illustrations and maps signify coal mining in early twentieth century Appalachia, as well as issues concerning extractive industries, population displacement, exploitative labor practices, suffering and loss. Using collage, paint, layered resins and found ephemera Hess experiments with myriad ways one can obfuscate, surprise and entice. Found imagery is from geography and history textbooks from the early 1900’s and before. Dimensional objects are from her family or found in junk shops over time. Much of her material may be deconstructed, obscured, scrambled or carefully embellished.
Jean Hess’ multi-variant creative output segues with an equally unpredictable life. She has lived in Washington, DC, Baltimore, Albuquerque, Santa Fe and Abiquiu, New Mexico as well as Atlanta, Dallas and now Knoxville, Tennessee. Her work-for-pay background includes stints as a computer programmer, Montessori teacher, museum registrar, writer and research consultant for government and private industry. With degrees [BA, MA] in cultural anthropology she tends to draw inspiration from wide-ranging interests, and not always according to established rules.

Hess is well-known for experimental mixed-media collage paintings and assemblages that combine the skillful use of layered paint and resins, light refraction and found materials such as antique ephemera and pressed plants. Because her palette, surface and touch are consistent, one can always tell a work of art is hers. And yet Hess likes surprises, plays with materials that are sometimes unfamiliar, operates in a controlled-experiment spirit and likes accidental detours that energize her work. While she took some undergraduate art courses she is largely self-taught.

Public collections include: Huntsville Museum of Art; Evansville Museum of Art, History and Science; Knoxville Museum of Art; University of Virginia; Farm Credit Administration; Knoxville Convention Center; City of Chattanooga; St. Mary’s Hospital Heart Institute [IN]; Canon USA.

Jean Hess is proud that much of her work is in private collections, cared for by sympathetic individuals.

Natural Collector is organized by the Asheville Art Museum. IMAGE: Christian Burchard, Untitled (nesting bowls), 1998, madrone burl, various from 6 × 6 × 6 to ⅜ × ⅜ × ⅜ inches. Gift of Fleur S. Bresler, 2021.76.01.

Natural Collector | Gifts of Fleur S. Bresler features around 15 artworks from the collection of Fleur S. Bresler, which include important examples of modern and contemporary American craft including wood and fiber art, as well as glass and ceramics. These works that were generously donated by contemporary craft collector Bresler to the Asheville Art Museum over the years reflect her strong interest in wood-based art and themes of nature. According to Associate Curator Whitney Richardson, “This exhibition highlights artworks that consider the natural element from which they were created or replicate known flora and fauna in unexpected materials. The selection of objects displayed illustrates how Bresler’s eye for collecting craft not only draws attention to nature and artists’ interest in it, but also accentuates her role as a natural collector with an intuitive ability to identify themes and ideas that speak to one another.” This exhibition presents work from the Collection representing the first generation of American wood turners like Rude Osolnik and Ed Moulthrop, as well as those that came after and learned from them, such as Philip Moulthrop, John Jordan, and local Western North Carolina (WNC) artist Stoney Lamar. Other WNC-based artists in Natural Collector include Anne Lemanski, whose paper sculpture of a snake captures the viewer’s imagination, and Michael Sherrill’s multimedia work that tricks the eye with its similarity to true-to-life berries. Also represented are beadwork and sculpture by Joyce J. Scott and Jack and Linda Fifield.

Wednesday through Monday from 11am to 6pm

Rebel/Re-Belle: Exploring Gender, Agency, and Identity | Selections from the Asheville Art Museum and Rubell Museum combines works, primarily created by women, from two significant collections of contemporary art to explore how artists have innovated, influenced, interrogated, and inspired visual culture in the past 100 years.

Come celebrate and help us send one very special red spruce, Ruby, on her grand adventure from the mountains to sea and all the way to Washington, D.C. The U.S. Forest Service is hosting a harvest celebration for the 2022 U.S. Capitol Christmas Tree, also known as the People’s Tree, on Saturday, Nov. 5, from 3:00 – 5:00 p.m. at the WNC Agricultural Center Expo Building.

