Calendar of Events

Reclaimed Creations is a unique sculpture exhibit created by renowned artist Sayaka Ganz. Utilizing reclaimed plastic objects, such as discarded utensils, Ganz creates amazing sculptures that visually appear unified at a distance, but are in fact separated when examined up close. Described as using a “3D impressionistic” style, Ganz’s exhibit includes installations of animals in motion, which are in rich in color and energy, to create an illusion of form.

About the Artist

Born in Yokohama, Japan, Sayaka Ganz grew up living in Japan, Brazil and Hong Kong. She received her Bachelor of Fine Arts degree from Indiana University, Bloomington, and a Master of Fine Arts degree in sculpture from Bowling Green State University in Ohio. A lecturer and teacher, Ganz’s work has been displayed at various institutions around the globe, including the Hermann Geiger Foundation in Cecina, Italy, the Isle Gallery in Isle of Man, and the Monterey Bay Aquarium in California.

My work is about perceiving harmony, even in situations that appear chaotic from the inside. When observing my sculptures up close, one might see gaps, holes and items being held on only by small points; step away, however, and the sculptures reveal the harmony created when the objects are aligned to the same general (but not identical) direction. Similarly, it is important to gain perspective by stepping back from current problems and look at the larger picture. Then one can perceive the beauty and patterns that exist.”

When reflecting on the current state of the environment, it seems that we have entered into times of seismic sorrows. Carbon emissions, water pollution, fracking, and changing climate patterns all point to a troubling reality with serious consequences for human and non-human populations. Through weavings, installations, sculpture, and print, artists Rena Detrixhe and Tali Weinberg (Tulsa, OK) explore the complex relationship between humans and the planet, offering insights, expressing grief, and creating space for resilience and change.

In Time of Seismic Sorrows is curated by Marilyn Zapf and organized by the Center for Craft. The Center for Craft is supported in part by the N.C. Arts Council, a division of the Department of Natural and Cultural Resources.

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.

As Virginia Woolf said, “one cannot think well, love well, sleep well, if one has not dined well.” Food and water are essential for survival, but mankind’s relationship to food has transformed over time from one of sustenance to one laden with personal and cultural significance.

A Matter of Taste explores depictions of food and drink in art and reveals how images of fruits and vegetables can function as complex metaphors for excess, status, memory, and politics. Drawn from southern museums and private collections, this exhibition showcases over 35 paintings, decorative arts, and works on paper by artists such as Andy Warhol, Wayne Thiebaud, Henri Cartier-Bresson and Claes Oldenburg.

This show spans 400 years and multiple continents, revealing the evolving role of food and drink in various media and cultural contexts. While depictions of fruit and vegetables appeared in ancient times, still life painting as an independent genre dates to 16th-century Holland.

In 19th-century America, still life paintings remained popular but evolved in terms of subject matter, media, and message. Painters such as Thomas Wightman, George Forster, and De Scott Evans embraced Dutch still lifes and used food as commentary on the current political climate and the transient state of the human condition.

Illustrated newspapers led to an increase of cartoons by artists such as Winslow Homer and William Hogarth, who utilized food and drink as social satire. The 20th-century modern art movement further changed the perception of food. The culture of mass production enabled Pop artists to elevate seemingly mundane foodstuffs to high art. Yet, other contemporary artists explored the symbolic and nostalgic role of food seen in works by Tim Tate, Linda Armstrong, and Laquita Thomson.

Visitors will also experience an elaborately set dining table fit for a sumptuous feast. Dining became its own art form over time and communicated one’s social standing and wealth. Each of the table’s six place settings represent a different culture and offer a glimpse into global dining customs. Selective drinkware will accompany this section revealing how tea sets and even punch bowls reflected an owner’s prestige.

Open 5:00 – 10:00 p.m. Advance Tickets Required. Enjoy the wonder of the park dazzlingly lit for the holidays, with a nighttime train and more.

Reclaimed Creations is a unique sculpture exhibit created by renowned artist Sayaka Ganz. Utilizing reclaimed plastic objects, such as discarded utensils, Ganz creates amazing sculptures that visually appear unified at a distance, but are in fact separated when examined up close. Described as using a “3D impressionistic” style, Ganz’s exhibit includes installations of animals in motion, which are in rich in color and energy, to create an illusion of form.

