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.
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.
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
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.
The nation’s largest comedy club network is back! After a popular run in Tina McGuire Theatre the past two seasons, this hilarious collective returns, bringing top-notch comedians for four weekends of laughter. Some of the hottest stand-up comedians of today — seen in specials on Comedy Central, HBO Comedy, Netflix, Hulu and more — deliver witty one-liners, preposterous punchlines, and hysterical anecdotes that you’ll never forget. Contains adult content.
Headliner Collin Moulton
Collin Moulton is one of the most fun, personable, and sought-after Headliners today. His new family friendly album “COLLIN CLEANS UP WELL” garnered him COMEDIAN OF THE MONTH on LAUGH USA SIRIUS XM 98 the month of MAY 2018 and ALBUM OF THE MONTH on RAW DOG in MAY 2018 as well.
He had his own stand-up special on SHOWTIME IN 2012, His new CLEAN COMEDY Dry Bar Comedy special ANTI ANIMAL VEGAN (2017) has over 40 million views, he’s been on NICKELODEON, and was featured on LAST CALL WITH CARSON DALY. Touring for over 15 years Collin has gained an ease and enjoyment on stage that makes every show worth watching.
America knows and loves him. His familiarity and energy engages and relieves the audience before he even speaks and is always receiving a large volume of requests for specific material from his Rolodex of jokes!
His electric storytelling style makes you care about every topic he explores. Collin’s comedy is the release needed from our everyday lives. Come needing to laugh tonight, leave wanting to laugh forever!
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.
🍀 Get Lucky With Us This St. Paddy’s Day! 🍀
Bring your crew, wear your green and get ready for a day full of green drinks, shamrocks, and epic bar-hopping fun— let’s make this St. Patrick’s Day unforgettable! 🍻
https://www.facebook.com/events/1810760669750657
Get ready to experience the ultimate St. Paddy’s Day celebration! On March 15, join us for an unforgettable bar crawl filled with green drinks, shamrocks, and non-stop fun! We’ll be hopping between the best bars in Asheville, enjoying exclusive drink specials, festive giveaways, and all the lively energy of St. Patrick’s Day.
Gather your crew, don your green, and get ready for a day packed with good times and great company. Whether you’re sipping on Irish whiskey, clinking glasses of green beer, or dancing to festive tunes, this crawl is the perfect way to make the most of St. Paddy’s Day.
From the first pint to the last toast, it’s going to be a day of good cheer, new friends, and unforgettable memories. Don’t miss out
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.
Wortham Presents Jane Monheit
Saturday, March 15, 2025 at 8 p.m.
With a voice that exudes warmth and sophistication, this dazzling jazz vocalist is renowned for her innovative interpretations of Great American Songbook standards, from ballads to blues. Catapulted to stardom at age 20 for her immense musical talent, Jane has spent the last two decades touring the globe, collaborating with jazz luminaries and legends, and appearing in guest performances on Late Night with David Letterman and Conan O’Brien, Good Morning America, The Tonight Show and more.
The nation’s largest comedy club network is back! After a popular run in Tina McGuire Theatre the past two seasons, this hilarious collective returns, bringing top-notch comedians for four weekends of laughter. Some of the hottest stand-up comedians of today — seen in specials on Comedy Central, HBO Comedy, Netflix, Hulu and more — deliver witty one-liners, preposterous punchlines, and hysterical anecdotes that you’ll never forget. Contains adult content.
Headliner Collin Moulton
Collin Moulton is one of the most fun, personable, and sought-after Headliners today. His new family friendly album “COLLIN CLEANS UP WELL” garnered him COMEDIAN OF THE MONTH on LAUGH USA SIRIUS XM 98 the month of MAY 2018 and ALBUM OF THE MONTH on RAW DOG in MAY 2018 as well.
He had his own stand-up special on SHOWTIME IN 2012, His new CLEAN COMEDY Dry Bar Comedy special ANTI ANIMAL VEGAN (2017) has over 40 million views, he’s been on NICKELODEON, and was featured on LAST CALL WITH CARSON DALY. Touring for over 15 years Collin has gained an ease and enjoyment on stage that makes every show worth watching.
America knows and loves him. His familiarity and energy engages and relieves the audience before he even speaks and is always receiving a large volume of requests for specific material from his Rolodex of jokes!
His electric storytelling style makes you care about every topic he explores. Collin’s comedy is the release needed from our everyday lives. Come needing to laugh tonight, leave wanting to laugh forever!
The Asheville Fringe Arts Festival is back, returning for its 23rd year to present experimental, unusual, and out-of-the-box art. More than 50 performances, including dance, theater, puppetry, music, and things that defy definition, will take place March 16 – 23, 2025.
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.
Drawn to Nature with Matt Reyna
ON-SITE | Sunday, March 16 | 10am – 12:30pm
Join us for a Sunday morning reserved for creative self-care. Using basic mark-makers (pencils, graphite, etc) we’ll explore the instinctual, yet undervalued act of drawing–through the lens of nature. Choose your own focus – capture grand mountain views from our classroom, work on a collective nature still life, or hone in on the small details of nature on your own. Weather depending, students may choose to sketch outside.
Basic art materials, hot tea, and a welcoming atmosphere will be provided. All skill levels welcome! Feel free to bring your own materials, but kindly keep wet media (paints, etc) at home.
This program takes place both indoors and out. Please come prepared to walk on gentle, yet uneven terrain, and dress appropriately for the weather.
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.