Be among the first to see the tree before it begins the journey from western North Carolina to Washington, D.C. and sign the banners on her truck to send your well wishes to all the communities hosting her along the way. Visitors can take a “walk” through an interactive display of the four national forests in North Carolina and learn about each forest’s ecosystems and employees. There will also be over 25 partner organizations offering fun family-friendly games and U.S. Capitol Christmas Tree merchandise. This event is free and open to the public.

A horror comedy rock musical about a Skid Row flower shop worker with low self-confidence who finds and raises a plant that feeds on human blood and flesh.

Directed by Stephanie Hickling Beckman

Book + Lyrics by Howard Ashman

Music by Alan Menken

Based on the film by Roger Corman, Screenplay by Charles Griffith

Originally produced by the WPA Theatre (Kyle Renick, Producing Director)

Originally Produced at the Orpheum Theatre, New York City by the WPA Theatre, David Geffen, Cameron Mackintosh and the Shubert Organization

$15 for General Admissions, $10 for UNCA Faculty/Staff, and $5 for UNCA Students.

This event will be held at the Carol Belk Theatre on UNC-Asheville’s campus.

One in five people in the Carolinas don’t have enough food to eat.  As we enter the holiday season, November is historically one of the hardest months for food banks across the country.  Many North and South Carolinians are either looking for ways to help those in need or looking for help themselves. The Blood Connection (TBC), the non-profit community blood center serving these two states, is dedicating the month of November to addressing the issue of food insecurity in the region by offering blood donors a way to help those in need.

In the month of November, TBC will partner with Feeding the Carolinas – a network of food banks across North and South Carolina that works to provide a healthy, adequate, and consistent food supply – to promote blood donation and food donation.  Each year, Feeding the Carolinas estimates they supply food to more than 2.3 million Carolinians facing hunger.  Feeding the Carolinas also supports the Augusta, Georgia region, which TBC has recently begun operations in.

TBC needs around 1,000 blood donations per day to supply blood to more than 100 hospitals across the Carolinas, and TBC must ensure the shelves are stocked with life-saving blood products when hospital partners call. TBC has set a goal of raising $5,000 for food banks in November, with the hopes of helping neighboring non-profits stock their shelves, as well. Like the need for blood, the need for charitable food does not go away: people in this community will always need food – especially now with inflation at never-before-seen levels.  With one blood donation, a donor can save three lives and help a family in their own community have enough food on the table for Thanksgiving.

Throughout the month of November, blood donors will have the option to donate their TBC reward points in
the TBC Store to Feeding the Carolinas. At TBC centers, food collection boxes will also be placed out for
donors to give non-perishable food items. TBC is also looking for organizations to host blood drives
benefiting Feeding the Carolinas. Blood drive hosts have the option to donate $10 or $20 per blood donor to
Feeding the Carolinas. For more information about hosting a blood drive in November, go to
thebloodconnection.org/host.

Sixty years ago, a doctor from Greenville, South Carolina saw a need: a need for a community blood center that supported the people who lived, worked, and sought care in the Upstate of South Carolina.  Sixty years later, his vision for that community blood center is the bedrock of The Blood Connection (TBC) – a non-profit community blood center serving hospitals across the Carolinas, Georgia, and Virginia.  While many things have changed in the past sixty years, TBC’s dedication to its hospital partners and to saving local lives has not.

 

Despite the current difficulty to collect blood and blood products, The Blood Connection remains steadfast in continuing its mission for the next sixty years to come.  Without volunteer blood donors and community blood centers like TBC, shelves will be empty when neighbors, family, or friends are in need.  Neighbors like Kristen Odom, a mother from Taylors, South Carolina, who received more than twenty units of blood after the birth of her first daughter.  It is because of community blood donors that blood products were available that day, and she has a full life with her husband and two daughters.