About the Artist

Born in Yokohama, Japan, Sayaka Ganz grew up living in Japan, Brazil and Hong Kong. She received her Bachelor of Fine Arts degree from Indiana University, Bloomington, and a Master of Fine Arts degree in sculpture from Bowling Green State University in Ohio. A lecturer and teacher, Ganz’s work has been displayed at various institutions around the globe, including the Hermann Geiger Foundation in Cecina, Italy, the Isle Gallery in Isle of Man, and the Monterey Bay Aquarium in California.

My work is about perceiving harmony, even in situations that appear chaotic from the inside. When observing my sculptures up close, one might see gaps, holes and items being held on only by small points; step away, however, and the sculptures reveal the harmony created when the objects are aligned to the same general (but not identical) direction. Similarly, it is important to gain perspective by stepping back from current problems and look at the larger picture. Then one can perceive the beauty and patterns that exist.”

When reflecting on the current state of the environment, it seems that we have entered into times of seismic sorrows. Carbon emissions, water pollution, fracking, and changing climate patterns all point to a troubling reality with serious consequences for human and non-human populations. Through weavings, installations, sculpture, and print, artists Rena Detrixhe and Tali Weinberg (Tulsa, OK) explore the complex relationship between humans and the planet, offering insights, expressing grief, and creating space for resilience and change.

In Time of Seismic Sorrows is curated by Marilyn Zapf and organized by the Center for Craft. The Center for Craft is supported in part by the N.C. Arts Council, a division of the Department of Natural and Cultural Resources.

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.

Thursdays 11am-1:30pm
October 18- December 13
No class November 22

Tile murals can beautifully enhance your kitchen, bathroom, or outside sidewalks and paths. Students will design their own ceramic tiles using the slab roller and press molds, then incorporate ideas and imagery through carving, sgraffito, Mishima, and ceramic decals. Underglazes, glazes, and firing will be covered. Finally, we will learn how to install these finished pieces indoor or outdoor.

Level: All Levels
Tuition: $310 + $50 Lab Fee

As Virginia Woolf said, “one cannot think well, love well, sleep well, if one has not dined well.” Food and water are essential for survival, but mankind’s relationship to food has transformed over time from one of sustenance to one laden with personal and cultural significance.

A Matter of Taste explores depictions of food and drink in art and reveals how images of fruits and vegetables can function as complex metaphors for excess, status, memory, and politics. Drawn from southern museums and private collections, this exhibition showcases over 35 paintings, decorative arts, and works on paper by artists such as Andy Warhol, Wayne Thiebaud, Henri Cartier-Bresson and Claes Oldenburg.

This show spans 400 years and multiple continents, revealing the evolving role of food and drink in various media and cultural contexts. While depictions of fruit and vegetables appeared in ancient times, still life painting as an independent genre dates to 16th-century Holland.

In 19th-century America, still life paintings remained popular but evolved in terms of subject matter, media, and message. Painters such as Thomas Wightman, George Forster, and De Scott Evans embraced Dutch still lifes and used food as commentary on the current political climate and the transient state of the human condition.

Illustrated newspapers led to an increase of cartoons by artists such as Winslow Homer and William Hogarth, who utilized food and drink as social satire. The 20th-century modern art movement further changed the perception of food. The culture of mass production enabled Pop artists to elevate seemingly mundane foodstuffs to high art. Yet, other contemporary artists explored the symbolic and nostalgic role of food seen in works by Tim Tate, Linda Armstrong, and Laquita Thomson.

Visitors will also experience an elaborately set dining table fit for a sumptuous feast. Dining became its own art form over time and communicated one’s social standing and wealth. Each of the table’s six place settings represent a different culture and offer a glimpse into global dining customs. Selective drinkware will accompany this section revealing how tea sets and even punch bowls reflected an owner’s prestige.

Open 5:00 – 10:00 p.m. Advance Tickets Required. Enjoy the wonder of the park dazzlingly lit for the holidays, with a nighttime train and more.

UPDATE: TONIGHT’S SHOW (FRIDAY) IS ALMOST SOLD OUT. WE HAVE A FEW SPOTS AVAILABLE AT 5:30, 7:30, AND 8:00. IF YOU ARE INTERESTED IN COMING PLEASE BE SURE TO CALL THE SITE IN ADVANCE! 828-645-6706.

*We are monitoring the weather for Saturday, as of right now we are still moving forward as planned. We will notify visitors of any changes.

