Upcoming events and things to do in Asheville, NC. Below is a list of events for festivals, concerts, art exhibitions, group meetups and more.

Dec
14
Fri
2018
WIld Awake: a collection of small spells @ Flow Gallery
Dec 14 2018 – Jan 12 2019 all-day

Wild Awake: a collection of small spells by Abacus Corvus is Flow Gallery’s last art exhibit for 2018.  Opening reception is Friday, December 14 from 5:30 to 7:30 during Jingle Mingle on Main event in Downtown Marshall (14 S Main Street). Show runs until January 12th.  649-1686.

Jocelyn Mosser and sister Corina Dross – the dynamic duo behind Abacus Corvus – began creating limited calendars in 2012.  Beginning in 2017, they began to pair images and words (small spells) to serve as focal points for people to use to amplify their own healing and magic in the world.  The 2019 calendar, Wild Awake, is the third calendar of small spells.  The sisters both have a lifelong commitment to healing, and draw on the same sensitivities and attunement they use in their healing practices when they make their art.

This show will feature giclee prints of the twelve works used in the making of the calendar. Each print will be hand embellished with embroidery and/or hand painting. When these two sisters collaborate, it’s sure to delight the eye and touch the heart.

Dec
17
Mon
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 17 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 17 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 17 @ 12:00 pm – 6:00 pm

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.

Dec
18
Tue
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 18 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 18 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 18 @ 12:00 pm – 6:00 pm

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.

Dec
19
Wed
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 19 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 19 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 19 @ 12:00 pm – 6:00 pm

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.

Dec
20
Thu
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 20 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 20 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 20 @ 12:00 pm – 6:00 pm

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.

True Home Open Mic at Flood Gallery @ Flood Gallery
Dec 20 @ 6:30 pm – 8:30 pm

Uncensored expression: anyone is invited to step up to share song, music, poetry, comedy, rants & raves!

The most eclectic open mic around, in a welcoming gallery setting! 6 pm signup, perform 6:30-8:30 pm.

Dec
21
Fri
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 21 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 21 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 21 @ 12:00 pm – 6:00 pm

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.

Classic World Cinema at Flood Gallery @ Flood Gallery
Dec 21 @ 8:00 pm – 9:00 pm

Open donation. 

Dec
22
Sat
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 22 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 22 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 22 @ 12:00 pm – 6:00 pm

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.

Dec
23
Sun
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 23 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 23 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 23 @ 12:00 pm – 6:00 pm

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.

Dec
24
Mon
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 24 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 24 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 24 @ 12:00 pm – 6:00 pm

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.

Dec
25
Tue
2018
In Times of Seismic Sorrows @ Center for Craft
Dec 25 @ 10:00 am – 6:00 pm

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.

Interweaving Southern Baskets @ The Bascom - A Center For The Visual Arts
Dec 25 @ 10:00 am – 5:00 pm

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.

A Matter of Taste Exhibit @ The Bascom...A Visual Arts Center
Dec 25 @ 12:00 pm – 6:00 pm

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.