 

“I often think about it in the little things like we celebrate her birthday, it’s a pretty day outside, or we’re at the beach,” said Odom.  “This day I get to enjoy because somebody donated blood. I had this overwhelming sense of gratitude…it just still shocks me to this day…here we are, living a completely normal life…because blood was available and they did what they needed to do right away.”

 

It is estimated roughly 60% of the U.S. population is eligible to donate blood, but only 3% does.  While the demand for blood products is constantly increasing, unfortunately, the number of volunteer blood donors is decreasing.  As the core donor base gets older, and the younger generation is not donating blood at the same rate, TBC is noticing emptier blood mobiles, and fewer people signing up to donate blood.

 

“We all play a part in supporting the community’s blood supply,” said Delisa English, President and CEO of The Blood Connection.  “We hope people think about what their part will be, whether that is donating blood for the first time, donating blood more often, or hosting a blood drive.  We all have a responsibility to our community to ensure that blood products are available when our friends, family, and neighbors need it most.”

 

Founded in 1962, The Blood Connection spent the first 16 years of its existence under another name: The Greenville Blood Assurance program.  In 2001, the Board of Trustees adopted the name ‘The Blood Connection’ – designed to better reflect the mission of connecting healthy donors to patients in need. With just a handful of hospital partners when the organization was created in the 1960s, TBC now serves more than 100 hospitals and has expanded from the Upstate of South Carolina to three other states.

 

The world around us looks vastly different now than it did in 1962, but one thing remains the same: blood still cannot be replicated or made in a lab.  Blood must be donated and is a true gift to those who need blood products to maintain their quality of life.

 

The Blood Connection is celebrating it’s 60^th anniversary by thanking the donors who make its mission possible.  All blood donors between October 31 and November 6 will receive a commemorative ‘60^th Anniversary’ pin.  To find a center or mobile location to donate, go to thebloodconnection.org/donate.

The Fall Studio Tour Preview Exhibition opens in the Kokol Gallery, in Toe River Arts’ Spruce Pine location at 269 Oak Ave, October 29 and runs through the end December 2022.  This exhibition gives visitors an opportunity to have a glimpse into each studio and plan their route. It’s also a great place to begin the tour or take a break from a day of non-stop art and artists.

There’s something breathtaking and awe-inspiring about driving through the mountains of western North Carolina in the Fall.  The way the trees show off by turning vibrant shades of red, yellow, and orange before leaving bare branches to the crisp winds and snowy days of winter, reminds us that nature herself is the original artist.

For more than a quarter century, the Toe River Arts Studio Tour has intrigued those who make the journey to visit places of inspiration and creation. Situated between Roan Mountain which boasts the world’s largest rhododendron garden and Mt. Mitchell, the highest peak east of the Mississippi, the Toe River Arts Studio Tour is a free, self-guided journey of the arts. This arts adventure through Mitchell and Yancey Counties will take visitors along the meandering Toe River, across its many bridges, around barns, acres of fields and miles of forests all while visiting the 83 talented studio artists who often take inspiration from the mountains they call home and 8 galleries featuring local and international art.

It doesn’t matter if you live up the hill or across the state. The Studio Tour provides an adventure for the intrepid seeker of the art experience. Artist studios come in many iterations—the building off to the side of the house, or across the field or down the road or right off the main road or down a gravel one-lane. Two-stories with a gallery space or small and cozy with a table set up or cleared off for display. Still there are others that devote a corner to each artist sharing the space. Wherever and however they are set up, the studios are exciting places to visit because they demonstrate the dynamic process used to create a finished piece. Every artist has their own way of telling a story, inviting visitors to ask questions, hold their work, and share a moment.

The art is as diverse as the artists who create it and features the work of glassblowers, jewelers, printmakers, potters, fiber artists, ironworkers, painters, sculptors, and woodworkers.

