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.
This block therapy workshop we will be focusing on the shoulders, arms and head. We will be releasing tension and creating flow.
Block Therapy combines sustained pressure and diaphragmatic breathing to dissolve fascial adhesions connected to the bone. Fascia, which grips bone at 2000 pounds per square inch, can lead to misalignment over time. This method reverses misalignment and promotes body symmetry as the ribcage often collapses into core causing a cascade of issues for alignment and organs and glands.
Factors like poor posture, repetitive movements, gravity, surgery, injury, and shallow chest breathing can compress and wind down the body. Adhesions form to support posture but can restrict blood and oxygen flow, impair detoxification, and cause inflammation and chronic pain.
By releasing fascia, the free flow of blood, oxygen, and life force energy is enabled to previously deprived areas of the body. Fascia not only holds physical tension but also stores trauma and negative emotions. This is a great practice for somatic experiencing, increasing range of motion, and creating freedom in the body.
Block Therapy effectively peels away layers of tension stored in the body over time, promoting self-healing and enhancing quality of life, detoxifying mind, body, and soul.
This is a great class for anyone aiming to improve posture, lymphatic cleansing, experiencing chronic pain or discomfort, athletes, or looking to improve overall health and aesthetics as Block Therapy has amazing anti-aging benefits.
We use a rolled-up towel to begin as this process of unwinding takes time and can cause detoxification symptoms. If you feel like you will need more, you can preorder a block for the workshops with this referral link https://kd167.isrefer.com/go/starterprogram/Renataosorio/ this includes a block buddy and 9 day starter package with daily videos to enhance your practice.
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.
On Saturday, February 1, 2025 at 2:00 p.m. the Gerton Fire Station at 4975 Gerton Hwy., Gerton, NC 28735 will host the book launch of The Deep End of Hope in the Wake of Hurricane Helene: 40 Days and Nights of Survival and Transformation. Published by GracePoint Publishing’s Evolve Press, this is the first book on the market about what happened in Western North Carolina in the wake of Hurricane Helene. Event Speakers include John Ager, Former Representative, NC House; Kevin King, Executive Director of Mennonite Disaster Service; and Pamela Prince-Eason, President and CEO of Women’s Business Enterprise National Council. Malaprop’s Bookstore will be onsite selling books. The author will be available for book signing. The event is free and open to the public. Light refreshments will be served. The event is sponsored by the Women’s Business Enterprise National Council.
Kevin King, Executive Director of Mennonite Disaster Service said, “This book is a must read by every disaster response organization and their constituents including volunteers and donors.”
With raw honesty and unexpected humor, Emma chronicles her role as a trauma chaplain in her community of Gerton, NC as it is forced to build itself anew. Without power, phones, or internet, they teetered between chaos and unity. As lawlessness emerged and desperation mounted, Emma made a choice that would change everything: to transform her fear into a fierce kind of love. Part survival story, part love letter to human resilience, this unforgettable memoir shows us what’s possible when crisis strips away our differences and reveals our shared humanity. In a world increasingly divided, Emma’s story reminds us that our greatest strength lies not in our independence, but in our connections to each other.
A portion of the book proceeds will go to Mennonite Disaster Service, as they were one of the first groups in Gerton helping with recovery efforts.
Pruning is a crucial practice for promoting the health, productivity, and aesthetics of your plants and landscapes. Join us at Bullington Gardens for an informative and hands-on class led by horticulture expert John Murphy. In this course, you will learn essential pruning techniques that can help control diseases, stimulate new growth, and maintain the beauty of your garden. The class will include a walk and demonstration in the gardens.
John Murphy will guide you through the basics of pruning, including the best times to prune different types of plants, proper tools and their maintenance, and step-by-step methods for achieving optimal plant health and appearance. Whether you are a beginner or looking to refine your skills, this class will provide you with the knowledge and confidence to make the best pruning decisions for your garden. Questions and Answer session included.
Don’t miss this opportunity to enhance your horticultural skills and ensure your plants thrive.
February 1, 2025, 2-4pm.
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!
MaxxMusic presents AL STEWART + LIVINGSTON TAYLOR
Saturday, February 1, 2025 at 7:00 p.m.
After Al Stewart’s US tour in 2019 with his band The Empty Pockets, he spent most of 2020 and 2021 sidelined due the COVID-19 pandemic. But in 2022, he came back full force with a string of sold out shows in the United States and United Kingdom, and he even made his debut in Israel. On his curent tour, he’ll continue his trek with several shows throughout the United States. He will be playing his old favorites, like Year Of The Cat, Time Passages, On the Border, and Modern Times, along with selections from his deep catalogue.
