The Center is offering free, unguided visits and affordable tours of its exhibitions to the public. Guests can pre-register for a 30-minute visit to explore the current exhibitions, learn more about the Center’s national impact in their Craft Research Fund Study Collection, and enjoy interactive activities.

Sleight of Hand, curated by Center for Craft 2020 Curatorial Fellow Angelik Vizcarrondo-Laboy, centralizes humor in the creative exploration of some of our most pressing contemporary social issues. On view beginning October 23 in the Bresler Family Gallery, the show highlights six artists of color currently working in mixed media, primarily clay, to approach issues like culture, race, tradition, and resilience through irreverent, absurd, ironic, cute, anthropomorphized, and eccentric objects.

In her statement about the show, Vizcarrondo-Laboy, includes two definitions for the phrase “sleight of hand”: “a cleverly executed trick or deception,” and “a conjuring trick requiring manual dexterity.” The show’s six artists draw viewers into their works through their use of whimsical forms, only to reveal deeply serious issues tied to current events and conversations. Vizcarrondo-Laboy explains, “For these artists, humor is not merely an aesthetic strategy; it is also a tool of resistance, resilience, and healing.”

“We are so pleased to have supported Vizcarrondo-Laboy through the Center’s 2020 Curatorial Fellowship program,” says Center for Craft Assistant Director and Curator Marilyn Zapf.  “Her visionary, thoughtful, and research-driven approach to Sleight of Hand presents and contextualizes current artistic strategies and timely conversations in craft that propels the field forward.”

The exhibition updates the irreverent approaches of anti-establishment Bay Area Funk artists like Robert Arneson and David Gilhooly with a new group of young, emerging artists shifting the field and future of ceramics to re-centralize makers of color within an ever-diversifying landscape of visual arts.

Artists in the exhibition include Chicago-based Salvador Jiménez-Flores, whose piece, La resistencia de los nopales híbridos (The Resistance of the Hybrid Cacti), explicitly references Arneson’s iconoclastic self-portraiture, while also commenting on Jiménez-Flores’ own Mexican heritage and issues facing the Latinx community. Los Angeles-based artist Diana Yesenio Alvarado slyly remixes symbols familiar from popular culture, like clowns and Disney characters, to explore the sometimes contradictory depths of human experiences, particularly in her hometown of East L.A. Iraqi-American artist Maryam Yousif’s Puabi Palms Pot playfully imagines a figure of ancient history, Queen Puabi of Sumer, as a famous modern-day pop star whose visage graces ceramic vessels festooned with iconography of the Middle Eastern landscape.

Besides the ceramic works, the exhibition also features a video installation from Colombian-American artist Natalia Arbalaez, as well as a two-dimensional painted work from Mexican-American artist Yvette Mayorga, which also incorporate the history and uses of ceramics, both traditionally and experimentally.

This is the second exhibition from this year’s 2020 Curatorial Fellowship recipients. Each year, the Curatorial Fellowship recognizes up-and-coming curators working at the cutting edge of craft. Three recipients organize shows at the Center for Craft as part of the Center’s larger conversation around craft and its evolution. Learn more at centerforcraft.org.

2020 A YEAR OF COVID, TURMOIL, UNCERTAINTIES, HEROES & HOPE

The year 2020 for better or worse will go down in American history as a pivotal moment. It has been often said that history is written for and by the victors.

But nowadays in a world overwhelmed with 2-second tweets, forgettable social media, conspiracy theories and online rages; modern history seems to be written by the distracted, the delusional and the destructive.

Mountain Made, a local arts & crafts boutique in Grove Arcade, is taking a different approach. We are creating a public history journal of poetry, personal musing, thoughtful insights and yes, rants on “The Year 2020”. They could be funny or serious.

We have setup two interactive art stations inside the gallery:

* The first one is where you can quickly put down your thoughts on some blank paper (the original “i-pad”) and leave it with us.

* The other is a shared, public painting series where you can lay brush to canvas if you are more a visual person.

