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DTSTART;VALUE=DATE:20220722
DTEND;VALUE=DATE:20221025
DTSTAMP:20260617T123208
CREATED:20220317T220638Z
LAST-MODIFIED:20220322T191445Z
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SUMMARY:Border Cantos | Sonic Border: Richard Misrach | Guillermo Galindo
DESCRIPTION:Border Cantos | Sonic Border\, a unique collaboration between American photographer Richard Misrach and Mexican American sculptor and composer Guillermo Galindo\, uses the power of art to explore and humanize the complex issues surrounding the Mexican-American border through a transformative and multi-sensory experience. \nMisrach\, who has photographed the border since 2004\, beautifully captures landscapes and objects\, including things left behind by migrants. His large-scale photographs\, along with grids of smaller photos\, highlight issues surrounding migration and its effect on regions and people\, and also introduce a complicated look at policing the boundary. \nResponding to these photographs\, Galindo fashioned sound-generating sculptures from items Misrach collected along the border\, such as water bottles\, Border Patrol “drag tires\,” spent shotgun shells\, ladders\, and sections of the border wall itself. The sounds they produce give voices to people through the personal belongings they have left behind. The composition embraces the Pre-Columbian belief that there was an intimate connection between an instrument and the material from which it was made\, with no separation between spiritual and physical worlds. Based on the Mesoamerican Venus calendar\, Sonic Border plays for a total of 260 minutes and is separated into 13 cycles of 20 minutes. Within these cycles\, the instruments play in small groups of two or more\, or all together as an orchestra. \nPresented in English and Spanish\, Border Cantos | Sonic Border offers perspective on the challenges of migration\, inviting us to bridge boundaries. When experienced as a whole\, the images\, instruments\, and emanating sounds create an immersive space in which to look\, listen\, and learn about the complicated issues surrounding the Mexican-American border. While the artists do not seek to provide solutions to these issues\, they do provide insight into a place where most people have never ventured\, creating a poignant connection that draws on our humanity. \nBorder Cantos | Sonic Border is organized by Crystal Bridges Museum of American Art\, Bentonville\, Arkansas. Support for the national tour of Border Cantos | Sonic Border is provided by Art Bridges. \nImage: Richard Misrach\, Wall\, Jacumba\, California\, 2009\, pigment print\, image: 60 × 80 inches\, framed: 61 × 81 × 2 inches. Courtesy the Artist. © Richard Misrach\, courtesy Fraenkel Gallery\, San Francisco.
URL:https://artinamericaguide.com/event/border-cantos-sonic-border-richard-misrach-guillermo-galindo/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220618
DTEND;VALUE=DATE:20220906
DTSTAMP:20260617T123208
CREATED:20211007T134932Z
LAST-MODIFIED:20220322T191317Z
UID:88817-1655510400-1662422399@artinamericaguide.com
SUMMARY:American Perspectives: Stories from the American Folk Art Museum Collection
DESCRIPTION:Everyone has stories to tell from both the private and mutual experiences encountered throughout their lifetime. American folk and self-taught artists capture these stories in powerful visual narratives that offer firsthand testimonies to chapters in the unfolding story of America from its inception to the present. American Perspectives: Stories from the American Folk Art Museum Collection showcases over 80 stellar works of folk and self-taught art. Beautiful\, diverse\, and truthful; the art illuminates the thoughts and experiences of individuals with an immediacy that is palpable and unique to these expressions. American Perspectives includes assemblages\, needlework\, paintings\, pottery\, quilts\, and sculpture; these artworks held meaning in the makers’ worlds filtered through their own perceptions. \nThe artworks are organized into four sections—Founders\, Travelers\, Philosophers\, and Seekers—that respond to such themes as nationhood\, freedom\, community\, imagination\, opportunity\, and legacy. Evocative visual juxtapositions and accessible contextual information further reveal the vital role that folk art plays as a witness to history\, carrier of cultural heritage\, and a reflection of the world at large through the eyes\, heart\, and mind of the artist. \nThis exhibition has been organized by the American Folk Art Museum\, NY\, with support provided by Art Bridges. Originally curated for installation at the American Folk Art Museum February 11\, 2020–January 3\, 2021 by Stacy C. Hollander\, independent curator. Tour coordinated by Emelie Gevalt\, Curator of Folk Art and Curatorial Chair for Collections\, the American Folk Art Museum. \nThis exhibition is ticketed. More info to come. \nImage: Jessie B. Telfair\, Freedom Quilt\, 1983\, cotton with pencil\, 74 × 68 inches. Collection American Folk Art Museum\, NY\, gift of Judith Alexander in loving memory of her sister\, Rebecca Alexander\, 2004.9.1. Photo by Gavin Ashworth. © Estate of Jessie. B. Telfair. 
