Buncombe County’s newly consolidated 911 Call Center is looking to complete membership of its Communications Steering Committee (CSC) with a community member at-large. As part of the agreement of the consolidation, the CSC will meet at least quarterly to review performance and compliance data and to consider and resolve questions, issues, and disputes relating to 911 call center operations.

The CSC membership includes:

1. Buncombe County Director for 911 Communications
2. Sheriff or designee
3. Chief of Asheville Police Department or designee
4. Asheville Fire Chief or designee
5. Buncombe County Management designee
6. A representative from among other municipalities’ law enforcement agencies dispatched through the 911 Call Center
7. A representative from among other municipal and County fire departments dispatched through the 911 Call Center
8. One community member at-large.

If you would like to be considered for the community member at-large position on the CSC, please answer the below questions and follow the instructions for submitting them.

Application Questions

Name:

Contact Information (phone and/or email):

1) Briefly, explain why you want to be a part of the Communications Steering Committee.

2) How will your life experience and unique perspective help us in regard to performance and compliance data and resolving questions, issues, and disputes relating to 911 call center operations? Please note if you are bilingual.

3) What do you consider the most pressing challenge for public safety communications (911)?

4) Where do you live?

• Asheville City
• South Buncombe (such as Arden/Avery’s Creek/Royal Pines)
• North Buncombe (such as Woodfin/Weaverville/Barnardsville)
• East Buncombe (such as Swannanoa/Black Mountain/Montreat)
• West Buncombe (such as Candler/Leicester)

5) Have you lived in Buncombe County for 1 year or more? Yes or No

Submit your application questions by email or in person to Jennifer Aviles by May 31, 2022, to [email protected] or 200 College St., Third Floor, Asheville NC 28801. If you have any questions, please contact Jennifer Aviles at (828) 250-4089.

Dates: July 11 – 16, 2022
Application: Available now through MyBMC
Cost: A $600 fee covers all housing, meals, classes, materials, and concert tickets. Spots are limited and applications will be reviewed on a rolling basis.

Please note: Proof of COVID-19 vaccination is required for all students, faculty, and summer staff for the 2022 season. Please see our FAQ page for more information.

Program Summary

Brevard Music Center (BMC) presents The Brevard Project: Reimagining the Future of Orchestral Programming, a six-day intensive seminar and think-tank on orchestral programming intended for professionals and influencers in the orchestral field. Presented by Brevard Music Center in partnership with Bard College, the Blair School of Music at Vanderbilt University, the Chicago Sinfonietta, the South Dakota Symphony, the University of Michigan School of Music, and Project Director Joseph Horowitz, The Brevard Project takes place July 11-16, 2022. The central goals of The Brevard Project are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire.

Curriculum

The Brevard Project: Reimagining the Future of Orchestral Programing complements Brevard Music Center’s week-long “Dvořák’s Prophecy” festival from July 11-16 and is inspired by Joseph Horowitz’s acclaimed new book Dvořák’s Prophecy and the Vexed Fate of Black Classical Music. Part think-tank, part seminar, this inaugural Project gathering equips practitioners and scholars alike to begin to answer questions about the dense nexus of culture and race, of historical, political, and moral reckonings surrounding the story of American orchestral music. The central goals of this program are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire. The Brevard Project is designed for conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and engaged orchestra Board members.

Moving forward requires a fresh and closer look at our musical past – and to the lagging formation of an American symphonic canon. A new narrative of American classical music will be proposed that explores timely and topical issues that impact present and future orchestral programming. Why did our repertoire remain so stubbornly Eurocentric? What can we learn from this history? What can be mined from the treasure trove of long-hidden indigenous and Black music that can help to pave the future?

Classroom sessions will be highly interactive, drawing upon first-hand accounts of humanities-infused approaches to programming and community engagement. Topics of exploration include creating a “new paradigm” for American orchestral repertoire, rethinking the concert experience, and redefining the role of the music director. Participants will be challenged to envision programming and organizational initiatives to promote symphonic events grounded in the American experience, past and present.

