Baker Exhibit Center

In an age of complex environmental challenges, why not look to the ingenuity of nature for solutions? The forms, patterns, and processes found in the natural world—refined by 3.8 billion years of evolution—can inspire our design of everything from clothing to skyscrapers. This approach to innovation, called biomimicry, is becoming increasingly popular.

Nature’s Blueprints is supported in part by The North Carolina Arboretum Society, The Laurel of Asheville, RomanticAsheville.com Travel Guide, and Smoky Mountain Living Magazine.

CUSTOMIZED TOURS:

• A custom half day tour planned with your interests in mind.  This option is approximately 3.5 hr and can be morning from 9:30-1; or afternoon from 1:30-5.

We will select 2-3 artist studio options in the Asheville or Weaverville areas based on your input and artist availability.  Three studios are standard for this custom half-day option, or two glass studios work well in this time frame (due to glass demo’s taking a bit longer than other mediums).

• A custom full day tour planned with your interests in mind.  This option is a full day from 9:30a to approximately 4p.

Designed for the serious art lover! Lunch is included, and this tour allows for the possibility of visiting 4 artist studios that are 30-60 minutes away from Asheville: for example in Waynesville, Marshall, Burnsville, Penland or Spruce Pine.  Many of western NC’s professional artists live in these locations, so come explore more of the region with me – your local art insider!

Tour rates per participant: New Glass Plus 1 tour $65/ea. | Custom half day $85/ea. | Custom full day $165/ea.

For custom tours, planning ahead is key.   Art Connections provides tours for couples and small or medium size groups. These tours are based on your interests, your time frame, and which artists are available for a visit.  I know that everyone who considers a tour has different thoughts on what they’d enjoy seeing.  Maximize your visit by planning ahead with me. Having worked for over 30 years with so many of the artists in Western NC, I can accommodate participant interests and find options that are a good fit for each request.

Just use the Contact page and send in an inquiry, we’ll go from there and work out the details.

Historians estimate that skilled Black artisans outnumbered their white counterparts in the antebellum South by a margin of five to one. However, despite their presence and prevalence in all corners of the pre-industrial trade and craft fields, the stories of these skilled workers go largely unacknowledged.

Borrowing its title from a Black culture and politics magazine of the same name, Hammer and Hope celebrates the life and labor of Black chairmakers in early America. Featuring the work of two contemporary furniture makers – Robell Awake and Charlie Ryland – the pieces in this exhibition are based on the artists’ research into ladderback chairs created by the Poynors, a multigenerational family of free and enslaved craftspeople working in central Tennessee between the early nineteenth and early twentieth centuries.

Through the objects featured in Hammer and Hope, Awake and Ryland explore, reinterpret, and reimagine what the field of furniture-making today would look like had the history and legacy of the Poynors – and countless others that have been subject to a similar pattern of erasure – been celebrated rather than hidden. Hammer and Hope represents Awake and Ryland’s attempts, in their own words,  “at fighting erasure by making objects that engage with these long-suppressed stories.”‍

Robell Awake and Charlie Ryland are recipients of the Center for Craft’s 2022 Craft Research Fund Artist Fellowship. This substantial mid-career grant is awarded to two artists to support research projects that advance, expand, and support the creation of new research and knowledge through craft practice.

Saturdays from 10:30 AM – 12 PM

The Museum recognizes Western North Carolina youth for their original artworks Award winners will be featured in a student exhibition in the Museum’s Van Winkle Law Firm Gallery and Multipurpose Space from January 24–March 25, 2024. All regional award recipients will be honored at a closing reception on March 21. The Asheville Art Museum and the Asheville Area Section of the American Institute of Architects (AIA) are the Western North Carolina (WNC) regional Affiliate Partners of the National Scholastic Art Awards. This ongoing community partnership has supported the creative talents of our region’s youth for 44 years. The WNC regional program is open to students in grades 7–12, ages 13-18, across 24 counties. “I’m thrilled to witness the incredible talent showcased in the 2024 Western North Carolina Scholastic Art Awards exhibition,” said Susan Hendley, School & Teacher Programs Manager at the Asheville Art Museum.  “This is a celebration of original works by students across the WNC region and highlights the profound impact of arts education.” The regional program is judged in two groups: Group I, grades 7–9 and Group II, grades 10–12. Out of more than 500 total art entries, over 200 works have been recognized by the judges; Gold and Silver Key awards are featured in this exhibition, with select Honorable Mentions displayed digitally. The 2024 regional judges include Victoria Bradbury, Associate Professor and Chair of New Media at UNC Asheville, Andrew Davis, Studio Technician and instructor at Winthrop University, and Jenny Pickens, a native Asheville artist and educator. Those works receiving Gold Keys have been submitted to compete in the 101st Annual National Scholastic Art Awards Program in New York City. Of the Gold Key Award recipients, five students have also been nominated for American Visions, indicating their work is the Best in Show of the regional awards. One of these American Visions Nominees will receive an American Visions Medal at the 2024 National Scholastic Art Awards. Visit the Museum’s website for more information about the student exhibition. Thanks to our sponsors, Jon and Ann Kemske, Russell and Ladene Newton, and Frugal Framer. Download Student Artworks