URL:https://artinamericaguide.com/event/american-perspectives-stories-from-the-american-folk-art-museum-collection/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220525
DTEND;VALUE=DATE:20221011
DTSTAMP:20260617T123208
CREATED:20220322T191938Z
LAST-MODIFIED:20220322T191940Z
UID:93067-1653436800-1665446399@artinamericaguide.com
SUMMARY:Draped and Veiled: 20×24 Polaroid Photographs by Joyce Tenneson
DESCRIPTION:Standing behind the substantial presence of the large format Polaroid 20×24 camera—weighing 200 pounds and the size of a refrigerator—artists peer through the viewfinder towards another world. The process of creating the unique large dye transfer prints imparts framing to a scene and quality to an image that balances subtlety with boldness\, softness paired with an undeniable presence. The 20×24 Polaroid adds an additional layer of veiling and diaphanous softness to the imagery in Joyce Tenneson’s Transformations series\, which she began in 1985 and engaged with through 2005. \nTransformations features partially or fully nude figures poetically presented; Tenneson’s photographs have always been interested in the magic of the human figure\, contained within bodies of all ages and emotions in a broad range that are both vulnerable and bold. She interweaves elements that feel vaguely mythological or symbolic\, her figures embodying Classical sculptures of gods and goddesses\, both mighty and mercurial. Elements such as shells\, fruits\, or daggers are expressions of inner journeys and self-discovery\, and draped fabric and netting echo the shifting flow of time\, energy\, and identity. The ethereal quality imparted by the Polaroid process resonated with Tenneson\, who stated: “I often felt like a channel—the images that had been part of my inner psyche for years emerged from some mysterious source.” \nThis exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder\, assistant curator. \nImage: Joyce Tenneson\, Untitled from the Transformations series\, 1985–2005\, Polaroid print on paper\, 24 × 20 inches. Gift of Ravi Singhvi 2019.51.204. © Joyce Tenneson.
URL:https://artinamericaguide.com/event/draped-and-veiled-20x24-polaroid-photographs-by-joyce-tenneson/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220401
DTEND;VALUE=DATE:20220705
DTSTAMP:20260617T123208
CREATED:20220317T220723Z
LAST-MODIFIED:20220322T191402Z
UID:93007-1648771200-1656979199@artinamericaguide.com
SUMMARY:Gillian Laub’s Southern Rites
DESCRIPTION:American photographer Gillian Laub (born New York\, 1975) has spent the last two decades investigating political conflicts\, exploring family relationships\, and challenging assumptions about cultural identity. In Southern Rites\, Laub engages her skills as a photographer\, filmmaker\, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness. \nIn 2002\, Laub was sent on a magazine assignment to Mount Vernon\, GA\, to document the lives of teenagers in the American South. The town\, nestled among fields of Vidalia onions\, symbolized the archetype of pastoral\, small town American life. The Montgomery County residents Laub encountered were warm\, polite\, protective of their neighbors\, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated. \nLaub continued to photograph Montgomery County over the following decade\, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation’s history. In 2009\, a few months after Barack Obama’s first inauguration\, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and\, for a moment\, progress seemed inevitable. \nThen\, in early 2011\, tragedy struck the town. Justin Patterson\, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project\, which began as an exploration of segregated high school rituals\, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade\, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter movement and national protests proliferated\, Laub uncovered a complex story about adolescence\, race\, the legacy of slavery\, and the deeply rooted practice of segregation in the American South. \nSouthern Rites is a specific story about 21st century young people in the American South\, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future? \nSouthern Rites is curated by Maya Benton and organized by the International Center of Photography. \n\n\nImage: Gillian Laub\, Amber and Reggie\, Mount Vernon\, Georgia\, 2011\, inkjet print\, 40 × 50 inches. © Gillian Laub\, courtesy of Benrubi Gallery.