James D. & Judith S. Moore have been collecting studio glass from Western North Carolina for the past 40 years. In honor of our reopening, the Moores have generously donated or promised much of their stunning collection to the Museum. This inaugural exhibition in the Judith S. Moore Gallery highlights the beauty of their collection and illustrates the depth with which they have collected certain foundational artists in the Studio Glass Movement.

50 Years of Western North Carolina Glass is organized by the Asheville Art Museum. This exhibition is supported in part by the Judy Appleton Memorial Fund.

Beginning October 7, the three-hour documentary-styled art installation Question Bridge: Black Males will be on view at the Asheville Art Museum. This innovative transmedia project facilitates a dialogue between Black men from diverse and contending backgrounds, and creates a platform for them to represent and redefine Black male identity in America. The work will be on view during regular public hours from October 7, 2020 through March 15, 2021.

Question Bridge: Black Males is a project that explores critically challenging issues within the African American male community by instigating a transmedia conversation among Black men across geographic, economic, generational, educational, and social strata of American society. Question Bridge provides a safe setting for necessary, honest expression and healing dialogue on themes that divide, unite, and puzzle Black males today in the United States.

Adonna Khare, Pool Party, 2015, carbon pencil on paper, 6 × 20 feet. Collection of the Artist. © Adonna Khare, image Phil Hatten.

An exhibition highlighting the works of John James Audubon juxtaposed with the work of 21st-century artists who continue his tradition of animal allegories and metaphors is currently on view at the Asheville Art Museum. The exhibition features more than 40 works and will be on display in the Explore Asheville Exhibition Hall through November 30.

Yet another reason to love fall in WNC! The front window display of Woolworth Walk will come alive with wildlife as imagined by 17 local artists. Mark your calendars and visit Woolworth Walk in October to purchase your favorite, these works are sure to sell out fast! Not only will you go home with a beautiful piece of art, but you will be supporting the wild ones and the mission of Appalachian Wildlife Refuge!

Virtual Visits for Students

Groups of pre-K–12 students are invited to schedule an interactive Virtual Visit to the Museum! Led by volunteer docents with Museum staff, our inquiry-based, conversational Virtual Visits introduce the Museum’s galleries with a 3D tour and challenge students to hone their observation skills. All pre-K–12 Virtual Visits make connections to the NC Standard Course of Study.

Virtual Visits for pre-K–12 groups are $50 for 5–25 participants from one or multiple devices through Zoom or Google Meet. Virtual Visits are available Monday through Friday from 9am to 4pm, and last 30–45 minutes. At least two weeks’ advanced notice is required.

For more information about Virtual Visits for adults, college, and university students, click here. For Virtual Visits for family and friend groups with children, click here.

Aaron Wood is quite the renaissance music man. He grew up steeped in the traditions of blues and folk music of North Carolina. His father has shared the stage with the likes of Bill Monroe and Ralph Stanley and performed at The Grand Ole Opry, taking Aaron with him every chance he got. It didn’t take long before the music took hold, and he studied any kind of music he could get his fingers on.

One look at the long list of artists he has shared the stage with exemplifies his diversity and respect from his musical peers. From Jimmy Martin to Leon Russel, R.L. Burnside to Warren Haynes, Sara Evans to Carlos Santana, Aaron has played with and learned from some of those who have helped shaped music into what it is today.

A Wednesday tradition at Oklawaha Brewing Company

The French Broad Valley Music Association: FBVMA jam session is focused on regional fiddle tunes and songs. Carol Rifkin and John Mitchell cohost weekly, bring an instrument to play or just enjoy the music, its free, kid friendly, donations encouraged.

Key Players are intermediate to advanced but beginners are most welcome and encouraged to attend to listen, learn/quietly play along. More experienced players sit in the inner circle and take turns choosing fiddle tunes or songs. Guests, families and kids are invited to listen and often sing along. This style of community play has been used to entertain and pass down music to kids for generations.

The French Broad Valley Music Association is a 501c3 non-profit organization formed to celebrate local musical heritage. “Our community. Our music. Our sense of place.”