The Faculty

A remarkable faculty has been assembled for this groundbreaking exercise.
*virtual participant

Joseph Horowitz, Project Director
Leon Botstein, President, Bard College; Music Director, American Symphony; Founder, Bard Festival and The Orchestra Now
Lorenzo Candelaria, Dean, Blair School of Music at Vanderbilt University
Mark Clague, Music Historian, University of Michigan
JoAnn Falletta*, Music Director, Buffalo Philharmonic Orchestra
Christopher Gibbs*, Music Historian, Bard Conservatory; Artistic Co-Director, Bard Festival
Delta David Gier, Music Director, South Dakota Symphony
Blake-Anthony Johnson, CEO, Chicago Sinfonietta
Keith Lockhart*, Artistic Director, Brevard Music Center
Douglas McLennan, Founder/Editor, ArtsJournal
Jason Posnock, Chief Artistic Officer, Brevard Music Center
Jesse Rosen, Former CEO, League of American Orchestras
Larry Tamburri, CEO, Newark School of the Arts (former CEO, Pittsburgh and New Jersey Symphonies)

The Performers

Lara Downes, Pianist, producer, arts advocate
Sidney Outlaw, Baritone/pedagogue, Ithaca College
George Shirley, Tenor/pedagogue, University of Michigan

Enrollment Information

Conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and Board members are all encouraged to apply for The Brevard Project.

Capacity is limited. A $600 fee covers all housing, meals, classes, materials, and concert tickets for the week. Applications will be reviewed on a rolling basis. Apply now through MyBMC.

Old Kentucky Home -The Thomas Wolfe Memorial

American Novelist Thomas Wolfe (1900-1938)

Considered by many to be one of the giants of 20th-century American literature, Thomas Wolfe immortalized his childhood home in his epic autobiographical novel, Look Homeward, Angel. Wolfe’s colorful portrayal of his family, his hometown of “Altamont” Asheville, North Carolina, and “Dixieland” the Old Kentucky Home boardinghouse, earned the Victorian period house a place as one of American literature’s most famous landmarks.

House tours are offered daily at half past each hour. Last tour leaves at 4:30 pm.
Group tours by reservation.

Adult – $5.00
Student (ages 7-17) – $2.00
Adult Group (10+) – $2.50 each
Student Group – $2.00 each
6 & under – Free

Hours of Operation

Led by Stewart/Owen Dance Co-Directors, Vanessa Owen and Gavin Stewart, this open level adult contemporary dance class gradually awakens the body and senses through guided improvisation and a follow along warm-up, followed by foundational across-the-floor exercises and center-work combinations. All experience levels welcome!

In person: $10, pay at the door

Online: $7 suggested donation, contact [email protected] for class link and details.

About Stewart/Owen Dance: Gavin Stewart and Vanessa Owen, a husband and wife duo, are the co-directors of Western North Carolina based Stewart/Owen Dance. Their choreography has been presented by festivals and companies across the U.S., and their careers have most notably taken them around the globe on fifteen U.S. State Department tours to teach, perform and choreograph contemporary dance with Washington D.C. based Company E. In 2017 they made North Carolina their home base where they work towards building a sustainable community for professional dance artists to set roots. They have choreographed music videos for artists such as Moses Sumney, Sylvan Esso and Ben Phantom. Gavin and Vanessa won the Audience Choice Award at the NYC Dance Gallery Festival 2018, were commissioned as Dance Gallery 2019 Level UP Artists, are recipients of a McDowell Regional Artist Project Grant, a North Carolina Artist Support Grant and were voted “Artists Who Most Pushed the Boundaries with the Human Body” by 2020 Asheville Fringe Arts Festival. Since the pandemic, they have focused on producing COVID-conscious dance experiences for live audiences, including drive-up performances and a guided walk-along dance exhibit presented in residence with Asheville’s beloved Wortham Center for the Performing Arts.

April 1st through May 26th, 2022

Looking for a weekend of exploration and excitement for your troop? Look no further than our biggest scout event of the year! Pack your camping gear and get ready for hands-on programs and a night under the stars.

Featured Artists: Judi Harwood (clay) Colin Richmond (clay) Cori Saraceni (mixed media) Lyn Lyndall (leather) Lauren Faulkenberry (paper)

Extension Master Gardener^SM volunteers maintain a composting demonstration site at the Western NC Farmers Market, at the Jesse Israel & Sons Garden Center. After a two-year hiatus, due to Covid, the site is reinstituting public demonstrations, beginning April 9, 2022.