URL:https://artinamericaguide.com/event/gillian-laubs-southern-rites/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220223T110000
DTEND;TZID=America/Halifax:20221017T180000
DTSTAMP:20260617T123208
CREATED:20210908T194918Z
LAST-MODIFIED:20210916T194455Z
UID:87388-1645614000-1666029600@artinamericaguide.com
SUMMARY:Useful and Beautiful: Silvercraft by William Waldo Dodge
DESCRIPTION:William Waldo Dodge moved to Asheville in 1924 as a trained architect and a newly skilled silversmith. When he opened for business promoting his handwrought silver tableware\, including plates\, candlesticks\, flatware (spoons\, forks\, and knives)\, and serving dishes\, he did so in a true Arts and Crafts tradition. The aesthetics of the style were dictated by its philosophy: an artist’s handmade creation should reflect their hard work and skill\, and the resulting artwork should highlight the material from which it was made. Dodge’s silver often displayed his hammer marks and inventive techniques\, revealing the beauty of these useful household goods. The silver works in this exhibition are drawn from the Museum’s Collection. \nThe Arts and Crafts style of England became popular in the United States in the early 1900s. Asheville was an early adopter of the movement because of the popularity and abundance of Arts and Crafts architecture in neighborhoods like Biltmore Forest\, Biltmore Village\, and the area around The Grove Park Inn. The title of this exhibition was taken from the famous quotation by one of the founding members of the English Arts and Crafts Movement\, William Morris\, who said\, “have nothing in your house that you do not know to be useful or believe to be beautiful.” Not only did Dodge follow this suggestion; he contributed to American Arts and Crafts silver’s relevancy persisting almost halfway into the 20th century. \nThis exhibition is organized by the Asheville Art Museum and curated by Whitney Richardson\, associate curator. \nImage: William Waldo Dodge\, Footed bowl with acanthus leaf decoration\, 1936\, hammered silver\, 6 × 15 ½inches. Gift of the William W. Dodge Family\, 2016.08.22.© Estate of the Artist\, image David Dietrich.
URL:https://artinamericaguide.com/event/useful-and-beautiful-silvercraft-by-william-waldo-dodge/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220212T110000
DTEND;TZID=America/Halifax:20220530T180000
DTSTAMP:20260617T123208
CREATED:20211007T135124Z
LAST-MODIFIED:20211008T205702Z
UID:88804-1644663600-1653933600@artinamericaguide.com
SUMMARY:The Wyeths: Three Generations | Works from the Bank of America Collection
DESCRIPTION:The Wyeths: Three Generations | Works from the Bank of America Collection provides a comprehensive survey of works by N. C. Wyeth\, one of America’s finest illustrators; his son\, Andrew\, an important realist painter; his eldest daughter\, Henriette\, a realist painter; and Andrew’s son Jamie\, a popular portraitist. Through the works of these artists from three generations of the Wyeth family\, themes of American history\, artistic techniques\, and creative achievements can be explored. \nN. C. Wyeth (1882–1945) has long been considered one of the nation’s leading illustrators. The exhibition includes illustrations for books by Robert Louis Stevenson and Washington Irving as well as historical scenes\, seascapes\, and landscapes. \nAndrew Wyeth (1917–2009) is one of the United States’ most popular artists\, and his paintings follow the American Realist tradition. While Andrew painted recognizable images\, his use of line and space often imbue his works with an underlying abstract quality. The exhibition includes important works from the 1970s and 1980s as well as recent paintings. \nHenriette Wyeth (1907–1997) was the eldest daughter of N.C. Wyeth and an older sister to Andrew Wyeth. Like other members of her family\, her painting style was realist in a time when Impressionism and Abstraction were popular in the early 20th century. She studied painting at the Pennsylvania Academy of the Fine Arts and was an acclaimed portraitist \nJamie Wyeth (born 1946)\, like his father and grandfather\, paints subjects of everyday life\, in particular the landscapes\, animals\, and people of Pennsylvania and Maine. In contrast to his father—who painted with watercolor\, drybrush\, and tempera—Jamie works in oil and mixed media\, creating lush painterly surfaces. The 18 paintings in the exhibition represent all periods of his career. \nThis exhibition has been loaned through the Bank of America Art in our Communities® program. \nThis is a ticketed exhibition. More info coming soon. \nImage: N. C. Wyeth\, Eight Bells (Clyde Stanley and Andrew Wyeth aboard Eight Bells)\, 1937\, oil on hardboard\, 20 × 30 inches. Bank of America Collection.