Natural Collector is organized by the Asheville Art Museum. IMAGE: Christian Burchard, Untitled (nesting bowls), 1998, madrone burl, various from 6 × 6 × 6 to ⅜ × ⅜ × ⅜ inches. Gift of Fleur S. Bresler, 2021.76.01.

Natural Collector | Gifts of Fleur S. Bresler features around 15 artworks from the collection of Fleur S. Bresler, which include important examples of modern and contemporary American craft including wood and fiber art, as well as glass and ceramics. These works that were generously donated by contemporary craft collector Bresler to the Asheville Art Museum over the years reflect her strong interest in wood-based art and themes of nature. According to Associate Curator Whitney Richardson, “This exhibition highlights artworks that consider the natural element from which they were created or replicate known flora and fauna in unexpected materials. The selection of objects displayed illustrates how Bresler’s eye for collecting craft not only draws attention to nature and artists’ interest in it, but also accentuates her role as a natural collector with an intuitive ability to identify themes and ideas that speak to one another.” This exhibition presents work from the Collection representing the first generation of American wood turners like Rude Osolnik and Ed Moulthrop, as well as those that came after and learned from them, such as Philip Moulthrop, John Jordan, and local Western North Carolina (WNC) artist Stoney Lamar. Other WNC-based artists in Natural Collector include Anne Lemanski, whose paper sculpture of a snake captures the viewer’s imagination, and Michael Sherrill’s multimedia work that tricks the eye with its similarity to true-to-life berries. Also represented are beadwork and sculpture by Joyce J. Scott and Jack and Linda Fifield.

Wednesday through Monday from 11am to 6pm

Rebel/Re-Belle: Exploring Gender, Agency, and Identity | Selections from the Asheville Art Museum and Rubell Museum combines works, primarily created by women, from two significant collections of contemporary art to explore how artists have innovated, influenced, interrogated, and inspired visual culture in the past 100 years.

Collage paintings, assemblages, textiles, & faux artifacts designed by Jean Hess to explore the 1920 WV mining labor dispute as metaphor for the human condition.

Three rooms are filled with an eclectic mix of collage paintings ranging in scale from 6×6” to 50×70”; 3-D assemblages and faux artifacts; hand-stitched textiles; documentation in the form of historic notes, catalog entries for a collection of ephemera, photographs.
Call 828-273-3332 for weekend hours or to make an appointment. Exhibits through November 30, 2022.
Flood Gallery Fine Art Center is a non-profit 501(c)3 organization, and educates, encourages, challenges and inspires the community through music, film, literary, and contemporary art.

“Matewan as Metaphor” is an experiment in artistic license. Mixed-media artist Jean Hess creates a personal story by combining real and imagined resources with the intention of healing her own memory and transcending limits on what is possible and allowed in creative and scholarly endeavors as well as in visual art. The 1920 mining labor dispute in Matewan, West Virginia, which involved her own family, stands for a full life and its adversities.

Matewan was, in 1920, the scene of an armed skirmish between coal miners, mining companies, local union officials and hired strike-breakers. Baldwin-Felts Detective Agency thugs hired by the coal operators traveled by train to cast striking miners and their families out of their homes. The local mayor and several Baldwin-Felts agents were killed. The chief of police, the Matewan mayor, and several other locals gathered at the train station to confront the hired guns about the unlawful evictions. The Baldwin-Felts agents refused to recognize the local authority, and a shootout ensued. The mayor, some miners, and several detectives were killed. This was one of many violent conflicts that took place in Southern WV between pro-union miners and men hired by coal companies to use force and intimidation to prevent miners from unionizing.