Images: Left: Minna Wright Citron, Squid Under Pier, 1948, color etching, soft-ground, and engraving on paper, edition 42/50, 15 x 17 7/8 inches, 2010 Collections Circle purchase, Asheville Art Museum. © Estate of Minna Citron/Licensed by VAGA at ARS, New York. Right: Dorothy Dehner, Woman #2, 1954, watercolor and ink on paper, 22 3/4 x 18”, courtesy of Dolan Maxwell.

The Asheville Art Museum is pleased to announce the upcoming exhibition American Art in the Atomic Age: 1940–1960, which explores the groundbreaking contributions of artists who worked at the experimental printmaking studio Atelier 17 in the wake of World War II. Co-curated by Marilyn Laufer and Tom Butler, American Art in the Atomic Age which draws from the holdings of Dolan/Maxwell, the Asheville Art Museum Collection, and private collections will be on view from November 10, 2023–April 29, 2024.

Atelier 17 operated in New York for fifteen years, between 1940 and 1955. The studio’s founder, Stanley William Hayter (1901–1988) established the workshop in Paris but relocated to New York just as the Nazi occupation of Paris began in 1940. Hayter’s new studio attracted European emigrants like André Masson, Yves Tanguy, and Joan Miró, as well as American artists like Dorothy Dehner, Judith Rothschild, and Karl Schrag, allowing for an exchange of artistic ideas and processes between European and American artists.

The Asheville Art Museum will present over 100 works that exemplify the cross-cultural exchange and profound social and political impact of Atelier 17 on American art. Prints made at Atelier 17—including those by Stanley William Hayter, Louise Nevelson, and Perle Fine—will be in conversation with works by European Surrealists who were working at the studio in the 1940s and 1950s. The exhibition will also feature a selection of domestic mid-century objects that exemplify how the ideas and aesthetics of post-war abstraction became a part of everyday life.

Bender Gallery Artists Featured in Asheville Art Museum Exhibition The New Salon: A Contemporary View The Asheville Art Museum will be opening their exhibit, The New Salon: A Contemporary View, on March 8 and it will run until August 19, 2024. The New Salon offers a modern take on the prestigious tradition of the Parisian Salon with the diversity and innovation of today’s art world. Guest-curated by Gabriel Shaffer, the show will include works from Pop Surrealism, Outsider Art, Street Art, and Graffiti genres.   Bender Gallery has been collaborating with the Asheville Art Museum to loan four paintings from three of our artists. The artists are Laine Bachman, Kukula, and Yui Sakamoto. Be sure to check out this special exhibition in downtown Asheville. Learn More Kukula, Impossible Voyage, oil on board, 48 x 24 inches Kukula (b. 1980, Israel) Nataly Abramovitch, better known in the art world as, Kukula, paints imagined worlds filled with elaborately dressed women in fanciful settings. The artist does extensive research on the layouts of paintings from the Renaissance and Rococo periods. Kukula subverts these images by depicting women characters in place of traditionally male positions and settings. Her characters are powerful, commanding, and have an air of indifference. Available Work Yui Sakamoto, Self Portrait, oil on canvas, 63 x 63 inches Yui Sakamoto (b. 1981, Japan) Our surrealist artist, Yui Sakamoto, will have two paintings featured including My Soul and Self Portrait. Self Portrait is still available from his recent solo exhibition at Bender Gallery. Standing in front of Self Portrait, one is immersed in the dual-worlds of Sakamoto’s Japanese and Mexican cultures. There is a sense of calm reflected in the repeating rose pattern, mixed with the uneasy realization that the coral, fungi, and otherworldly forms are what makeup the figure. Available Work Laine Bachman, Night Bloomers, acrylic on canvas, 18 x 24 inches Laine Bachman (b. 1974, USA) Our prolific Magical Realism artist, Laine Bachman, makes a feature in the exhibition with her painting, Night Bloomers. She has been hard at work making 17 new pieces for her solo exhibition at the Canton Art Museum in Canton, Ohio. The Canton show opens on April 28 and continues through to July 28, 2024. Available Work

