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.
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Comedy Night Fundraiser At Lookout Brewing!!!
On Friday January 17th Neon Moon Comedy and Lookout Brewing Company present A Comedy Night Fundraiser
With Headliner Paul Snyder (As seen on Drybar Comedy)
Featuring Ryan Cox and Chris Diorio (as seen on KillTony)
With Special Guests Sarah Love and Leslie Ann Thompson
Hosted by Chris Gullo (As seen in movies on Amazon Prime Video and Tubi)
Show starts at 7pm at Lookout Brewing in Black Mountain, NC
Admission is pay what you can and all admission proceeds will go toward a family in need effected by Hurricane Helene
Lookout Brewing is located at S Ridgeway Ave #1, Black Mountain, NC 28711
Come on out for a fantastic night of laughs for a great cause
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.
Bill Viola’s Moving Stillness: Mount Rainier, 1979 on loan from Art Bridges is an immersive experience that explores the ideas of death and regeneration in nature. In a darkened room, sounds from nature envelop the viewer, as a placid pool of water reflects a projected image of Mount Rainier onto a screen. The water is periodically disturbed, causing the image to dissolve and slowly recompose as the pool settles. As an active volcano at rest, Mount Rainier embodies both quiet beauty and dramatic violence. Using time as both a tool and a theme in his work, Viola visualizes the dualities of nature’s rhythms of renewal, which include moments of both fragility and strength.
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.
The Asheville Art Museum is pleased to present Ginny Ruffner’s Reforestation of the Imagination, organized and toured by the Smithsonian American Art Museum. The exhibition imagines an apocalyptic landscape of withered plant forms that come to life when activated with augmented reality. In collaboration with animator and media artist Grant Kirkpatrick, Ruffner illuminates the delicate balance between nature and the artificial human-built world around us, putting forth an optimistic hope for the future: that technology can be a means to understand and help save the earth from environmental devastation. Visitors can download the free app “Reforestation” on their phones or use the iPads in the gallery to bring this second reality to life. When the tree rings of a stump are viewed through a device’s camera lens, a hologram of a fictional plant appears to sprout from the sculpture. These imagined fruits and flowers have evolved from existing flora, developing dramatic appendages and skills necessary to flourish in this radically different environment. In Ruffner’s fantastical reality, tulips develop stem flexibility, pears contain windows to the outside world, and flowers take on the form of birds. The installation includes Ruffner’s tongue-in-cheek descriptions of her surreal flora and their remarkable, sometimes humorous adaptations. Used as inspiration for the AR images, 19 original drawings by the artist will also be on view.
“What a lovely name for these talented musicians.”
This trio of musicians may bring to mind Renaissance and Baroque paintings, but this Greenville ensemble will paint musical pictures that span the centuries. The ensemble, made up of violinist Joanna Mulfinger, pianist Jessica Elliott, and horn player Anna Zuelke-King, will delight all audiences.
Violinist Joanna Mulfinger studied at the Peabody Conservatory, The Juilliard School, and the Hanns Eichler Hochschule in Berlin, and has participated in music festivals in North America and Europe.
Pianist Jessica Elliott received her musical education at Florida State University where she was pianist for the University Symphonic Orchestra and now plays with the Greenville Symphony Orchestra.
Anna Zuelke-King, horn, is Principal Horn with the Greenville Symphony Orchestra, Principal of the Spartanburg Philharmonic, and Third Horn with the Asheville Symphony Orchestra.
THE UNTOLD TRUE STORY OF A BROOKLYN KID WHO BECAME A CHART-BUSTING, SHOW-STOPPING, AWARD-WINNING AMERICAN ICON
Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway-and head out on the road across America.
Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is an inspiring, exhilarating, energy-filled musical memoir that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.
A BEAUTIFUL NOISE is recommended for audiences of all ages.
It’s time for Animaniacs…IN CONCERT! Join the voices of Animaniacs – the iconic animatedWarner Bros series (produced by Steven Spielberg) – for a “zany, animany and totally insaney” evening as they perform the world-famous songs from the beloved cartoon series backed by the original projected animation. Animaniacs: In Concert stars the show’s original Emmy-Winning composer, Randy Rogel, on
piano and the voice-talents of Emmy winner Rob Paulsen (Yakko & Pinky on Animaniacs; Raphael on Teenage Mutant Ninja Turtles).