Jean Hess takes serious training in cultural anthropology and visual art to playful levels. Her mixed-media paintings and constructions come from personal memory and nostalgia, ancestral ties and historical fact. Mining illustrations and maps signify coal mining in early twentieth century Appalachia, as well as issues concerning extractive industries, population displacement, exploitative labor practices, suffering and loss. Using collage, paint, layered resins and found ephemera Hess experiments with myriad ways one can obfuscate, surprise and entice. Found imagery is from geography and history textbooks from the early 1900’s and before. Dimensional objects are from her family or found in junk shops over time. Much of her material may be deconstructed, obscured, scrambled or carefully embellished.
Jean Hess’ multi-variant creative output segues with an equally unpredictable life. She has lived in Washington, DC, Baltimore, Albuquerque, Santa Fe and Abiquiu, New Mexico as well as Atlanta, Dallas and now Knoxville, Tennessee. Her work-for-pay background includes stints as a computer programmer, Montessori teacher, museum registrar, writer and research consultant for government and private industry. With degrees [BA, MA] in cultural anthropology she tends to draw inspiration from wide-ranging interests, and not always according to established rules.

Hess is well-known for experimental mixed-media collage paintings and assemblages that combine the skillful use of layered paint and resins, light refraction and found materials such as antique ephemera and pressed plants. Because her palette, surface and touch are consistent, one can always tell a work of art is hers. And yet Hess likes surprises, plays with materials that are sometimes unfamiliar, operates in a controlled-experiment spirit and likes accidental detours that energize her work. While she took some undergraduate art courses she is largely self-taught.

Public collections include: Huntsville Museum of Art; Evansville Museum of Art, History and Science; Knoxville Museum of Art; University of Virginia; Farm Credit Administration; Knoxville Convention Center; City of Chattanooga; St. Mary’s Hospital Heart Institute [IN]; Canon USA.

Jean Hess is proud that much of her work is in private collections, cared for by sympathetic individuals.

A horror comedy rock musical about a Skid Row flower shop worker with low self-confidence who finds and raises a plant that feeds on human blood and flesh.

Directed by Stephanie Hickling Beckman

Book + Lyrics by Howard Ashman

Music by Alan Menken

Based on the film by Roger Corman, Screenplay by Charles Griffith

Originally produced by the WPA Theatre (Kyle Renick, Producing Director)

Originally Produced at the Orpheum Theatre, New York City by the WPA Theatre, David Geffen, Cameron Mackintosh and the Shubert Organization

$15 for General Admissions, $10 for UNCA Faculty/Staff, and $5 for UNCA Students.

This event will be held at the Carol Belk Theatre on UNC-Asheville’s campus.

One in five people in the Carolinas don’t have enough food to eat.  As we enter the holiday season, November is historically one of the hardest months for food banks across the country.  Many North and South Carolinians are either looking for ways to help those in need or looking for help themselves. The Blood Connection (TBC), the non-profit community blood center serving these two states, is dedicating the month of November to addressing the issue of food insecurity in the region by offering blood donors a way to help those in need.

In the month of November, TBC will partner with Feeding the Carolinas – a network of food banks across North and South Carolina that works to provide a healthy, adequate, and consistent food supply – to promote blood donation and food donation.  Each year, Feeding the Carolinas estimates they supply food to more than 2.3 million Carolinians facing hunger.  Feeding the Carolinas also supports the Augusta, Georgia region, which TBC has recently begun operations in.

TBC needs around 1,000 blood donations per day to supply blood to more than 100 hospitals across the Carolinas, and TBC must ensure the shelves are stocked with life-saving blood products when hospital partners call. TBC has set a goal of raising $5,000 for food banks in November, with the hopes of helping neighboring non-profits stock their shelves, as well. Like the need for blood, the need for charitable food does not go away: people in this community will always need food – especially now with inflation at never-before-seen levels.  With one blood donation, a donor can save three lives and help a family in their own community have enough food on the table for Thanksgiving.

Throughout the month of November, blood donors will have the option to donate their TBC reward points in
the TBC Store to Feeding the Carolinas. At TBC centers, food collection boxes will also be placed out for
donors to give non-perishable food items. TBC is also looking for organizations to host blood drives
benefiting Feeding the Carolinas. Blood drive hosts have the option to donate $10 or $20 per blood donor to
Feeding the Carolinas. For more information about hosting a blood drive in November, go to
thebloodconnection.org/host.