Calendar of Events

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!

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.

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.

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.

Great news for poets and poetry lovers: Dark City Poet’s Society is returning to the Black Mountain Library. DCPS is a completely free poetry group that is open to poets of all ages and experience levels. Join us at the Black Mountain Library from 6-7:30 p.m. on the first Tuesday of every month for our (respectful) critique group. DCPS will meet at BAD Craft from 6-7 p.m. on the third Tuesday for our monthly open mic Poetry Night. Find out more on Instagram @darkcitypoetssociety or contact the Black Mountain Library.

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!

STATIONARY FUN – Creekside play area has a treehouse and wee slide ➤ The Big Barn has our Sound Silo full of instruments to play on and make noise, trikes on the trike track around a REAL tractor and cornhole boards(ask the staff for bags) ➤ On the grassy slope behind the Big Barn we’ve got our famous and fast culvert tunnel slides for all ages, hammocks on the hill and tetherball!

Availability: All stationary fun is available every day during business hours of 10-5, starting September 2nd, through the rest of the season- tetherball will be back in action starting September 6th!

ANIMALS TO SEE – We will have a brooder house full of chicks in various ages and stages all season, there will typically be mama pigs and piglets in agritourism pens on the hill, more rarely there will be grazing cattle in a nearby field.

FOOD TRUCK SCHEDULE

9/2 Sat  11-4 Fern Leaf CCS Food Truck

9/16 Sat 11-4 Milk & Honey Food Truck – they will be serving HNG beef for their all-American burger!

9/24 Sun 11-4 *Big Barn Market* Root Down Farm Food Truck

9/30 Sat 11-4 Milk & Honey Food Truck

10/7 Sat 11-4 Fern Leaf CCS Food Truck

10/14 Sat 11-4 Milk & Honey Food Truck

10/15 Sun 11-4 El Bodegon Food Truck

10/22 Sun 11-4 El Bodegon Food Truck

10/29 Sun 11-4 *Big Barn Market* Grush’s Cajun Dino Grill Food Truck

11/4 Sat 11-4 Fern Leaf CCS Food Truck

FALL SEASONAL OFFERINGS

APPLES – Our partners in Edneyville, NC, Lyda Farms, bring some of the best in the region. Local and low spray, folks come every year to get the best of fall in NC by the bag to bake, stew, butter, sauce and of course, crunch into while sitting on the farm.

Availability: Apples will be available to buy starting September 9th, they will typically run out Mid to late October.

FRESH PRESSED CIDER – We press fresh apple cider every year, comprised of our historical orchard apples on the Old Sherrill’s Inn property and apples from our partner Lyda Farms. This is a raw, unpasteurized product – delicious and changeable as the season, no added sugar or seasonings.

Availability: 1st pressing September 13th, bottled cider will be in the store for purchase September 14th!

JACKOLANTERN PUMPKINS – We work with several WNC veggie farmers in the area, including Hawkins Farms. We’ll have pumpkins arranged all around the Farm Store to display their beauty AND make sure you get *just the right one*. The seeds are dynamite when roasted, too…

Availability: Coming Mid-September, they will typically run out by end of October so make sure you get yours! 

EDIBLE SQUASH & DECORATIVE GOURDS – From Mr. Anthony Cole’s farms, we have some long-lasting festive gourds to decoarate for the season, and a broad variety of edible squashes and pumpkins perfect for pies, soups and pasta.

Availability: Coming Mid-September.

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.

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.

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.

Asheville’s only and original DRAG QUEEN BAR CRAWL!
Experience Asheville’s one-of-a-kind Drag Queen Bar Crawl, a unique fundraiser supporting local non-profit organizations. “Beer Flight” offers an unparalleled opportunity to discover the vibrant craft brewery scene of Beer City while enjoying the delightful company of our hilarious drag queen flight attendant. Perfect for special occasions, including birthdays, weddings, and even divorce parties, this event promises a memorable and enjoyable experience for all fans of drag and beer alike. Don’t miss out on this exciting opportunity to support local non-profits and have a blast doing it!