Exhibition and Public Programming

Vera B. Williams, an award-winning author and illustrator of children’s books, started making pictures almost as soon as she could walk. She studied at Black Mountain College in a time where summer institutes were held with classes taught by John Cage and Merce Cunningham. Williams studied under the Bauhaus luminary Josef Albers and went on to make art for the rest of her life. At the time of her death, The New York Times wrote: “Her illustrations, known for bold colors and a style reminiscent of folk art, were praised by reviewers for their great tenderness and crackling vitality.” Despite numerous awards and recognition for her children’s books, much of her wider life and work remains unexplored. This retrospective will showcase the complete range of Williams’ life and work. It will highlight her time at Black Mountain College, her political activism, and her establishment, with Paul Williams, of an influential yet little-known artist community, in addition to her work as an author and illustrator.

Author and illustrator of 17 children’s books, including Caldecott medal winner, A Chair for My Mother, Vera B. Williams always had a passion for the arts. Williams grew up in the Bronx, NY, and in 1936, when she was nine years old, one of her paintings, called Yentas, opens a new window, was included in an exhibition at the Museum of Modern Art. While Williams is widely known for her children’s books today, this exhibition’s expansive scope highlights unexplored aspects of her artistic practice and eight decades of life. From groundbreaking, powerful covers for Liberation Magazine, to Peace calendar collaborations with writer activist Grace Paley, to scenic sketches for Julian Beck and Judith Malina’s Living Theater, to hundreds of late life “Aging and Illness” cartoons sketches and doodles, Vera never sat still.

Williams arrived at Black Mountain College in 1945. While there, she embraced all aspects of living, working, and learning in the intensely creative college community. She was at BMC during a particularly fertile period, which allowed her to study with faculty members Buckminster Fuller and Josef Albers, and to participate in the famed summer sessions with John Cage, Merce Cunningham, M.C. Richards, and Robert Rauschenberg. In 1948, she graduated with Josef Albers as her advisor and sculptor Richard Lippold as her outside examiner. Forever one of the College’s shining stars, Vera graduated from BMC with just six semesters of coursework, at only twenty-one years old. She continued to visit BMC for years afterward, staying deeply involved with the artistic community that BMC incubated.

Anticipating the eventual closure of BMC, Williams, alongside her husband Paul Williams and a group of influential former BMC figures, founded The Gate Hill Cooperative Artists community located 30 miles north of NYC on the outskirts of Stony Point, NY. The Gate Hill Cooperative, also known as The Land, became an outcropping of Black Mountain College’s experimental ethos. Students and faculty including John Cage, M.C. Richards, David Tudor, Karen Karnes, David Weinrib, Stan VanDerBeek, and Patsy Lynch Wood shaped Gate Hill as founding members of the community. Vera B. Williams raised her three children at Gate Hill while continuing to make work.

The early Gate Hill era represented an especially creative phase for the BMC group. For Williams, this period saw the creation of 76 covers for Liberation Magazine, a radical, groundbreaking publication. This exhibition will feature some of Williams’ most powerful Liberation covers including a design for the June 1963 edition, which contained the first full publication of MLK’s “Letter from Birmingham Jail.” Williams’ activism work continued throughout her life. As president of PEN’s Children Committee and member of The War Resisters league, she created a wide range of political and educational posters and journal covers. Williams protested the war in Vietnam and nuclear proliferation while supporting women’s causes and racial equality. In 1981, Williams was arrested and spent a month in a federal prison on charges stemming from her political activism.

In her late 40’s, Williams embarked in earnest on her career as a children’s book author and illustrator, a career which garnered the NY Public Library’s recognition of A Chair for My Mother as one of the greatest 100 children’s books of all time. Infinitely curious and always a wanderer at heart, Williams’ personal life was as expansive as her art. In addition to her prolific picture making, Williams started and helped run a Summerhill-based alternative school, canoed the Yukon, and lived alone on a houseboat in Vancouver Harbor. She helped to organize and attended dozens of political demonstrations throughout her adult life.

Her books won many awards including the Caldecott Medal Honor Book for A Chair for My Mother in 1983, the Boston Globe–Horn Book Award– Fiction category– for Scooter in 1994, the Jane Addams Honor for Amber Was Brave, Essie Was Smart in 2002, and the NSK Neustadt Prize for Children’s Literature in 2009. Her books reflected her values, emphasizing love, compassion, kindness, joy, strength, individuality, and courage.

Images:

Cover of Vera B. Williams’ A Chair for My Mother, published in 1982.

Vera B. Williams, Cover for Liberation Magazine, November 1958.