URL:https://artinamericaguide.com/event/the-wyeths-three-generations-works-from-the-bank-of-america-collection/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220119T110000
DTEND;TZID=America/Halifax:20220627T180000
DTSTAMP:20260617T123208
CREATED:20211012T162554Z
LAST-MODIFIED:20211012T162554Z
UID:86962-1642590000-1656352800@artinamericaguide.com
SUMMARY:A Hand in Studio Craft: Harvey K. Littleton as Peer and Pioneer
DESCRIPTION:Harvey K. Littleton (Corning\, NY 1922–2013 Spruce Pine\, NC) founded the Studio Glass Movement in the United States in 1962 when\, as a teacher\, he instituted a glass art program at the University of Wisconsin in Madison\, the first of its kind in the US. He taught the next generation of glass artists—who taught the next—and his influence can still be seen today. But before he dedicated himself to the medium of glass\, Littleton studied industrial design\, ceramics\, and metalwork at the University of Michigan and the Cranbrook Academy of Art in the late 1930s and early 1940s. He met his wife Bess Tamura Littleton\, a painting student\, at the University of Michigan. Over the course of their careers\, Harvey and Bess collected artwork by their fellow artists and amassed an impressive collection from the early days of the Studio Glass Movement and the height of the American mid-century Studio Pottery Movement. \nThe selection of works on view highlight recent gifts to the Asheville Art Museum’s Collection and loans from the Littleton family. This exhibition places the Littleton’s collection into the context of their lives\, as they moved around the United States\, connected with other artists\, and developed their own work. This exhibition is organized by the Asheville Art Museum and curated by Whitney Richardson\, associate curator. \nImage: Harvey K. Littleton\, Amber Maze\, 1968\, blown glass\, 8 3/4 × 10 1/2 × 6 inches. Gift of Maurine Littleton from the collection of Harvey & Bess Littleton\, 2020.67.010. © Estate of Harvey K. Littleton.
URL:https://artinamericaguide.com/event/a-hand-in-studio-craft-harvey-k-littleton-as-peer-and-pioneer/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220112T110000
DTEND;TZID=America/Halifax:20220523T180000
DTSTAMP:20260617T123208
CREATED:20210908T154254Z
LAST-MODIFIED:20210908T154254Z
UID:86959-1641985200-1653328800@artinamericaguide.com
SUMMARY:Stained with Glass: Vitreograph Prints from the Studio of Harvey K. Littleton
DESCRIPTION:In 1974 Harvey K. Littleton developed a process for using glass to create prints on paper. Littleton\, who began as a ceramicist and became a leading figure in the American Studio Glass Movement\, expanded his curiosity around the experimental potential of glass into innovations in the world of printmaking. A wide circle of artists in a variety of media—including glass\, ceramics\, and painting—were invited to Littleton’s studio in Spruce Pine\, NC to create prints using the vitreograph process developed by Littleton. \nThe selection of works presented in Stained with Glass echoes the range of makers who worked with Littleton\, including Dale Chihuly\, Cynthia Bringle\, Thermon Statom\, and Littleton himself\, and features imagery that recreates the sensation and colors of stained glass. Upending notions of both traditional glassmaking and printmaking\, vitreographs innovatively combine the two into something new. The resulting prints created through a process of etched glass\, ink\, and paper create rich\, colorful scenes reminiscent of luminous stained glass. \nThis exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder\, assistant curator. \nImage: Cynthia Bringle\, Dye Porch Shed\, 2005\, siligraphy from glass plate with digital transfer on BFK Rives paper\, edition 16/20\, image: 14 ¾ × 22 ¼ inches\, sheet: 20 ¼ × 27 inches. Gift of Maurine Littleton\, 2020.67.038. © Cynthia Bringle.