When to Visit?
The site is staffed and provides demonstrations from 10:00am to 1:00pm on the second Saturday each month, April through September.

What Will You See?
There are five different composting methods on display at the site. There is a single bin unit, a tumbling composter, a wood pallet bin and a classic 3-bin system — we also usually bring an example of vermiculture on each demo day.  The site is stocked with informational pamphlets on the how-to and why of composting and they complement the information available in the composting video on this website. Click here to view the video: Making and Using Compost at Home.

An additional Composting demonstration area is located at The Learning Garden at the Extension Office, 49 Mount Carmel Road, Asheville, NC 28806.  Click here for details about The Learning Garden.

Featured Artists: Jude Stuecker (fiber) Erica Bailey (jewelry) Mary Dashiell (clay) Steve Miller (wood) Rex Redd (clay)

From sheep shearing to wearable textiles – learn the process of fiber art. Guild Makers and friends will demonstrate a variety of techniques during this free community event.

Drop off your broken appliances, old computers, white styrofoam, and cardboard and show the people you love that you were listening the first time they asked you to clean out the garage.

Also, bring your old jeans to H2R and the Nesbitt Habitat Collaborative will turn them into insulation for a Habitat for Humanity home. 

By recycling your old jeans, you keep easy-to-recycle denim out of the landfill and give it a new life. Will you help Nesbitt reach their goal to collect 500 pairs of jeans this spring?

Take a walk into Thomas Wolfe’s “Altamont.” After Look Homeward, Angel was published in October 1929 many Asheville citizens were outraged to find themselves portrayed, often negatively, in the book. Discover some of the real people behind the fiction! Join us for the Look Homeward Riverside Cemetery walking tour. The tours include information about the real person and quotes from Wolfe’s work describing the fictional person. Meet your guide at the gate to the cemetery. Tickets $5.00/person (plus tax) in advance at the Thomas Wolfe Memorial.

“My work focuses on deteriorating architecture. These structures, designed to be huge forces of permanence, are continually being challenged, destroyed and forgotten. I see an inherent honesty in the face of my subject. Among all of the clutter—the shards of wood and layers of rubble—there remains a gentle resolve. As I work, I study these structures incessantly. The buildings, often on the brink of ruin, have something very energized and present trying to escape from their fragmented reality.”  –Seth Clark

This first solo show of Seth’s work at Momentum’s new space features large-scale works from his Barn, Ghost, and Aerial View Series.  The collection also includes some of the artist’s sculptural objects in wood.  Abstract works, which still reference weathered architecture, such as Lath Study and Vinyl Study, round out the exhibition.

• March 17 to 20
• April 7 to 10
• April 14 to 17
• May 12 to 15
• June 2 to 5

Liz Spear will be demonstrating weaving fabric for clothing – for years she organized the Mother’s Day Fashion Show here at the Folk Art Center, and she’ll have some of her hand-crafted wearables for you to see this week as well. She will be in the lobby of the Folk Art Center on the Blue Ridge Parkway. Call ahead for the latest updates: 828-298-7928.

Yoga with baby goats…it is just as ridiculous and amazing as it sounds. You can expect to grin, giggle, move, and flow alongside the sweetest little snuggly socialites. The goats may pull your attention away from your movement practice from time to time but they are the most adorable anchors to the present moment and can spark pure joy.

Upcoming Public Classes:
May 14
May 28
June 11
June 25

Private classes are available daily with advanced notice!

Disconnect with stress and connect with loving, social baby goats! This is a unique opportunity to spend time outdoors and let the busyness of the world melt away for a moment. You can expect a beginner-friendly yoga class that is easy to follow…and rejoin if you find yourself distracted throughout.

Wear loose fitting clothing, long pants, shirts with sleeves, and clothes that you don’t mind getting a bit dirty. Please plan on bringing your own yoga mat or you may rent a mat in advance for $5. These events will be held rain or shine. In the case of inclement weather, we’ll move under the cover of the open air milking barn. Don’t forget to bring an open mind and adventurous spirit! It is sure to be an experience to remember!

During the month of May, buy one entrée and get a free dessert at Brixx Wood Fired Pizza in Biltmore Park. Mention that you saw this offer in the Town Square Reminder email newsletter and enjoy warm, friendly service over scratch made wood fired fare either in the dining room or on the spacious patio.