The two-hour tour promises a side-splittingly funny experience, featuring:

• The beer! The drag queen! FUN!
• 2-3 Flights of craft beer/seltzer/wine/sours ($45 value)
• Souvenir sticker ($5 value)
• Mid-flight snack (priceless!)
• VIP seats at an after-party event*
• No cover and no waiting at venues
• Photo ops with your drag queen guide
• See FAQs at the bottom of this page
• *After-party not available on all tours; ask!

Prepare for takeoff as Bearded Lady Productions presents a first-class “beer flight” bar crawl tour featuring the company of a hilarious drag queen wannabe flight attendant. You won’t want to miss this two-hour tour, where you’ll get to enjoy fine brews, seltzers, wines, and sours from multiple iconic downtown breweries, all while being entertained by a fabulous drag queen leading the way. Tickets for the first-class “beer flight” tour include the tour itself, all beverages along the route, fun surprises, and other perks. Seating is limited, so book your tickets now at https://www.AshevilleDragBrunch.com. You won’t want to miss this chance to experience the best of Asheville’s craft brewing scene while being entertained by a top-notch fabulous queen.

The tour has multiple dates and most tours end with VIP seats at a 2-hour special event, drag karaoke or drag music bingo. And don’t worry if a real airplane is not available for the tour, as the one-mile trip will be on foot. But that won’t stop you from experiencing the high-flying adventure that “Beer Flight” has planned for you. The after-party event is not available on all tours, so be sure to ask about it when booking your ticket. This is the perfect way to spend an afternoon or evening, so grab your friends and get ready for an unforgettable experience. The sky’s the limit with this unique first-class experience!

Upon arrival at one of Asheville’s premier craft breweries, guests will be greeted by a world-class drag queen who will serve as their stewardess for the night. As guests wait for the “flight” to board, they will have the opportunity to mingle with their fellow passengers. The tour will then take off, with the drag queen leading the way through the vibrant streets of Asheville. Although a real airplane may not be available, all seats are first-class and drinks are included. Guests will be treated like royalty, with no cover and no waiting at the breweries along the route, and a guided tasting of each flight.

Join us for this fun filled “Make and take” seminar that will provide you with all the materials for a lasting and ever changing table design from Thanksgiving all through the holiday season! Unleash your creativity as we teach all the tricks to design your own unique table arrangement, using a variety of natural fresh and dried components that you will enjoy transforming throughout your holiday season. Wine and snacks provided.

NATION OF LANGUAGE
Brooklyn-based synth auteurs Nation of Language first arrived to most in 2020 as one of the most heralded new acts of recent memory, having only released a handful of singles but already earning high-praise from the likes of NME, FADER, Stereogum, Pitchfork, etc.. Inspired by the early new-wave and punk movements, the band quickly earned a reputation for delivering frenzied nights of unconventional bliss to rapt audiences, and established themselves as bright young stars emerging from a crowded NYC landscape prior to their release of one of the most critically acclaimed debut albums of the year — Introduction, Presence. The band’s ability to blend the upbeat with a healthy dose of sardonic melancholy made it a staple on year-end ‘Best of’ lists, led PASTE magazine to dub the album ‘The most exciting synth-pop debut in years’ , and landed the band major radio play from the BBC, KCRW, KEXP, SiriusXM and countless others.

Their 2021 follow up, A Way Forward then saw the band pushing even further into analog electronic landscapes while channeling a ferocious energy on singles like ‘Across that Fine Line’ & ‘This Fractured Mind.’ With NME now dubbing their sophomore album ‘A true modern-day classic’ and Rough Trade tabbing it as one of its Top Albums of the year, the band has gone on to headline a string of packed shows both domestically and Internationally in ’22 and well into 2023.