Animaniacs remains as topical and relevant today as it was when the TV series debuted in the early 1990’s. With new episodes currently streaming on HULU, Animaniacs is a multigenerational animated favorite with universally-recognized hit songs. Fans of all ages will experience Animaniacs like never before…especially those who grew up watching the series. As its creators say, “Animaniacs in Concert is for the adults – it’s hip, it’s funny…but kids will love it, too!”
Animaniacs and all related characters and elements are trademarks and © Warner Bros. Entertainment Inc.
Leo Johnson’s music embodies the timeless essence of jazz guitar’s golden era. His sound resonates with the soulful echoes of legends such as Joe Pass, Wes Montgomery, and Barney Kessel. Each note he plays carries the rich heritage and virtuosity that defined the jazz guitar masters of yesteryears, showcasing a deep appreciation for the lush harmonies and melodic intricacies that are synonymous with the genre’s classic sound. Through his music, Leo Johnson pays homage to the giants who paved the way, while infusing his unique voice and style into the fabric of guitar tradition. Join us for this wonderful evening of Jazz.
The Grey Eagle and Worthwhile Sounds Present Low Water Bridge Band. Doors: 7pm // Show: 8pm. $17.95. ALL AGES. STANDING ROOM ONLY.
There’s a sound the Shenandoah River makes as it rumbles over old stones in the shallows. It sings songs the way they used to be – plain and honest. No frills, buckle that belt before you head to the hills and hollers. It’s there under a Virginia moon that you’ll find the Low Water Bridge Band.
Join us for an immersive experience in the art of grafting Japanese Maples, led by expert horticulturist Fritz McCall, owner of Blue Ridge Nursery and longtime Bullington supporter. In this hands-on workshop, participants will learn the intricate techniques of grafting and practice under Fritz’s guidance. You’ll have the opportunity to graft two beautiful maple varieties from the selections (Bloodgood, Inaba Shidare, Sango kaku, Seiryu, Tamukeyama, Viridis, Crimson Queen, and Japonicum) and take your grafted trees home. This class is perfect for both beginners and seasoned gardeners looking to expand their skills. Don’t miss this chance to create your own Japanese Maples and deepen your understanding of this ancient horticultural practice. Participants are asked to bring a sharp knife or Exacto knife.
$55 per ticket-class size limited to 14.
Saturday January 18, 2025. 10:00 a.m.– 12:30 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.
Family Meditation Session
Family Meditation sessions are designed to help parents and children practice, play, and bond together. And kids get exposed to the practice and value of mindfulness meditation.
Each session begins with a short meditation period, followed by mindful activities for both adults and kids. Sessions may also include mindful movement, play, music, or other appropriate group activities to compliment the session’s theme.
175 Weaverville Rd
Suite H
Asheville, NC 28804
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.
Bill Viola’s Moving Stillness: Mount Rainier, 1979 on loan from Art Bridges is an immersive experience that explores the ideas of death and regeneration in nature. In a darkened room, sounds from nature envelop the viewer, as a placid pool of water reflects a projected image of Mount Rainier onto a screen. The water is periodically disturbed, causing the image to dissolve and slowly recompose as the pool settles. As an active volcano at rest, Mount Rainier embodies both quiet beauty and dramatic violence. Using time as both a tool and a theme in his work, Viola visualizes the dualities of nature’s rhythms of renewal, which include moments of both fragility and strength.
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.
The Asheville Art Museum is pleased to present Ginny Ruffner’s Reforestation of the Imagination, organized and toured by the Smithsonian American Art Museum. The exhibition imagines an apocalyptic landscape of withered plant forms that come to life when activated with augmented reality. In collaboration with animator and media artist Grant Kirkpatrick, Ruffner illuminates the delicate balance between nature and the artificial human-built world around us, putting forth an optimistic hope for the future: that technology can be a means to understand and help save the earth from environmental devastation. Visitors can download the free app “Reforestation” on their phones or use the iPads in the gallery to bring this second reality to life. When the tree rings of a stump are viewed through a device’s camera lens, a hologram of a fictional plant appears to sprout from the sculpture. These imagined fruits and flowers have evolved from existing flora, developing dramatic appendages and skills necessary to flourish in this radically different environment. In Ruffner’s fantastical reality, tulips develop stem flexibility, pears contain windows to the outside world, and flowers take on the form of birds. The installation includes Ruffner’s tongue-in-cheek descriptions of her surreal flora and their remarkable, sometimes humorous adaptations. Used as inspiration for the AR images, 19 original drawings by the artist will also be on view.