This Christmas season we will again partner with the American Myth Center to present one of the greatest Christmas stories ever told, Charles Dickens’ A Christmas Carol, but with the Vance family and enslaved people smack dab in the middle. Through the theatrical magic of toy and shadow theater, the ghosts of Christmas past, present, and future will explore the life of Venus, an enslaved woman that live on the Vance property. Visitors will go on an extraordinary and illuminating journey through the entire site, from the Birthplace to the 1790s slave cabin.

The American Myth Center is a non-profit organization in Asheville whose mission is to create new American Myths to serve as familiar points of reference in the urgent, yet enduring, investigation of our home. For more information visit www.americanmythcenter.org.

This is a ticketed event. Tours will run every 30 minutes starting at 5:30 pm with the last tour at 8:00 pm. Adults: $5.00, 18-and-under: $2.00, 5-and-under: free. Reservations are strongly encouraged. Call the site at 828-645-6706 (9a-5p, Tues-Sat) to purchase tickets for your group. Please note, that tickets must be picked up *at least 10 minutes prior to the ticketed time or the reservation will be forfeited. Tickets are non-refundable.

Visitors can get in the Christmas spirit with holiday entertainment in our visitor center, or purchase apple cider and make a free take-away craft.

https://www.facebook.com/events/288835915045782/?event_time_id=288835935045780

Come enjoy a delectable French bistro buffet with complementary drinks and dessert by Chef/Owner Michel Baudouin at La Fête, a new private party place on the Bouchon block in downtown Asheville.

The festive evening is a fundraiser for The Roots Foundation, a local nonprofit connecting curriculum to the outdoors and empowering teachers to engage students in relevant problem solving. TRF currently works at Vance Elementary, Verner Early Learning Center and Montford North Star Academy and is the non-profit arm of Roots Hummus

This evening’s event will go directly towards student designed grade-level projects and teacher support for their implementation.

Tickets are going fast, so get yours now!

Can’t make it, but want to support? Buy a ticket for a teacher or make a donation online at www.rootsfound.org/donate

We are deeply grateful to Chef Michel for underwriting the food and staffing for this event.

https://www.facebook.com/events/301297740722779/

This Thursday, December 6th, you are cordially invited to the Astronomy Club of Asheville’s 7th annual club holiday social and fundraiser auction! The event begins at 6:30 p.m., giving you time to look over our selection of nice silent and live auction items (many of them make wonderful holiday gifts) as well as time to enjoy an appetizing spread of tasty food and refreshments!

The event is open to the general public and you need not be a member to attend.

While we are thrilled that our meeting attendance is typically astronomical (pun intended), we seldom have enough time to socialize and get to know our like-minded friends better. We’re a strange breed – we often meet in dark locations, craning our necks upwards and chatting for hours with folks we won’t recognize in the light of day. But Thursday you’ll have a chance to prove you’re not THAT strange (well…. myself excepted)! Please join us and partake in some esprit de corps, get to know each other better, bid on an item or two and contribute your company to make our holiday event a success.

AND… if you do attend, we promise you will LAUGH heartily at our guest auctioneer, Randy Latta. We haven’t a clue what character he will conjure (that’s part of the fun!) but we guarantee it will be entertaining. Do yourself a favor and come along – if not for the food, drink, good company or the chance to bid and possibly win any number of great items, then come for the LAUGHS!!!!

Those who attend and register for an auction paddle will automatically be entered to win one of three special door prizes.While you will need to be present to win, you need not bid on any item to be eligible. And if you have an item that might be suitable for our auction, please bring it along.

Food, drink, friends, prizes, a chance to show your support for our club, AND LAUGHTER. What’s not to like???

We hope to see you Thursday at the Manheimer Room at UNCA’s Reuter Center. The festivities start at 6:30 p.m.

Dominic

https://www.facebook.com/events/2227397277541401/

Breastfeeding A-Z is taught by one of HRMC’s Board Certified Lactation Consultants and provides information about the importance of breastfeeding to babies and their families. You will learn about techniques for proper latching and positions for a comfortable baby and mom to get started, and have a successful nursing experience. Combining breastfeeding with pumping and returning to work or school is also introduced in this class. Breastfeeding A-Z is a one time class being held on Thursdays from 7-9 p.m. on Feb. 15, May 3, July 12, Sept. 13, and Dec. 6. Expectant mothers should attend this class one to three months before their due date. 