MISS GRIT
“For the way out, I think, we have to follow the cyborg. We have to be willing to be disloyal, to undermine. The cyborg is powerful because she grasps the potential in her own artificiality, because she accepts without question how deeply it is embedded in her.” – Jia Tolentino (Trick Mirror: Reflections on Self-Delusion, “Athleisure, barre and kale: the tyranny of the ideal woman”)

To be a cyborg means to have been manufactured; to have been downloaded with information, characteristics, and abilities meant to carry out a function which will serve its creator. It is to have stepped into the world with very little control under an all-powerful hand. Miss Grit knows that to be a cyborg also means to have potential beyond your creator; to inevitably grow a hand even more powerful.

New York-based musician Margaret Sohn (they/she) created Miss Grit to function as an outlet for their own analysis and expression of self. Called a “polymath” by NME in early 2019, their process is introspective, their vision precise. Sohn produced Follow The Cyborg, her debut fulllength album, entirely in her home studio, and mostly in solitude with several guest collaborators joining — Stella Mozgawa of Warpaint, Aron Kobayashi Ritch of Momma, and close friend and fellow songwriter Pearla.

Every Wednesday Trivia Night

Trivia Night at Hickory Tavern

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!

STATIONARY FUN – Creekside play area has a treehouse and wee slide ➤ The Big Barn has our Sound Silo full of instruments to play on and make noise, trikes on the trike track around a REAL tractor and cornhole boards(ask the staff for bags) ➤ On the grassy slope behind the Big Barn we’ve got our famous and fast culvert tunnel slides for all ages, hammocks on the hill and tetherball!

Availability: All stationary fun is available every day during business hours of 10-5, starting September 2nd, through the rest of the season- tetherball will be back in action starting September 6th!

ANIMALS TO SEE – We will have a brooder house full of chicks in various ages and stages all season, there will typically be mama pigs and piglets in agritourism pens on the hill, more rarely there will be grazing cattle in a nearby field.

FOOD TRUCK SCHEDULE

9/2 Sat  11-4 Fern Leaf CCS Food Truck

9/16 Sat 11-4 Milk & Honey Food Truck – they will be serving HNG beef for their all-American burger!

9/24 Sun 11-4 *Big Barn Market* Root Down Farm Food Truck

9/30 Sat 11-4 Milk & Honey Food Truck

10/7 Sat 11-4 Fern Leaf CCS Food Truck

10/14 Sat 11-4 Milk & Honey Food Truck

10/15 Sun 11-4 El Bodegon Food Truck

10/22 Sun 11-4 El Bodegon Food Truck

10/29 Sun 11-4 *Big Barn Market* Grush’s Cajun Dino Grill Food Truck

11/4 Sat 11-4 Fern Leaf CCS Food Truck

FALL SEASONAL OFFERINGS

APPLES – Our partners in Edneyville, NC, Lyda Farms, bring some of the best in the region. Local and low spray, folks come every year to get the best of fall in NC by the bag to bake, stew, butter, sauce and of course, crunch into while sitting on the farm.

Availability: Apples will be available to buy starting September 9th, they will typically run out Mid to late October.

FRESH PRESSED CIDER – We press fresh apple cider every year, comprised of our historical orchard apples on the Old Sherrill’s Inn property and apples from our partner Lyda Farms. This is a raw, unpasteurized product – delicious and changeable as the season, no added sugar or seasonings.

Availability: 1st pressing September 13th, bottled cider will be in the store for purchase September 14th!

JACKOLANTERN PUMPKINS – We work with several WNC veggie farmers in the area, including Hawkins Farms. We’ll have pumpkins arranged all around the Farm Store to display their beauty AND make sure you get *just the right one*. The seeds are dynamite when roasted, too…

Availability: Coming Mid-September, they will typically run out by end of October so make sure you get yours! 

EDIBLE SQUASH & DECORATIVE GOURDS – From Mr. Anthony Cole’s farms, we have some long-lasting festive gourds to decoarate for the season, and a broad variety of edible squashes and pumpkins perfect for pies, soups and pasta.

Availability: Coming Mid-September.

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.

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.