Calendar of Events
Upcoming events and things to do in Asheville, NC. Below is a list of events for festivals, concerts, art exhibitions, group meetups and more.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Be inspired by this ensemble’s unbelievably fine intonation and phrasing, carefully honed and polished to the smallest detail. These rising stars of the classical music world are well known across Europe and beyond for their impeccable interpretations of the great classical and modern string quartet masterpieces.
Flogging Molly with The Aggrolites Slaughterhouse in concert at The Orange Peel.
Friday, February 28
Show: 8pm | Doors: 7pm
Calling all organizations! Join us for Camp Connect and help families gear up for an unforgettable summer. Whether your specialty is outdoor adventures, educational fun, arts and crafts, or action-packed sports, we want you to be part of this exciting event!
Ages 5+
Suitable for Beginners to Advanced Birders
This outing takes place at Lake Julian Park from 8:30-11:30 am. Get to know the birds of Lake Julian, one of Buncombe County’s birding hotspots! We will start with a walk along the shore of Lake Julian and ends with birding on the lake from Lake Julian’s pontoon boat. Free, Registration Required. Binoculars are available upon request but supplies are limited. Dress for the weather!
Registration opens 30 days prior to activity.
For more information email [email protected] or call 828-250-4260.
Join us in a volunteer shift with Appalachian Community Relief. We will assist people in shopping for goods in their free store that opened in response to Hurricane Helene. This volunteer event is family friendly, so feel free to bring spouses, children, etc.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Please join the Blue Ridge Orchestra for two afternoons of orchestral favorites at 3:00 pm: on Saturday, March 1st, and Sunday, March 2nd in Lipinsky Auditorium, UNC Asheville. We open March Melodrama with Gluck’s dramatic Overture to Iphigenie in Aulis. The BRO then highlights pianist Ivan Seng in Mozart’s Concerto No. 23 in A major, K. 488. The second half of the program shifts to Dvorak’s Symphony no.8 in G major, which takes its inspiration from the nature and folk music of his homeland Bohemia, presently the Czech Republic.
Saturday, March 1st, 2025, 3:00 pm
Sunday, March 2nd, 2025, 3:00 pm
UNC Asheville
Lipinsky Auditorium
300 Library Lane
Asheville, NC. 28804
Tickets:
General Admission: $20
Friends of the Orchestra: $15
Students: $5
Children 6 and under: Free
Peace Concert Hall
Saturday, March 1 at 7:30 pm
Sunday, March 2 at 3:00 pm
PROGRAM
Mary Lou Williams: Zodiac Suite for orchestra
Mason Bates: Liquid Interface
Duke Ellington: Suite from “The River”
Experience the timeless charm and jazzy elegance of Mary Lou Williams’ Zodiac Suite for orchestra, beginning your concert experience with its captivating melodies and intricate rhythms. Then, immerse yourself in a sonic journey unlike any other as we begin the concert with Mason Bates’ mesmerizing Liquid Interface, an evocative exploration of the intersection between nature and technology. Dive into the vibrant world of jazz with Duke Ellington’s Suite from The River, where the music ebbs, gurgles, and flows like our own Reedy River.
8 silk brocades qi gong workshop is open to all levels. Each movement in this set of 8 represents our ancestry, epigenetics, and destiny. Learn all 8 exercises or drop in for just a few. Stance training, posture and meditative movements for your health. It’s a super sophisticated qi gong form but simple to learn. I would love to invite anyone who’s new to internal martial arts or is simply searching for more comfortable safe and inclusive space for LGBTQ plus. The class will be offered in person at Shaolin kung fu in West Asheville starting on Feb 16 on Sundays at 10am for six weeks. Suggested donation for each class but no one will be turned away for lack of funds.
EcoGardening: Principles in Practice (3 Sessions)
with Nina Shippen
ON-SITE | Sundays, February 16, 23, + March 2 | 10 am – 1 pm
Ecological gardening is a way of thinking in which gardens are no longer seen as a collection of plants, but as an interdependent community of plants, soils, environment and animals. The class introduces ecology-based methods employed in the design process of site assessment, design, installation, and maintenance. A variety of garden conditions are covered in this comprehensive overview. Gardeners of all levels of interest and ability will find this class valuable for learning ecologically-sustainable practices that can be adapted and applied in a variety of landscapes.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Please join the Blue Ridge Orchestra for two afternoons of orchestral favorites at 3:00 pm: on Saturday, March 1st, and Sunday, March 2nd in Lipinsky Auditorium, UNC Asheville. We open March Melodrama with Gluck’s dramatic Overture to Iphigenie in Aulis. The BRO then highlights pianist Ivan Seng in Mozart’s Concerto No. 23 in A major, K. 488. The second half of the program shifts to Dvorak’s Symphony no.8 in G major, which takes its inspiration from the nature and folk music of his homeland Bohemia, presently the Czech Republic.
Saturday, March 1st, 2025, 3:00 pm
Sunday, March 2nd, 2025, 3:00 pm
UNC Asheville
Lipinsky Auditorium
300 Library Lane
Asheville, NC. 28804
Tickets:
General Admission: $20
Friends of the Orchestra: $15
Students: $5
Children 6 and under: Free
The Storm String Quartet, featuring some of WNC’s most accomplished string musicians, is a testament to perseverance and dedication. With personal ties to Hurricane Helene’s impact, their performance reflects resilience through a powerful program.