Gillian Laub, Amber and Reggie, Mount Vernon, Georgia, 2011, inkjet print, 40 × 50 inches. © Gillian Laub, courtesy of Benrubi Gallery.

American photographer Gillian Laub (born New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness.

In 2002, Laub was sent on a magazine assignment to Mount Vernon, GA, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated.

Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation’s history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable.

Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.

Southern Rites is a specific story about 21st century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?

Southern Rites is curated by Maya Benton and organized by the International Center of Photography.

Brighten your walls with with works from Artsville Collective’s upcoming exhibition, “In Living Color: At Home with Paint, Paper and Thread.”  Allow these abstract pieces, in varying sizes and mediums, to light up your life. Collectively, the artwork’s tonal range is of blended neutrals and ventures into spring and fall palettes. Suit your design pleasures with pure color or wabi-sabi textural designs in a range of perspectives from three uniquely talented artists: Betsy Meyer, fibers; Karen Stastny, painting, and Michelle Wise, mixed media. Also showing: the Retro pop art of Daryl Slaton, which can be activated on your phone to reveal an animated story. For a softer approach, consider the mixed media art of Louise Glickman using paint, textiles, and natural plant materials.

Black Mountain College: Idea + Place Lower Level Gallery with Companion Digital Exhibition How can an idea inform a place? How can a place inform an idea? Would Black Mountain College have had the same identity and lifespan if it had been located in the urban Northeast, the desert Southwest, or coastal California? How did BMC’s rather isolated, rural, and mountainous setting during the era of the Great Depression and the Jim Crow South influence the college community’s decision-making and the evolution of ideas upon which it was based? This exhibition seeks to delve into these questions and others by exploring the places of Black Mountain College: its two very different campuses, its influential predecessor the Bauhaus in Germany, and the post-BMC diaspora. Curated by Alice Sebrell, Director of Preservation

adVANCE! Modernism, Black Liberation + Black Mountain College Upper Level Gallery with Companion Digital Exhibition Featuring the work of contemporary sculptor Larry Paul King in conversation with Black Mountain College modernist masters including Jacob Lawrence, Gwendolyn Knight Lawrence, Josef Albers, Leo Krikorian, and Sewell Sillman. Premiering three Jacob Lawrence lithographs new to the BMCM+AC permanent collection. adVANCE! celebrates Black Mountain College’s role in early civil rights and the ongoing role of Black, modernist artists in the pursuit of liberation and justice. Curated by Marie T. Cochran, Founder of the Affrilachian Artist Project

Led by Stewart/Owen Co-Directors, Vanessa Owen and Gavin Stewart, this class begins with full body conditioning followed by a series of technical modern exercises, and culminates in either phrase creation or Stewart/Owen repertory. Dancers are encouraged to modify for their own bodies and spaces! We recommend this class to experienced dancers who are looking for a fast-paced contemporary class that pushes their physical and mental boundaries.

In person: $10, pay at the door

Online: $7 suggested donation, contact [email protected] for class link and details.

About Stewart/Owen Dance: Gavin Stewart and Vanessa Owen, a husband and wife duo, are the co-directors of Western North Carolina based Stewart/Owen Dance. Their choreography has been presented by festivals and companies across the U.S., and their careers have most notably taken them around the globe on fifteen U.S. State Department tours to teach, perform and choreograph contemporary dance with Washington D.C. based Company E. In 2017 they made North Carolina their home base where they work towards building a sustainable community for professional dance artists to set roots.They have choreographed music videos for artists such as Moses Sumney, Sylvan Esso and Ben Phantom. Gavin and Vanessa won the Audience Choice Award at the NYC Dance Gallery Festival 2018, were commissioned as Dance Gallery 2019 Level UP Artists, are recipients of a McDowell Regional Artist Project Grant, a North Carolina Artist Support Grant and were voted “Artists Who Most Pushed the Boundaries with the Human Body” by 2020 Asheville Fringe Arts Festival. Since the pandemic, they have focused on producing COVID-conscious dance experiences for live audiences, including drive-up performances and a guided walk-along dance exhibit presented in residence with Asheville’s beloved Wortham Center for the Performing Arts.

