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.
Join us at Soprana Rooftop Cucina for a prefixe menu special. The opportunity to try favorite salads, pizzettes and deserts all for $30 – it doesn’t get much better than that.
Soprana Rooftop Cucina is open Monday – Thursday from 5pm-10pm; Friday – Sunday from 12pm-10pm. The restaurant is located on the rooftop of Embassy Suites by Hilton Asheville Downtown (192 Haywood Street). For more information and upcoming events, visit www.sopranarooftop.com and follow on Instagram @SopranaRooftop. Enjoy complimentary parking during your stay. To book your reservation, call 828.333.7006.
Join us at Soprana Rooftop Cucina for a prefixe menu special. The opportunity to try favorite salads, pizzettes and deserts all for $30 – it doesn’t get much better than that.
Soprana Rooftop Cucina is open Monday – Thursday from 5pm-10pm; Friday – Sunday from 12pm-10pm. The restaurant is located on the rooftop of Embassy Suites by Hilton Asheville Downtown (192 Haywood Street). For more information and upcoming events, visit www.sopranarooftop.com and follow on Instagram @SopranaRooftop. Enjoy complimentary parking during your stay. To book your reservation, call 828.333.7006.
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.
Double the deliciousness – Asheville Restaurant Week returns January 21-27 & February 17-23!
For many, the delicious culinary creations of local restaurants are a big part of what makes Asheville special. Asheville Restaurant Week celebrates Asheville’s great food scene. Show your favorite restaurants some love or try someplace new!
Check back for additional menus/special offerings.
Asheville Restaurant Week – Asheville Area Chamber of Commerce
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
The Grey Eagle and Worthwhile Sounds Present
An Evening With Carbon Leaf
Hosted by the witty & sagacious Jason Mencer, our epic pub trivia night runs every Monday from 7:30-9:30pm! Plus $5.00 well drinks all night!
Come test your brain power with tasty pub fare, an adult beverage or two — and a team of your smartest friends! Win prizes each round and crow a little about what a smarty-pants you are!
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.
Join us for a spore-tacular time at the Mountain Mushrooms Workshop! We’ll teach you the fun-gamentals—it’s quite the ‘fun-guy’ activity! We’ll also explore the best wild mushrooms to forage in the forest, making sure you’re not in truffle when identifying them. This class is perfect for beginners and seasoned mycophiles alike. Don’t miss out on this morel of a good time!
January 28, 2025, 1:00-3:00pm.
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
The Grey Eagle and Worthwhile Sounds Present The Dirty Nil with Grumpster, House & Home
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.
American Made: Paintings and Sculpture from the DeMell Jacobsen Collection features more than 100 works of art by renowned American artists. The exhibition beautifully illustrates distinctive styles and thought-provoking art explored by American artists over the past two centuries. Though many objects from the DeMell Jacobsen Collection have been on view at other museums, ranging from the Metropolitan Museum of Art and the Smithsonian American Art Museum to the Amon Carter Museum of American Art and Saint Louis Art Museum, this exhibition features the best of the collection brought together in one location. The exhibition begins with Colonial-era portraits by masters, such as Benjamin West, Thomas Sully, and Sarah Miriam Peale, and then moves on to highlight the development of mid-19th-century landscape painting. Viewers will discover works depicting the United States from coast to coast by artists, including Thomas Cole, Asher B. Durand, Jasper Francis Copsey, and even a monumental arctic scene by William Bradford.
Ceramic artists throughout history have become masters of all four elements—creating clay from a mixture of earth and water to shape their work, drying it in air, and hardening it in fire. Throughout this process, the artist decides which aspects of the work will be tightly controlled, and when the elements can step in to leave nature’s mark. This exhibition traces the historical, stylistic, and conceptual origins of work that either embraces or refuses the element of chance in ceramics, looking at modern and contemporary work made in Western North Carolina.
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.
Grab some dinner and a pint while enjoying our long-running Old-Time jam! Featuring many talented musicians from the local WNC area, our traditional Appalachian mountain music jam runs from 5-9pm every Wednesday night at Jack of the Wood!
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
Standup Comedy Pageant Finale
Wednesday January 29, 2025.
7p-9p, doors at 6:30p
The Orange Peel’s Comedy Basement, Pulp Lounge, 103 Hilliard Ave, Downtown Asheville
Tickets: $15 (available at door or The Orange Peel website)
Hosted by Hilliary Begley from Netflix & Amazon Prime!
Cocktails available while you laugh the night away to some of the area’s best Stand Up Comics in a ridiculously fun adult environment!!
Free snacks while availability lasts! You may bring your own food in (no drinks)!