Peace Concert Hall
Saturday, March 1 at 7:30 pm
Sunday, March 2 at 3:00 pm
PROGRAM
Mary Lou Williams: Zodiac Suite for orchestra
Mason Bates: Liquid Interface
Duke Ellington: Suite from “The River”
Experience the timeless charm and jazzy elegance of Mary Lou Williams’ Zodiac Suite for orchestra, beginning your concert experience with its captivating melodies and intricate rhythms. Then, immerse yourself in a sonic journey unlike any other as we begin the concert with Mason Bates’ mesmerizing Liquid Interface, an evocative exploration of the intersection between nature and technology. Dive into the vibrant world of jazz with Duke Ellington’s Suite from The River, where the music ebbs, gurgles, and flows like our own Reedy River.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
Birding for Beginners with Ben Bafaloukos
ON-SITE | Tuesday, March 4 | 9 – 10:30am
Join us on this birding walk around the NC Arboretum gardens and trails in search of a very common year round resident of North Carolina: Carolina wren. We will take an in-depth look at these noisy and “mousey” birds to observe their behaviors while also looking for other common winter bird species in our area. Bring your own binoculars but if you do not have a pair we have some loaner binoculars available to use during the program.
This program will take place outside and will follow easy trails and paved walkways. Dress for the weather and prepare to be outside for the entire program time.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
As people all over the country start to grow their own gardens, plant prices continue to rise. These price increases quickly add up when growing your own garden. Starting your own seeds is a much more economical way to grow a large number of plants. Believe it or not many plants also do better when you grow them from a seed. Starting seeds can seem like a very scary task but it doesn’t have to be. Join our education coordinator, Isaac Wyatt, for a course all about starting your own seeds. From what you need to get started to how to get your seedlings in the garden.
*We will also have a selection of seeds to trade. Please feel free to bring any seeds you may be interested in trading!
March 4th, 2025, 1:00-3:00 pm. Fee: $20.00.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Lunch & Learn: Hurricanes and Climate Change With NCICS scientists
ON-SITE | Wednesday, March 5 | 11 am – 1 pm
This Lunch & Learn session, led by Carl Schreck from the North Carolina Institute for Climate Studies, will begin with a presentation and discussion on hurricanes and climate change, with a focus on Hurricane Helene. Discussion topics will include hurricane-related trends, impacts, responses, and resilience. Participants will then head over to the Climate Reference Network (CRN) station on campus (weather permitting), where scientists from NOAA’s National Centers for Environmental Information will describe the history and purpose of the CRN station, the instruments used to measure the weather, and answer any questions. Note that attendees can drive to the weather station, but a small amount of walking is necessary to access the equipment.
Arboretum visitors will witness some of the most surprising animal behavior in the new National Geographic exhibition, “The Greatest Wildlife Photographs.” The very best wildlife pictures from the pages of National Geographic magazine have been chosen to be displayed in this exhibition. Curated by renowned nature picture editor, Kathy Moran, this exhibition is a celebratory look at wildlife with images taken by National Geographic’s most iconic photographers such as, Michael “Nick” Nichols, Steve Winter, Paul Nicklen, Beverly Joubert, David Doubilet and more. Showcasing the evolution of photography, the images convey how innovations such as camera traps, remote imaging, and underwater technology have granted photographers access to wildlife in their natural habitat.
For 115 years, National Geographic has pioneered and championed the art of wildlife photography, and captivated generations of engaged audiences with a steady stream of extraordinary images of animals in nature. From the very first such image to appear – a reindeer in 1903 – National Geographic Society’s publications have broken new ground and push the bar higher again and again, establishing an unmatched legacy of artistic, scientific, and technical achievement. These are the Greatest Wildlife Photographs. This is included with admission to NC Arboretum.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Maintaining the Biodiversity of the Mountains – planting native, removing invasives, restoring habitat and using environmentally friendly landscape management practices.
Western North Carolina is one of the most biodiverse regions of the world. Unfortunately, development and increasing population are threatening the delicate ecosystems of the area. Many of the landscape methods that we utilize have negative environmental repercussions. We can do better.
Join Steve Pettis, Henderson County Commercial and Consumer Horticulture Agent and host of the Gardening in the Mountains Radio Show and Podcast to learn how we can do things better! In this series of classes Steve will discuss how to manage your landscape in the most environmentally friendly way possible using sustainable gardening practices. Also learn about tree health care and maintenance.
By making simple changes, such as choosing native over exotic plants and removing invasive plants, we can begin to restore habitat at home, at our businesses and throughout the region.
By cultivating and protecting healthy diverse habitats for pollinators, for wildlife, for healthy flora and fauna, we benefit the individuals who live in and enjoy these spaces and for our community, as a whole. By creating natural areas in your yard and leaving the leaves each fall you can benefit many kinds of insects, amphibians, reptiles, birds and mammals which depend on the native plants and their fallen leaves and seeds for shelter, food and habitat.
March 6, 2025, 1:00-3:00pm.