Livingston Taylor picked up his first guitar at the age of 13, which began a 50-year career that has encompassed performance, songwriting, and teaching. Born in Boston and raised in North Carolina, Livingston is the fourth child in a very musical family that includes Alex, James, Kate, and Hugh. Livingston recorded his first record at the age of 18 and has continued to create well crafted, introspective, and original songs that have earned him listeners worldwide.
From top-40 hits “I Will Be in Love with You” and “I’ll Come Running,” to “I Can Dream of You” and “Boatman,” the last two recorded by his brother James, Livingston’s creative output has continued unabated. His musical knowledge has inspired a varied repertoire, and he is equally at home with a range of musical genres—folk, pop, gospel, jazz—and from upbeat storytelling and touching ballads to full orchestra performances.
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
Join us for an incredible evening of singer songwriters showcasing 3 of WNC’s best songwriters.
Michael Lille – is a Virginia native and award-winning singer/songwriter who has traveled the globe and shared his music and love of adventure with friends and fans for nearly 5 decades.
He has opened shows for Alison Krauss, Bob Dylan, Warren Zevon, Leo Kottke and Little Feat, and his four solo projects feature guests such as Alison Krauss, Mary-Chapin Carpenter and James Taylor.
Miriam Allen – is a songwriter who writes songs about the environment and her experiences. She writes songs in English and Spanish
Her song “Pablito” was in the award-winning film “Coyote.” Her songwriting and performing are nonconformist and non-genre specific. Each of her records plays out as though it were actually a compilation of various artists. She has opened up for Doc Watson, Tim O’Brien, and Asleep at the Wheel.
Vaden Landers – is an emerging artist from East Tennessee, penning songs that evoke the golden era of country music. With a voice often compared to Hank Sr, this former train-hopper/busker gained a reputation in Asheville NC as one of the city’s finest performers. Bill
Celebrating its seventh year running in 2025, the *Assembly Required Designer Toy Expo returns to Asheville, and it’s bigger than ever! With a record 50+ artists descending upon Downtown Asheville in February from 21 states including Colorado, South Dakota, Texas, Rhode Island, as well as Canada. As the premiere destination for independent designer, bootleg and art toy artists and collectors from across the North America, *Assembly Required honors this melting pot of artistic expression, inspired by pop culture and street art.
Saturday, February 1, 2025: 11a-5p
Sunday, February 2, 2025: 11a-4p
More information can be found at www.assembly-required.net
Parental discretion is advised.
Stars Servin’ Up Love will welcome Andre Agassi, Andy Roddick, Jessica Pegula, Emma Navarro, Michael Kosta, Pete Wentz, Jeff Probst, Esai Morales, and others to the Harrah’s Cherokee Center – Asheville, N.C. for its celebrity tennis Hurricane Helene benefit for Western North Carolina on Sunday, Feb. 2, 2025. 100% of net proceeds from the charity event (including direct donations from the event’s online auction and other opportunities) will be donated to local nonprofits including Always Asheville Fund, Asheville Area Habitat for Humanity, and Asheville Tennis Association. Featured sponsors include Ingles Markets, Harrah’s Cherokee Casinos, and Ticketmaster. Presales through the United States Tennis Association and participating outlets begin on Monday, December 16 at 10:00 am ET, and public on-sale begins on Thursday, December 19 at 10:00 am ET. Tickets can be purchased at StarsServinUpLove.com.
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.
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!
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
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.
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!
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.
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!
A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors. HAMILTON is recommended for ages 10+ and contains some adult language and mature themes. Tickets $59-$199.
- Wednesday, February 5, 2025 7:30 PM
- Thursday, February 6, 2025 7:30 PM
- Friday, February 7, 2025 8:00 PM
- Saturday, February 8, 2025 2:00 PM
- Saturday, February 8, 2025 8:00 PM
- Sunday, February 9, 2025 1:00 PM
- Sunday, February 9, 2025 7:00 PM
- Tuesday, February 11, 2025 7:30 PM
- Wednesday, February 12, 2025 7:30 PM
- Thursday, February 13, 2025 7:30 PM
- Friday, February 14, 2025 8:00 PM
- Saturday, February 15, 2025 2:00 PM
- Saturday, February 15, 2025 8:00 PM
- Sunday, February 16, 2025 1:00 PM
- Sunday, February 16, 2025 7:00 PM
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.
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!
A quick glance of Jeff Dunham’s childhood photos reveals the milestones of youth—birthdays, graduations, awkward first dates… very awkward first dates. Nothing unusual – except for the fact that in almost every photo, he’s joined by a dummy seated on his lap. Literally.