Participants are WINNERS of three standup contests 9/05, 12 & 19. Pageant Winner gets title and $200 cash prize. Audience votes thru ballot!
Free snacks and outside food allowed.
9/5 winner Zandra Johnson
9/12 winners tied Roman Fraden & Jordan Julius
9/19 winner Jason Reel
Plus mystery wild card contestant!
This show is more than just great standup! Contestants must vie for the title through games. Audience votes thru ballot.
More info contact Michele at [email protected]
Tickets: https://theorangepeel.net/event/standup-comedy-pageant/pulp/asheville-north-carolina/
FB: https://www.facebook.com/share/1ECfza5TKK/
IG: @SliceofLifeComedy
Once again, Bertie finds himself suffering the slings and arrows of misfortune at the hands of his relatives, caught between his fierce Aunt Agatha, his plaintive cousin Egbert, a saucy jazz singer, and his future father-in-law. Another priceless predicament calling upon the redoubtable Jeeves to save the day.
Performances of Jeeves Saves the Day will be held on the days and times listed below. The lobby and concessions area will open one hour prior to showtime. Concessions may be taken into the theatre during the performance.
January 22 – February 16, 2025
Wednesdays, Thursdays and Saturdays at 7:30
Sundays at 2pm
Friday 1/24 and 1/31 at 7:30pm
Friday 2/7 and 2/14 at 2pm AND 7:30
The Grey Eagle and Worthwhile Sounds Present Big Richard with The Shoat
STANDING ROOM 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.
American Made: Paintings and Sculpture from the DeMell Jacobsen Collection features more than 100 works of art by renowned American artists. The exhibition beautifully illustrates distinctive styles and thought-provoking art explored by American artists over the past two centuries. Though many objects from the DeMell Jacobsen Collection have been on view at other museums, ranging from the Metropolitan Museum of Art and the Smithsonian American Art Museum to the Amon Carter Museum of American Art and Saint Louis Art Museum, this exhibition features the best of the collection brought together in one location. The exhibition begins with Colonial-era portraits by masters, such as Benjamin West, Thomas Sully, and Sarah Miriam Peale, and then moves on to highlight the development of mid-19th-century landscape painting. Viewers will discover works depicting the United States from coast to coast by artists, including Thomas Cole, Asher B. Durand, Jasper Francis Copsey, and even a monumental arctic scene by William Bradford.
Ceramic artists throughout history have become masters of all four elements—creating clay from a mixture of earth and water to shape their work, drying it in air, and hardening it in fire. Throughout this process, the artist decides which aspects of the work will be tightly controlled, and when the elements can step in to leave nature’s mark. This exhibition traces the historical, stylistic, and conceptual origins of work that either embraces or refuses the element of chance in ceramics, looking at modern and contemporary work made in Western North Carolina.
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.
French Broad River Academy (FBRA) invites you to a screening of the No Man’s Land Film Festival (NMLFF), a curated selection of adventure-based short films that celebrate the power, strength, and determination of women in the great outdoors. The films highlight inspiring stories of female adventurers from around the world, and are tailored for student and family viewing. The event is open to the public.
The evening starts at 5:30 pm with a panel discussion by Asheville-area community outdoor adventure enthusiasts, followed by screening of the short films at 6 p.m. Doors open at 5 p.m.
Tickets are $15 per person, available for purchase in advance at https://www.fbra-avl.org/no-mans-land/ or at the door. All proceeds from ticket sales benefit FBRA and the school’s outdoor programming for students.
ABOUT NMLFF: Founded in 2015 in response to the lack of women-representation in the broader outdoor media, the No Man’s Land Film Festival (NMLFF) has grown to become the premier adventure film festival for women and gender non-conforming athletes, storytellers, and filmmakers. Learn more: https://nomanslandfilmfestival.org/
ABOUT FBRA: French Broad River Academy (FBRA) is an independent middle school (grades 6-8) in Asheville, NC, with dual riverfront programs for boys and girls. We integrate rigorous academics with outdoor adventure, service learning, and international travel to help our students become confident, compassionate leaders, ready to take on the world. Learn more about FBRA: fbra-avl.org
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
Acclaimed comedian, actor and producer Joe Gatto—best known for the hit television shows “Impractical Jokers” and “The Misery Index”—is extending his Let’s Get Into It tour featuring all new material into 2025! Tickets for his 2025 dates are available via artist presale and local presales on Sept 5 at 10 A.M. local time and tickets go on sale to the public on Sept 6 at 10 A.M. local time. Tickets for all shows as well as post-show meet & greets will be available. More shows to be announced shortly. Comedian Mark Jigarjian will be on tour.