URL:https://artinamericaguide.com/event/stained-with-glass-vitreograph-prints-from-the-studio-of-harvey-k-littleton/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20211119T110000
DTEND;TZID=America/Halifax:20220314T180000
DTSTAMP:20260617T123208
CREATED:20210915T131429Z
LAST-MODIFIED:20210915T131429Z
UID:88054-1637319600-1647280800@artinamericaguide.com
SUMMARY:Ruminations on Memory
DESCRIPTION:Artworks are vessels for processing\, recalling\, and reflecting on the past. Artists often draw upon materials from their own pasts and grasp at fleeting moments in time in the creation of an object. For the viewer\, observation of an artwork can draw out personal memories. \nFeaturing a rare presentation of all nine prints from Robert Rauschenberg’s Ruminations portfolio\, Judy Chicago’s Retrospective in a Box portfolio\, and selections from the Museum’s Collection\, this exhibition contends with the act of remembrance and reflection. Additionally\, visitors will be able to experience Felix Gonzales-Torres’s“Untitled” (L.A.)\, on loan from the Art Bridges collection. “Untitled” (L.A.) is one of the artist’s iconic interactive candy installations where memories are engaged not only through sight but through sound\, touch\, taste\, and smell as well. \nArtworks in a variety of media explore various ways of remembering\, including individual memories that focus on the moments from an artist’s past; generational memory that looks back to one’s ancestors\, whether recent or long past; and collective memory\, wherein in an image might evoke bygone times that balance between constructed and real. Through these artworks that ruminate upon the past\, viewers may discover the stirrings of their own thoughts and recollections prompted by the works before them. \nRuminations on Memory is on view in conjunction with A Living Language: Cherokee Syllabary and Contemporary Art. This exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder\, assistant curator. \nImage: Robert Rauschenberg\, John from the Ruminations series\, 1999\, photogravure on paper\, edition 3/46\, publisher: Universal Limited Art Editions\, Bay Shore\, NY\, 29 ½ × 38 7/8 inches. Black Mountain College Collection\, gift of William Newton in honor of Ladene Newton on her 80th Birthday\, 2020.27.02. © Robert Rauschenberg Foundation / VAGA at Artists Rights Society (ARS)\, New York.
URL:https://artinamericaguide.com/event/ruminations-on-memory/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20211119T110000
DTEND;TZID=America/Halifax:20220314T180000
DTSTAMP:20260617T123208
CREATED:20210913T144820Z
LAST-MODIFIED:20210913T144820Z
UID:87302-1637319600-1647280800@artinamericaguide.com
SUMMARY:A Living Language: Cherokee Syllabary and Contemporary Art
DESCRIPTION:A Living Language: Cherokee Syllabary and Contemporary Art features over 50 works of art in a variety of media by 30+ Eastern Band of Cherokee Indians (EBCI) and Cherokee Nation artists. The exhibition highlights the use of the written Cherokee language\, a syllabary developed by Cherokee innovator Sequoyah (circa 1776–1843). Cherokee syllabary is frequently found in the work of Cherokee artists as a compositional element or the subject matter of the work itself. \nThe Cherokee Syllabary is a system of writing developed by Sequoyah in the early 1800s prior to the Removal period. Through Sequoyah’s innovative work\, Cherokee people embraced the writing system as an expedient form of communication and documentation. During the Removal period\, the syllabary was used as a tactic to combat land dispossession. Cherokee people continue to use the syllabary as a form of cultural expression and pride\, which is showcased in the contemporary artwork of the Cherokee Citizens in this exhibition. \nEastern Band of Cherokee Indians artists include Joshua Adams\, Jody Lipscomb Bradley\, Nathan Bush\, Kane Crowe\, John Henry Gloyne\, Shan Goshorn\, Luzene Hill\, Christy Long\, Louise Bigmeat Maney\, Christopher McCoy\, Tara McCoy\, Joel Queen\, Sean Ross\, Jakeli Swimmer\, Rhiannon Skye Tafoya\, Mary Thompson\, Stan Tooni Jr.\, Alica Wildcatt\, and Fred Wilnoty. \nCherokee Nation artists include Roy Boney Jr.