For more information or to register please visit MyHaywoodRegional.com/ParentClasses or call 828-452-8440

The Herdmans are the worst kids in the history of the world. They lie, steal, smoke cigars, say things they shouldn’t, and hit little kids. So no one is prepared when this outlaw family invades church one Sunday and decides to take over the annual Christmas pageant. None of the Herdmans has ever heard the Christmas story before. Their interpretation of the tale, the Wise Men are a bunch of dirty spies and Herod needs a good beating–has a lot of people up in arms. But it will make this year’s pageant the most unusual anyone has seen and, just possibly, the best one ever. “The Best Christmas Pageant Ever” is a powerful story of misunderstanding, faith and redemption. Through most of the play, the audience can’t stop laughing, but by the end most will be watching the show through tears. A great, fun holiday experience for any age and sure to become a modern Christmas classic. A one-act production, approximately one hour in length.

Presented by the Overlook Theatre Company

Reclaimed Creations is a unique sculpture exhibit created by renowned artist Sayaka Ganz. Utilizing reclaimed plastic objects, such as discarded utensils, Ganz creates amazing sculptures that visually appear unified at a distance, but are in fact separated when examined up close. Described as using a “3D impressionistic” style, Ganz’s exhibit includes installations of animals in motion, which are in rich in color and energy, to create an illusion of form.

About the Artist

Born in Yokohama, Japan, Sayaka Ganz grew up living in Japan, Brazil and Hong Kong. She received her Bachelor of Fine Arts degree from Indiana University, Bloomington, and a Master of Fine Arts degree in sculpture from Bowling Green State University in Ohio. A lecturer and teacher, Ganz’s work has been displayed at various institutions around the globe, including the Hermann Geiger Foundation in Cecina, Italy, the Isle Gallery in Isle of Man, and the Monterey Bay Aquarium in California.

My work is about perceiving harmony, even in situations that appear chaotic from the inside. When observing my sculptures up close, one might see gaps, holes and items being held on only by small points; step away, however, and the sculptures reveal the harmony created when the objects are aligned to the same general (but not identical) direction. Similarly, it is important to gain perspective by stepping back from current problems and look at the larger picture. Then one can perceive the beauty and patterns that exist.”

When reflecting on the current state of the environment, it seems that we have entered into times of seismic sorrows. Carbon emissions, water pollution, fracking, and changing climate patterns all point to a troubling reality with serious consequences for human and non-human populations. Through weavings, installations, sculpture, and print, artists Rena Detrixhe and Tali Weinberg (Tulsa, OK) explore the complex relationship between humans and the planet, offering insights, expressing grief, and creating space for resilience and change.

In Time of Seismic Sorrows is curated by Marilyn Zapf and organized by the Center for Craft. The Center for Craft is supported in part by the N.C. Arts Council, a division of the Department of Natural and Cultural Resources.

The South has always been home to a blend of cultures — from Native Americans here by 14,000 years ago to Europeans 500 years ago, followed by Africans forced to migrate. By 1500, cultures in the South included Creek, Cherokee, Catawba, Choctaw, Chitimacha, and Coushatta, from Europe English, Scottish, Irish, and German, and Africans from Senegal to Congo. Baskets were integral in daily life, as agricultural equipment for gathering, sifting, storing, and serving the finished product or as receptacles for tools, clothes, sacred objects, and even infants.

Initially each culture had its own preferred basket material and method of manufacture — twilled rivercane for Native Americans, plaited oak for Europeans, and coiled grasses for Africans. Interaction between groups spurred adaptations to changing circumstances, such as the use of white oak by the Cherokee in the 1800s, as rivercane stands were decimated by European settlements. Native Americans also adopted the European picnic, flower, egg, and market baskets to sell in the 20th-century art market. Native and European Americans wove honeysuckle into baskets after 1854, when introduced from Japan. By the 17th century African Americans discovered bulrush along the coasts, coiling it into large, round “fanners” to winnow rice. Later bulrush was one medium among sweetgrass, pine needles, and palmetto, giving rise to the name “sweetgrass baskets” along the coast.

Baskets were woven not only for use in the fields and homes or for sale in art galleries but also as a connection to ancestors and spirits, as designs were said to come from inside one’s head, from memories of one’s mother’s motifs, or from the Creator. Indeed, working with one’s hands in nature to gather materials and to form them into a basket was considered spiritually and physically healthy, becoming a part of the practice of occupational therapy around World War I.

Today, basketweavers in the South from all three traditions are teaching the next generation to continue this art. Artists from across the region work with old and new materials in old and new forms, innovating for their legacy, for art’s sake, and for political causes, as embodied in the varied vessels in this gallery and epitomized in the virtuosic miniature examples in the case at right.