Calendar of Events
Looking for things to do in Hendersonville, NC? Whether you’re a local or just passing through we’ve got loads of great tips and events to help you find your perfect adventure.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Arboretum visitors will witness some of the most surprising animal behavior in the new National Geographic exhibition, “The Greatest Wildlife Photographs.” The very best wildlife pictures from the pages of National Geographic magazine have been chosen to be displayed in this exhibition. Curated by renowned nature picture editor, Kathy Moran, this exhibition is a celebratory look at wildlife with images taken by National Geographic’s most iconic photographers such as, Michael “Nick” Nichols, Steve Winter, Paul Nicklen, Beverly Joubert, David Doubilet and more. Showcasing the evolution of photography, the images convey how innovations such as camera traps, remote imaging, and underwater technology have granted photographers access to wildlife in their natural habitat.
For 115 years, National Geographic has pioneered and championed the art of wildlife photography, and captivated generations of engaged audiences with a steady stream of extraordinary images of animals in nature. From the very first such image to appear – a reindeer in 1903 – National Geographic Society’s publications have broken new ground and push the bar higher again and again, establishing an unmatched legacy of artistic, scientific, and technical achievement. These are the Greatest Wildlife Photographs. This is included with admission to NC Arboretum.
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.
UpMarket Gallery, downtown Asheville’s newest gallery and event space, is hosting its inaugural art show– The Totem: Celebrating Family, Spirit & Culture. Ten Asheville artists offer unique interpretations of totems, exploring family, spirit, and cultural themes. Through various mediums and styles, these modern totems invite viewers to reflect on their connections to family and heritage. Runs December 11 – January 31st
We welcome you to experience this captivating show in our newly restored space. Also housed within our thoughtfully updated building is the Dog & Pony Show, a curated collection of distinctive decor and gifts—perfect for your holiday shopping!
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.
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
Golden Folk Sessions
All Ages
Thursday, January 23
FULLY SEATED SHOW
LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE
Golden Folk Sessions (formerly Open Folk AVL) offers an intimate, carefully curated listening experience that celebrates the art of original music. Each event showcases six handpicked artists, performing three-song sets in a quiet, seated environment where the music takes center stage. To add a sense of surprise and discovery, the lineup is revealed only when the show begins. Running from 7–9 PM, these early shows create the perfect evening for music lovers who value live performances and a good night’s rest.
Beginner’s workshop lesson at 7:30 P.M., then 8-11 P.M. Contra Dance with Country Waltzing at the break and the final dance. This is a partner dance but it’s not necessary to come with a partner. We have different live bands and callers.
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
Creekside Taphouse Presents:
Live Music w/Station Underground
8 Beverly Rd, Asheville, NC 28805
Barley’s Presents:
Alien Music Club
Alien Music Club is an eclectic blend of alternative music in diverse musical genres ranging from all forms of rock to jazz to funk to anything in between with intelligent lyrics and a playful sense of humor.
Barley’s is located at 42 Biltmore Avenue in Downtown Asheville, NC 28801
Phone:(828) 255-0504
The Double Crown Presents: International w/ DJ Flypaper
375 Haywood Road, West Asheville, NC 28806
Candlelight concerts bring the magic of a live, multi-sensory musical experience to awe-inspiring locations like never seen before in Asheville. Get your tickets now to discover the music of Queen and more at The Asheville Masonic Temple under the gentle glow of candlelight.
General Info
Venue: Asheville Masonic Temple
Dates and times: select your dates/times directly in the ticket selector
Duration: 60 minutes (doors open 45 mins prior to the start time and late entry is not permitted)
Age requirement: 8 years old or older. Anyone under the age of 16 must be accompanied by an adult
Accessibility: please contact us for more information on accessibility
View the FAQs for this event here
Seating is assigned on a first come first served basis in each zone
If you would like to book a private concert or buy regular tickets for a large group (+30 people), click here
Check out all the Candlelight concerts in Asheville
To treat your friends and family to a Candlelight gift card, click here
Tentative Program
Queen:
“Don’t Stop Me Now”
“Killer Queen”
“Somebody to Love”
“Love of My Life”
“Crazy Little Thing Called Love”
“Under Pressure” (Queen and David Bowie)
“Bohemian Rhapsody”
“Fat Bottomed Girls”
“We Will Rock You”
“Another One Bites the Dust”
“We Are the Champions”
Other Works:
Gianni Schicchi, “O Mio Babbino Caro” – Giacomo Puccini
La Boheme, SC 67, Act 2: “Quando m’en Vo’ (Musetta’s Waltz)” – Giacomo Puccini
Die Zauberflöte (The Magic Flute), K. 620, Act 2: “Der Hölle Rache Kocht in Meinem Herzen (Queen of the Night Aria)” – W. A. Mozart
Performers
Opal String Quartet
Seating Map
Candlelight concerts bring the magic of a live, multi-sensory musical experience to awe-inspiring locations like never seen before in Asheville. Get your tickets now to discover Vivaldi and more at The Asheville Masonic Temple under the gentle glow of candlelight.
General Info
Venue: Asheville Masonic Temple
Dates and times: select your dates/times directly in the ticket selector
Duration: 60 minutes (doors open 45 mins prior to the start time and late entry is not permitted)
Age requirement: 8 years old or older. Anyone under the age of 16 must be accompanied by an adult
Accessibility: please contact us for more information on accessibility
View the FAQs for this event here
Seating is assigned on a first come first served basis in each zone
If you would like to book a private concert or buy regular tickets for a large group (+30 people), click here
Check out all the Candlelight concerts in Asheville
To treat your friends and family to a Candlelight gift card, click here
Tentative Program
“The Four Seasons, Violin Concerto in G Minor, Op. 8 No. 1 RV 269: “Spring”” – Vivaldi
“The Four Seasons, Violin Concerto in G Minor, Op. 8 No. 2 RV 315: “Summer”” – Vivaldi
“Thaïs: Méditation” – Jules Massenet
“The Cuatro Estaciones Porteñas: Verano Porteño” – Astor Piazzolla
“The Four Seasons, Violin Concerto in G Minor, Op. 8 No. 3 RV 293: “Autumn”” – Vivaldi
“The Four Seasons, Violin Concerto in G Minor, Op. 8 No. 4 RV 297: “Winter”” – Vivaldi
Performers
Opal String Quartet
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.
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!