\, Jeff Edwards\, Joseph Erb\, Raychel Foster\, Kenny Glass\, Camilla McGinty\, Jessica Mehta\, America Meredith\, Jane Osti\, Lisa Rutherford\, Janet L. Smith\, Jennifer Thiessen\, and Jennie Wilson. \nThis exhibition is organized by the Asheville Art Museum and Museum of the Cherokee Indian\, and curated by Hilary Schroeder\, assistant curator at the Asheville Art Museum\, with assistance from curatorial consultant Joshua Adams (Eastern Band of Cherokee Indians). Special thanks to S. Dakota Brown\, education director at the Museum of the Cherokee Indian\, and Alexis Meldrum\, curatorial assistant at the Asheville Art Museum\, for their support in the planning of this exhibition. This project is made possible in part by a grant from the Blue Ridge National Heritage Area Partnership\, and sponsored in part by the Cherokee Preservation Foundation and Kevin Click & April Liou in memory of Myron E. Click. \nThe exhibition will first be on view at the Museum of the Cherokee Indian in Cherokee\, NC from June 12\, 2021 to October 31\, 2021. \nImage: Rhiannon Skye Tafoya (Eastern Band of Cherokee Indians)\, Ul’nigid’\, 2020\, letterpress (photopolymer and Bembo & Cherokee Syllabary metal type) printed on handmade & color plan paper with paper-weaving\, closed: 11 × 11 ¼ inches\, assembled: 23 ½ × 11 ¼ × 5 ⁵⁄₈ inches. Courtesy the Artist. © Rhiannon Skye Tafoya\, image Rhiannon Skye Tafoya.
URL:https://artinamericaguide.com/event/a-living-language-cherokee-syllabary-and-contemporary-art/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20211022T110000
DTEND;TZID=America/Halifax:20220124T180000
DTSTAMP:20260617T123208
CREATED:20210927T180612Z
LAST-MODIFIED:20210927T180821Z
UID:88356-1634900400-1643047200@artinamericaguide.com
SUMMARY:Gestures: Mid-Century Abstraction from the Collection
DESCRIPTION:This exhibition\, drawn from the Museum’s Collection with additional select loans from regional collectors and institutions\, explores works in a variety of media that speak to the vibrant abstract experiments in American art making during the middle of the 20th century. \nImage: Jo Sandman\, Love\, 1960\, oil and enamel on canvas\, 47 × 47 inches. Black Mountain College Collection\, gift of the Artist\, 2010.21.01.20.  © Jo Sandman.
URL:https://artinamericaguide.com/event/gestures-mid-century-abstraction-from-the-collection/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20211022T110000
DTEND;TZID=America/Halifax:20211022T180000
DTSTAMP:20260617T123208
CREATED:20211011T134926Z
LAST-MODIFIED:20211011T134926Z
UID:87289-1634900400-1634925600@artinamericaguide.com
SUMMARY:Modernist Design at Black Mountain College
DESCRIPTION:The experiment known as Black Mountain College (BMC) began in 1933 in the Blue Ridge Mountains of Western North Carolina. The country was in the midst of the Great Depression and headed towards World War II; budgets were low\, but creativity was high. When Josef & Anni Albers emigrated from Germany to the United States\, they left the Bauhaus school of art and design behind but brought with them their modern aesthetic and design prowess. As faculty leaders at BMC\, they attracted well known architects like A. Lawrence Kocher and Buckminster Fuller\, among others\, to teach architecture and design. \nPerhaps most progressive of their actions was to hire a woman\, Mary “Molly” Gregory\, to head the furniture workshop. An openness to creativity and a smart resourcefulness—on the part of both faculty and students (like Ruth Asawa\, Albert Lanier\, and Mim Sihvonen)—meant an artistic output of groundbreaking designs including architecture\, furniture\, ceramics\, textiles\, and more that has yet to be fully assessed. This exhibition highlights the Asheville Art Museum’s collection of design from BMC\, like the rarely seen Gregory furniture\, and situates it in the context of its influences and surroundings at BMC. \nThis exhibition is organized by the Asheville Art Museum and curated by Whitney Richardson\, associate curator. Support is provided by the William Randolph Hearst Foundation. \nImage: Mary “Molly” Gregory\, Lazy-J Chair\, circa 1945\, stained ash\, leather\, and brass\, 26 ¾ × 17 ⅛ × 24 ½ inches. Black Mountain College Collection\, gift of Barbara Beate Dreier and Theodore Dreier Jr. on behalf of all generations of the Dreier family\, 2017.12.02. © Mary Gregory\, image David Dietrich. Mary “Molly” Gregory\, Stool\, circa 1941–1945\, stained oak\, 15 ½ × 18 × 15 inches. Black Mountain College Collection\, gift of Barbara Beate Dreier and Theodore Dreier Jr. on behalf of all generations of the Dreier family\, 2017.12.05. © Mary Gregory\, image David Dietrich.
