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.
The JETA Team presents…”Rap Phenomenon” 12th Annual Notorious B.I.G. Tribute feat. Soul Brother DJ Justice & Chief Rocka Aking! The JETA Team’s B.I.G. Party is the City of Charlotte’s ORIGINAL and PREMIER Notorious B.I.G. Tribute! We salute “Brooklyn’s Finest” with remixes, originals, collabos, and all things “King of New York” including the music of Craig Mack, Total, The LOX, Carl Thomas, Ma$e, Faith Evans, Loon, G. Dep, 112, Shyne, Mary J. Blige, Black Rob and others! It’s a true “Can’t stop, Won’t stop” party! “This goes out to you, and you, and you, and you!” The Legend of Christopher “B.I.G.” Wallace continues! Rock ya Biggie garments, NY fitted hats, DKNY, Timbs, Coogi sweaters and such! “Spread Love it’s the Brooklyn Way!
“Sponsored by Velocity Denim and No Grease!
RSVP South End 225 Fairwood Avenue CHARLOTTE, NC 28203 Sunday March 9th 5pm-10pm FREE PARKING
NOTES:
*We highly suggest ride-share services. VIP and bottle service are not available for this event. RSVP has discontinued this service. Wines and champagne bottles can be purchased. A 20% GRATUITY WILL BE ADDED TO BAR SALES AUTOMATICALLY.*
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.
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.
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.
Meadows don’t have to be massive to contribute to the biodiversity and beauty of a landscape. Many gardeners are learning how to incorporate meadow style plantings in their home or small business landscapes. Join us for our engaging workshop on creating a meadow style landscape feature. Learn from Crissy Dzielak, Vice President and co-owner of Landmark Landscapes about the plants, installation techniques, and maintenance practices that bring these vibrant, naturalistic landscapes to life.
Topics covered include:
Plant Selection: Understand which grasses, wildflowers, and perennials are ideal for meadow-style plantings, focusing on native and drought-tolerant species that thrive in our region.
Installation Techniques: Learn step-by-step methods for preparing your site, sowing seeds, and planting plugs to establish a thriving meadow.
Maintenance Practices: Gain insights into sustainable practices for managing weeds, supporting plant diversity, and maintaining the health and beauty of your meadow over time.
This talk is perfect for gardeners and landscape enthusiasts looking to create low-maintenance, ecologically beneficial, and visually stunning meadow landscapes. Join us to explore meadow style plantings and how they can transform your garden into a haven for wildlife and a feast for the eyes.
March 12, 2025, 1:00-3:00pm.
Bright Eyes with Hurray For The Riff Raff on Wednesday, March 12.
Ages 18+
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.
JOE MEDWICK and MONKEY BUTT MUSIC Present!
FOR THE LOVE OF LEVON & LOWELL:
Music of THE BAND & LITTLE FEAT
The brainchild of Asheville NC singer, musician, writer, promoter and longtime music biz vet Joe Medwick, FOR THE LOVE OF LEVON AND LOWELL is a heartfelt and loving tribute to Joe’s friends LEVON HELM, GARTH HUDSON and all of the past and present members of the legendary Rock and Roll Hall Of Fame group THE BAND, as well as Joe’s past and present good pals in the seminal and equally legendary band, LITTLE FEAT!
Lead singer, drummer and band-leader Medwick, whose career in the music business spans over 50 years of performing, booking, promoting, management, A&R, filming, selling and writing about music, has performed with LEVON HELM, GARTH HUDSON, PAUL BARRERE,DAVE EDMUNDS, RY COODER, ALBERT LEE, THE NEVILLE BROS, THE CHIEFTAINS, THE MCGARRIGLE SISTERS and many more, will be joined by his Asheville All-Star Band, with very special guests every show!
For mo info, please see joemedwick.com or you may email directly [email protected] joemedwick.com
Celebrate St. Patrick’s Day with the lively and soulful sounds of Dervish, one of Ireland’s leading traditional music groups. Immerse yourself in their high-energy performances and rich musical heritage, as Dervish transports you to the heart of Ireland for an evening of joyous celebration and unforgettable melodies.
Parker Concert Hall
PERFORMERS:
Cathy Jordan, vocals and bodhran
Shane Mitchell, accordion
Liam Kelly, flute
Tom Morrow, fiddle
Brian McDonagh, mandola
Owen Marshall, bouzouki
Join the Southeast’s largest gathering of farmers, gardeners, and sustainability advocates at Organic Growers School’s (OGS) 2025 Spring Conference! This year’s theme, Resilience, Recovery, and Renewal, focuses on building stronger, more sustainable communities.
Highlights include:
🌱 32+ workshops across 8 tracks (Gardening, Soils, Mushrooms, and more)
🌱 New tracks on off-grid systems, mutual aid, and resilience practices
🌱 Inspiring expert speakers like Dan Brisebois, Pam Dawling, and Chris Smith
Special Features:
Community Room, exhibitor hall, Southeastern Seed & Plant Exchange, and delicious local meals.