N. C. Wyeth, Eight Bells (Clyde Stanley and Andrew Wyeth aboard Eight Bells), 1937, oil on hardboard, 20 × 30 inches. Bank of America Collection

The Wyeths: Three Generations | Works from the Bank of America Collection provides a comprehensive survey of works by N. C. Wyeth, one of America’s finest illustrators; his son, Andrew, an important realist painter; his eldest daughter, Henriette, a realist painter; and Andrew’s son Jamie, a popular portraitist. Through the works of these artists from three generations of the Wyeth family, themes of American history, artistic techniques, and creative achievements can be explored. This exhibition will be on view in the Asheville Art Museum’s Explore Asheville Exhibition Hall February 12 through May 30, 2022.

N. C. Wyeth (1882–1945) has long been considered one of the nation’s leading illustrators. In the early 1900s, he studied with illustrator Howard Pyle in Delaware. In 1911, he built a house and studio in nearby Chadds Ford, PA. Later, he bought a sea captain’s house in Maine and in 1931 built a small studio, which he shared with his son, Andrew, and his daughters, Henriette and Carolyn. The exhibition includes illustrations for books by Robert Louis Stevenson and Washington Irving as well as historical scenes, seascapes, and landscapes.

Andrew Wyeth (1917–2009) is one of the United States’ most popular artists, and his paintings follow the American Realist tradition. He was influenced by the works of Winslow Homer, whose watercolor technique he admired, as well as by the art of Howard Pyle and his father, N. C. While Andrew painted recognizable images, his use of line and space often imbue his works with an underlying abstract quality. The exhibition includes important works from the 1970s and 1980s as well as recent paintings.

Henriette Wyeth (1907–1997) was the eldest daughter of N.C. Wyeth and an older sister to Andrew Wyeth. Like other members of her family, her painting style was realist in a time when Impressionism and Abstraction were popular in the early 20th century. She studied painting at the Pennsylvania Academy of the Fine Arts and was an acclaimed portraitist, though perhaps not as widely known as her father and brother. Most notably she painted the portrait of First Lady, Pat Nixon, which is in the collection of The White House.

Jamie Wyeth (born 1946), like his father and grandfather, paints subjects of everyday life, in particular the landscapes, animals, and people of Pennsylvania and Maine. In contrast to his father—who painted with watercolor, drybrush, and tempera—Jamie works in oil and mixed media, creating lush painterly surfaces. The 18 paintings in the exhibition represent all periods of his career.

This exhibition has been loaned through the Bank of America Art in our Communities® program.

Useful and Beautiful: Silvercraft by William Waldo Dodge features a selection of functional silver works by Dodge drawn from the Museum’s Collection. Organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator, this exhibition will be on view in the Debra McClinton Gallery at the Museum from February 23 through October 17, 2022.

William Waldo Dodge Jr. (Washington, DC 1895–1971 Asheville, NC) moved to Asheville in 1924 as a trained architect and a newly skilled silversmith. When he opened for business promoting his handwrought silver tableware, including plates, candlesticks, flatware (spoons, forks, and knives), and serving dishes, he did so in a true Arts and Crafts tradition. The aesthetics of the style were dictated by its philosophy: an artist’s handmade creation should reflect their hard work and skill, and the resulting artwork should highlight the material from which it was made. Dodge’s silver often displayed his hammer marks and inventive techniques, revealing the beauty of these useful household goods.

The Arts and Crafts style of England became popular in the United States in the early 1900s. Asheville was an early adopter of the movement because of the popularity and abundance of Arts and Crafts architecture in neighborhoods like Biltmore Forest, Biltmore Village, and the area around The Grove Park Inn. The title of this exhibition was taken from the famous quotation by one of the founding members of the English Arts and Crafts Movement, William Morris, who said, “have nothing in your house that you do not know to be useful or believe to be beautiful.” Not only did Dodge follow this suggestion; he contributed to American Arts and Crafts silver’s relevancy persisting almost halfway into the 20th century.

“It has been over 15 years since the Museum exhibited its collection of William Waldo Dodge silver and I am looking forward to displaying it in the new space with some new acquisitions added,” said Whitney Richardson, associate curator. Learn more at ashevilleart.org.