URL:https://artinamericaguide.com/event/modernist-design-at-black-mountain-college/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210929T110000
DTEND;TZID=America/Halifax:20220110T180000
DTSTAMP:20260617T123208
CREATED:20210929T162013Z
LAST-MODIFIED:20210929T162013Z
UID:88331-1632913200-1641837600@artinamericaguide.com
SUMMARY:A Dance of Images and Words: The Nancy Graves/Pedro Cuperman Tango Portfolio
DESCRIPTION:The common idiom “it takes two to tango” is immediately called into question in both the imagery and text of the Tango portfolio. Featured is a series of eight intaglio prints that depict plants and animals alongside eleven sheets of prose that explore the steps of the Argentinian dance\, the tango. The portfolio expresses artist Nancy Graves and writer Pedro Cuperman’s meditations on the dance. Their imagery and words become paired in an illustrated book with explorations that take different formats and directions. Both Graves and Cuperman look towards humankind and nature as a place where beings come together in the experience of living. This exhibition presents Graves’s eight prints alongside the portfolio frontispiece\, and a page of Cuperman’s text to immerse visitors in the collaborative dance of the tango. \nThis exhibition is organized by the Asheville Art Museum from the Museum’s Collection and curated by Hilary Schroeder\, assistant curator. \nImage: Nancy Graves\, Parable of Nostalgia from the Tango portfolio\, 1991\, intaglio on cotton rag paper\, edition 12/26\, publisher: Iris Editions\, New York\, image: 26 × 17 5/8 inches\, sheet: 35 ¾ × 26 inches. Gift of Delphia Lamberson\, 2021.14.01.04. © Nancy Graves Foundation\, Inc. / Licensed by VAGA at Artists Rights Society (ARS)\, NY.
URL:https://artinamericaguide.com/event/a-dance-of-images-and-words-the-nancy-graves-pedro-cuperman-tango-portfolio/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210820T110000
DTEND;TZID=America/Halifax:20211101T180000
DTSTAMP:20260617T123208
CREATED:20210908T154254Z
LAST-MODIFIED:20210913T140248Z
UID:86957-1629457200-1635789600@artinamericaguide.com
SUMMARY:Rural Avant-Garde: The Mountain Lake Experience
DESCRIPTION:Contemporary art\, interdisciplinary research communities\, and the inspiration of Appalachia converge in Rural Avant-Garde: The Mountain Lake Experience. This exhibition showcases a selection of collaborative creative works that emerged from nearly four decades of the Mountain Lake Workshop series\, a program sited in rural southwestern Virginia. \nFounded by artist and scholar Ray Kass in 1980 and co-organized with influential art critics Dr. Donald B. Kuspit and Dr. Howard Risatti\, as well as the Virginia Museum of Fine Arts (VMFA)\, the Mountain Lake Workshops integrated the arts and sciences in a dynamic experimental creative process that pushed past the traditional boundaries of art\, dance\, and performance. \nCommunity-centered from its inception\, the Mountain Lake Workshop demonstrated the relevance of the arts across disciplines\, as well as social and participatory learning. This exhibition offers a focused look at art that investigated new conceptual limits\, born of the region in southwestern Virginia\, just a few hundred miles north of Asheville\, NC. Works range from large-scale watercolors and photographic installation to relics of performances and other experimentations in artmaking. \nHighlights include composer and conceptual artist John Cage’s New River Rocks and Washes (1990). A significant late-career work by Cage\, this rarely exhibited watercolor extends nearly 30 feet in length\, produced using methods of chance to trace stones gathered from the workshop’s natural surroundings. \nThis exhibition was organized by the Longwood Center for the Visual Arts at Longwood University. Generous funding was provided in part by the National Endowment for the Arts. \nImage: Jiro Okura\, The Mountain Lake Screen Tachi\, 1990\, synthetic gold leaf on walnut\, 5 two-sided folding screens\, each four panels\, length variable\, height between 86 and 120 inches. Collection of the Virginia Tech Foundation\, Inc. © Jiro Okura.
