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!

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.

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.

The Art of Food features works from important postwar artists, like Robert Rauschenberg, Roy Lichtenstein, John Baldessari, Wayne Thiebaud, Ed Ruscha, Andy Warhol, David Hockney, and Jasper Johns, alongside the work of contemporary artists, like Alison Saar, Lorna Simpson, Enrique Chagoya, Rachel Whiteread, and Jenny Holzer, among others. The Art of Food features more than 100 works in mediums that include drawings, paintings, photographs, prints, sculptures, and ceramics by 37 artists. Each artist has a unique means of depicting food in their work that, when seen alongside others, creates a nuanced representation of the complex place food holds in everyday life. Cross-historical resonances between artists in the exhibition spark novel meditations on food and its discontents, while speaking to a broad range of audiences.

Maddy Winer & Masterpiece – Jazz at Souther Williams Vineyard. 2-5pm, Maddy & Masterpiece entertained guests for many years
at the Grove Park Inn Resort & Spa with their wide variety of musical styles and unique interpretation of the Great American
Songbook. Maddy Winer expands the Songbook to include every style & era of music…Oldies, Beach, Big Band and, of course,
lots of jazz! Free, https://southerwilliams.com

Step into a world of magic, mystery, and self-discovery with the Tony Award-winning musical, Pippin. This Broadway classic, with music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, tells the captivating story of a young prince on a daring quest for the ultimate meaning of life and fulfillment. From spectacular circus-inspired performances to stirring, emotionally-charged songs, “Pippin” unfolds as an exploration of the highs and lows of glory, love, and ambition. It’s a compelling narrative that continually asks one poignant question: is it more rewarding to live a simple life or to persist in relentlessly pursuing extraordinary feats? With its rich, allegorical storyline and memorable melodies, Pippin promises to enchant audiences, leaving them musing long after the final curtain call.

A talkback with the cast & crew of Pippin will be held following the performances on September 17th & 24th.

Jack of the Wood : Sunday-Irish Session 

Sundays

1 till who knows when?

Traditional Irish music is kept alive at Jack of the Wood with our unplugged Sunday session.

Jack of the Wood

95 Patton ave

Asheville, NC 28801

(828) 252.5445

http://www.jackofthewood.com/

Gary Malvern, conductor
Bronwen Forbay, soprano
Keith Jameson, tenor
Bruce Schoonmaker, baritone

A smorgasbord of some of the most virtuosic works composed for the human voice, this experience is composed of arias that are quite simply Olympic feats of singing.  Come and wonder at the impossible beauty of these works by Monteverdi, Handel and Mozart, including an aria from his iconic character the Queen of the Night, have a good laugh at Figaro’s expense in Rossini’s Largo from The Barber of Seville, hear operetta and even some selections from the golden age of Broadway.  This is an hour of operatic goodness you won’t want to miss.  And the crazy thing is, they make it look easy!

Gary Malvern, professor of music at Furman University, is a native of Buffalo, New York. He received a bachelor’s degree in performance and music history from Oberlin College Conservatory, and a master’s and doctoral degrees from Yale University. Dr. Malvern has served as principal trumpet of the National Repertory Orchestra and the American Wind Symphony, and he served for 25 years as principal trumpet of the Greenville Symphony Orchestra.  Malvern has been artist in residence at universities in Western Australia, and at conservatories in Northern Italy. Dr. Malvern frequently records for Nuovo Musiche per Tromba (New Music for Trumpet).

Dr. Malvern was the recipient of Furman’s Meritorious Teaching Award in 1999.

Bronwen Forbay
Hailed by Opera Magazine as “At once powerful, radiant, timbrally beautiful, and balanced throughout the range, her soprano is that of a singer at the top of her game”, South African-born Fulbrighter BRONWEN FORBAY’s operatic successes include critically acclaimed performances of Mozart’s Queen of the Night (The Magic Flute) with the Wolf Trap Opera Company, Eugene Opera, and Tulsa Opera. Other celebrated roles include Orasia, Queen of Thrace (US premier of Telemann’s Orpheus), Velmyra (Wading Home) by Mary Alice Rich, Violetta (La Traviata), and the title role in Lucia di Lammermoor with the Cape Town Opera. A Visiting Associate Professor of Voice at Furman University, Dr. Forbay holds degrees from the University of KwaZulu-Natal, Manhattan School of Music, Southern Methodist University, and

Keith Jameson has enjoyed a 28-year career as a professional opera and concert singer. He has been heard nationally at the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Los Angeles Opera, New York City Opera, The Santa Fe Opera; and internationally with opera companies in Italy, Spain, Belgium, Brazil, England, and Japan. He can be seen in Carmen and Falstaff, on DVD with the Metropolitan Opera, and heard with Boston Baroque in Haydn’s The Creation and Lord Nelson Mass, on CD. He is a graduate of Furman University and the Eastman School of Music.

Bruce Schoonmaker
A native of Charlotte, N.C., Bruce Schoonmaker has performed in operas, recitals, and with orchestras and choruses in the USA, France, Italy, Australia and Japan. His combination of vocalism and dramatic ability has endeared him to audiences of the Charlotte Symphony, Columbia Lyric Opera, Brevard Music Festival, Opera Carolina, and the Oratorio Singers of Charlotte. Last October he sang the baritone solos in a rousing performance of Carl Orff’s Carmina Burana with the Greenville Chorale and Greenville Symphony Orchestra, conducted by Bing Vick.

While a student at Northwestern University, he won the Bel Canto Competition and studied with Tito Gobbi at the Tito Gobbi Opera Workshop in Florence, Italy.  A few years later, he studied with Carlo Bergonzi and Renata Tebaldi at the Bel Canto Seminar in Verdi’s hometown, Busseto, Italy. He made his New York City debut with the New York City Chamber Orchestra, as soloist in Vaughan Williams’ Five Mystical Songs, at the Cathedral of Saint John the Divine.

Schoonmaker taught voice and directed opera at Furman University until 2018 and now resides, performs, and teaches in Richmond, Virginia.

This is NOT a trap. The Asheville Symphony is proud to present a Star Wars themed program with Beer City Comic Con. Journey to a galaxy far, far away and experience your favorite musical moments from the Battle of Hoth to the Death Star run, exploring themes from Hoth, Tatooine, Mustafar, Coruscant and every planet in between. May the force be with us as we bring iconic Star Wars moments to life in the only way they should be: with thunderous applause.
Darko Butorac, conductor

Join us for Black Mountain’s original Sunday Jam! Hosted by Spiro and Friends, this jam features original jams and favorite covers. Bring your instrument! Sign-ups at the stage starting at 6 PM!

Pisgah Beer, Gluten Free and N/A options available. Family and dog friendly venue.

The taproom is open from 2:00 to 9:00 PM with music beginning at 6:30 PM.

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!

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.

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.

The Art of Food features works from important postwar artists, like Robert Rauschenberg, Roy Lichtenstein, John Baldessari, Wayne Thiebaud, Ed Ruscha, Andy Warhol, David Hockney, and Jasper Johns, alongside the work of contemporary artists, like Alison Saar, Lorna Simpson, Enrique Chagoya, Rachel Whiteread, and Jenny Holzer, among others. The Art of Food features more than 100 works in mediums that include drawings, paintings, photographs, prints, sculptures, and ceramics by 37 artists. Each artist has a unique means of depicting food in their work that, when seen alongside others, creates a nuanced representation of the complex place food holds in everyday life. Cross-historical resonances between artists in the exhibition spark novel meditations on food and its discontents, while speaking to a broad range of audiences.