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 road to the NCAA Final Four starts in Asheville. Don’t miss this opportunity to see some of the nation’s best conference tournament action as the Ingles Southern Conference Men’s and Women’s Basketball Championships will take place March 6-10, 2025 at Harrah’s Cherokee Center Asheville in downtown. SoCon Tournament week has become an annual rite of spring in the Asheville community. Enjoy spending time in a city you’ve heard so much about. With excellent restaurants, breweries, shopping and activities, Asheville is a city with something for everyone.
In partnership with Explore Asheville, the Southern Conference is directing a portion of premium level ticket sales to the Always Asheville Fund, an emergency grant program supporting small, independent travel and hospitality businesses as they recover from the impacts of Hurricane Helene. Additionally, there will be numerous onsite giving opportunities for fans.
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.
LocaWon: McHone Performance Training
5 Sweeten Creek Road, Suite 130, Asheville, NC
The event will include:
• Official Ribbon CuZng Ceremony with the Asheville Chamber of Commerce
• Exclusive Training & Membership PromoWons
• Facility Tours showcasing the fully restored and upgraded space
• Networking OpportuniWes with local businesses and community members
• Celebratory RecepWon
Members of the Asheville community, local athletes, and supporters are invited to attend. RSVPs via Facebook are
encouraged to assist with event planning.
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.
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.
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
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!
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
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.
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.
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.
Late winter is the perfect time to start planning for summer gardens, and what better way to begin than with our Basics of Vegetable Gardening class! Join us to learn the essentials of starting your own vegetable garden, including information about plants that do best in our area.
In this class, experienced teacher and former director John Murphy will guide you through the fundamentals of vegetable gardening. You’ll discover the best practices for soil preparation, seed selection, planting, and maintaining a thriving garden. This class will provide you with the knowledge and confidence to grow your own fresh and healthy vegetables.
Get ready to dig in and start your journey to a bountiful summer harvest.
If you’re looking to grow your network and boost your business, join us on Tuesday, March 18, from 8:30 AM – 12:30 PM at the Holiday Inn Biltmore West for Mega Networking, a fast-paced, structured event designed to maximize your connections in just one morning.
Held only twice a year, Mega Networking’s round-robin format allows you to meet professionals from a variety of industries, gain exposure for your business, and leave with valuable leads – all in a friendly, low-pressure setting.
Registration is required. $50 for Chamber members, $85 for non-members. Space is limited to one attendee per organization and five per business category!