Calendar of Events
Upcoming events and things to do in Asheville, NC. Below is a list of events for festivals, concerts, art exhibitions, group meetups and more.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
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.
DirtyBird w/ Reggie Headen and the Nighttime Noon with Slow Pony Magic Show on Wednesday, February 05 at the Pulp. Show: 7:30pm | Doors: 6:30pm.
Ages 18+
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
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.
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!
Billy Strings returns to ExploreAsheville.com at Harrah’s Cherokee Center – Asheville on February 6-8 & 14-16, 2025.
A percentage of every ticket sold will benefit Bounty & Soul, United Way of Asheville and Buncombe County, MANNA Food Bank and American Red Cross Western North Carolina Chapter.
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What happens when love challenges tradition? Join us for Guess Who’s Coming to Dinner, a heartwarming and thought-provoking play that brings laughter, romance, and social change to the stage. Inspired by the iconic 1967 film, this production tells the story of an interracial couple whose engagement shakes up the ideals of their families. Set in the midst of the Civil Rights movement, the play’s themes remain as powerful and relevant today as ever. Don’t miss this unforgettable theatrical experience at Hendersonville Theatre! Join us as we celebrate love, family, and the power of change. |
February 6-16, 2025
Thursday, 2/6, at 7:30 (pay what you can available on 1/23)
Fridays at 7:30
Saturdays at 3 pm
Sundays at 3 pm
February 6-16, 2025
Thursday, 2/6, at 7:30 (pay what you can available on 1/23)
Fridays at 7:30
Saturdays at 3 pm
Sundays at 3 pm
Approximate Run Time: 2 hours, 5 minutes
Rating: PG-13 due to adult language and situations. Conversations addressing prejudice, racism, and bigotry.
A progressive white couple’s proud liberal sensibilities are tested when their daughter brings her black fiance home to meet them in this fresh and relevant stage adaptation of the iconic film Guess Who’s Coming to Dinner. Blindsided by their daughter’s whirlwind romance and fearful for her future, Matt and Christina Drayton quickly realize the difference between supporting a mixed-race couple in your newspaper and welcoming one into your family–especially in 1967. But they’re surprised to find they aren’t the only ones concerned about the match, and it’s only a short time before a multi-family clash of racial and generational difference sweeps across the Draytons’ idyllic San Francisco terrace. Will the love between young Joanna and John prevail? With humor and insight, Guess Who’s Coming To Dinner begins a conversation sure to continue at dinner tables long after the curtain comes down.
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
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
Asheville Gallery of Art proudly presents three new artists for its February special exhibit: Cynthia Brody, Marion Vidal and Kathleen Stern. “How We Heal” is a tribute to the inhabitants of Western North Carolina who have been so resilient in the long recovery process after the fury of Helene, plus the many folks from out of state who came so quickly to help us; THANK YOU! An opening reception will be held Friday, February 7th from 5-7:30 pm. All are welcome.
The Play That Goes Wrong at the Asheville Community Theater Fridays at 7:30 PM, Saturdays & Sundays at 2:30 PM.
Welcome to opening night of the Cornley University Drama Society’s newest production, The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. This 1920s whodunit has everything you never wanted in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award–winning comedy is a global phenomenon that’s guaranteed to leave you aching with laughter!
A talkback with the cast & crew of The Play That Goes Wrong will be held following the performance on Sunday, February 9. Run Time: Two Hours (Approx.) There will be a fifteen-minute intermission for this show. Content Awareness: This production depicts some violence in a comedic manner and mild sexual innuendos.
Performing on February 6, 8, 14, 16, 20 & 22:
- Drew Dyer, Jade Fernandez, Mash Hes, Lucien Hinton, Jason Phillips, River Spade, Allie Marée Starling & Matt Wade
Performing on February 7, 9, 13, 15, 21 & 23:
- Gabby Bailey, Emily Dake, Holly Oakley, Paula O’Brien, Chandler Peveto, Jon Robinson, Jackson Wilhelmi & Henry Williamson
Great Smoky Mountains Railroad, Bryson City, NC
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!