URL:https://artinamericaguide.com/event/rural-avant-garde-the-mountain-lake-experience/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210728T110000
DTEND;TZID=America/Halifax:20220221T180000
DTSTAMP:20260617T123208
CREATED:20210908T152014Z
LAST-MODIFIED:20211110T205920Z
UID:86954-1627470000-1645466400@artinamericaguide.com
SUMMARY:Walter B. Stephen Pottery: Cameo to Crystalline
DESCRIPTION:Artist Walter B. Stephen contributed to Western North Carolina’s identity as a flourishing site for pottery production and craftsmanship in the early 20th century. This exhibition features art pottery and functional vessels from each stage of Stephen’s career\, from his origins discovering the medium alongside his mother in Tennessee to his multi-decade production just outside of Asheville. \nIn Arden\, NC\, Stephen founded his third and last pottery studio\, Pisgah Forest\, which he operated from 1926 until his death in 1961. It was at this studio that the artist perfected the “cameo” decoration technique for which he became best known. His hand-painted images\, achieved with layers of white translucent clay\, often feature American folk imagery\, from covered wagons and livestock to cabins and spinning wheels. A selection of works from the Museum’s Collection showcases his innovation in form and in decorative surface details\, including experimentation with crystalline glazing. \nSupport for this exhibition is provided by the Judy Appleton Memorial Fund and the Michael Lask Fund. This exhibition is organized by the Asheville Art Museum and curated by Alexis Meldrum\, curatorial assistant. \nImage: Pisgah Forest Pottery\, Walter B. Stephen\, Covered Wagon teapot\, creamer and sugar bowl\, 1943\, glazed stoneware\, 4 ⅜ × 9 × 6 ½ (teapot); 3 ¼ × 5 ¼ × 4 ½ (creamer); 4 × 6 ⅝ × 5 ½ (sugar bowl) inches. Asheville Art Museum\, gift of Andrew Glasgow\, 2010.26.03-05.
URL:https://artinamericaguide.com/event/walter-b-stephen-pottery-cameo-to-crystalline/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20210709T110000
DTEND;TZID=America/Halifax:20210709T180000
DTSTAMP:20260617T123208
CREATED:20210811T182904Z
LAST-MODIFIED:20210908T164311Z
UID:84744-1625828400-1625853600@artinamericaguide.com
SUMMARY:Golden Hour: Olympians Photographed by Walter Iooss Jr.
DESCRIPTION:Golden Hour: Olympians Photographed by Walter Iooss Jr. highlights dozens of photographer Walter Iooss Jr.’s images from the Museum’s Collection. Over his 60-year career\, Iooss (born Temple\, TX 1943) has captured hundreds of celebrated athletes training for and playing their sports\, as portraits\, and a select few as they prepared for the 1984 Summer Olympics in Los Angeles. He began his career shooting for Sports Illustrated and has contributed to the magazine for more than 50 years. \nGolden Hour is on view in conjunction with the exhibitions Artistic Tribute: Representation of the Athlete and Precious Medals: Gold\, Silver\, Bronze. These exhibitions are organized by the Asheville Art Museum and curated by Whitney Richardson\, associate curator. \nWalter Iooss Jr.\, Carl Lewis\, Houston\, TX\, 1991\, archival pigment print on paper\, 23 ¼ × 29 inches. Asheville Art Museum. © Walter Iooss Jr. 
URL:https://artinamericaguide.com/event/golden-hour-olympians-photographed-by-walter-iooss-jr/2021-07-09/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VCALENDAR