🎟️ Early Bird Deal: 50% off weekend and single-day passes! Register now: organicgrowersschool.org/spring-conference
Ignite Dance Competition doors open at 7am. Event starts at 8am.
Get ready to immerse yourself in a celebration of rock ‘n roll at an unforgettable weekend filled with iconic music and the stunning beauty of Asheville’s Blue Ridge Mountains.
Schedule of Events:
Friday, March 14 | 8:00 PM – 9:30 PM | The Wildflowers
Grand Ballroom
Kick off the weekend with an electrifying performance by The Wildflowers, America’s #1 Tom Petty tribute band. Sing along to timeless hits like “Free Fallin’,” “American Girl,” and “I Won’t Back Down” as this talented band brings Tom Petty’s legendary music to life.
Open to package holders and Eventbrite ticket holders only.
Saturday, March 15 | 8:00 PM – 9:30 PM | Monsters of Yacht
Grand Ballroom
On Saturday, enjoy a night of rocking melodies with Monsters of Yacht, the ultimate Yacht Rock tribute band. Relive the golden age of soft rock with classics from Hall & Oates, Steely Dan, and other classic rock legends.
Open to package holders and Eventbrite ticket holders only.
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.
What’s Included with Your Asheville St. Patrick’s Day Bar Crawl?
JOIN THE BEST ST. PATRICK’S DAY PUB CRAWL OF THE YEAR
2-3 DRINKS OR SHOTS INCLUDED
FREE ENTRY AT ALL BARS, MID PARTY, AND AFTER PARTY
GREEN SHOT GLASS NECKLACES (WHILE SUPPLIES LAST)
EXCLUSIVE DRINK SPECIALS
HOLIDAY THEMED DRINK SPECIALS
FOOD SPECIALS AT SELECT VENUES
PROFESSIONAL PHOTOGRAPHERS/VIDEOGRAPHERS
FREE AFTER PARTY
PUBCRAWLS.COM BRANDED ST. PADDYS WRISTBAND
HELPFUL PUB CRAWL STAFF ONSITE
Why wait until March 17th? Join us on March 15th and let the celebrations begin early. Dress in your finest green attire, grab your friends, and hit the town for an unforgettable day of festive fun!
Asheville St. Patrick’s Day Event Details
Date: Saturday, March 15th, 2025
Get your tickets now at Pubcrawls.com to secure your spot at the best St. Patrick’s Day events in town!
Contact Us
Have questions? Our customer service team is here to help 24/7! Whether it’s about tickets, event details, or other inquiries, reach out via email at [email protected].
Date and Time: On Sat, 15 Mar 2025 13:00 – 20:00
Venue details: Urban Orchard, 24 Buxton Avenue, Asheville, North Carolina, 28801, United States
Price: Early Bird :: Check In 1pm-5pm: USD 20.21
Ignite Dance Competition doors open at 7am. Event starts at 8am.
Get ready to immerse yourself in a celebration of rock ‘n roll at an unforgettable weekend filled with iconic music and the stunning beauty of Asheville’s Blue Ridge Mountains.
Schedule of Events:
Friday, March 14 | 8:00 PM – 9:30 PM | The Wildflowers
Grand Ballroom
Kick off the weekend with an electrifying performance by The Wildflowers, America’s #1 Tom Petty tribute band. Sing along to timeless hits like “Free Fallin’,” “American Girl,” and “I Won’t Back Down” as this talented band brings Tom Petty’s legendary music to life.
Open to package holders and Eventbrite ticket holders only.
Saturday, March 15 | 8:00 PM – 9:30 PM | Monsters of Yacht
Grand Ballroom
On Saturday, enjoy a night of rocking melodies with Monsters of Yacht, the ultimate Yacht Rock tribute band. Relive the golden age of soft rock with classics from Hall & Oates, Steely Dan, and other classic rock legends.
Open to package holders and Eventbrite ticket holders only.
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.
You Are Here: Understanding Maps with Anton DuMars
ON-SITE | Saturday, March 15 | 1 – 3:30 pm
Blue Ridge Naturalist – Elective Credit
With GPS built into our phones and cars, we are increasingly in danger of losing our ways of navigating. Expand your understanding of topographic and geologic maps with this course taught by Geologist Anton DuMars. An in-class portion will focus on an investigation of map symbols, scales, dates, color-coding, water features, and other attributes that are used to interpret data on topographic and geologic maps into. Then the class will move outside for a skills session to interpret real-world features within a map, stepping off on some exploration at the Arboretum. If you have one, please bring a handheld compass with you to the class but we will have some for students to borrow if needed.
This program takes place both indoors and out. Please come prepared to walk on gentle, yet uneven terrain, and dress appropriately for the weather.
Kanuga’s musician-in-residence Rev. Simon Ruth de Voil and folk artist Samara Jade honor the feast day of St. Patrick with an evening of Celtic music, story, lore and handcraft. In addition to the concert, guests can enjoy beverages, good company and a buffet — and try their hands at weaving St. Brigid’s cross for protection and well-being in the year to come. Tickets to the event are $30 for the concert and buffet or $15 for the concert.