Podcasts about Asheville Art Museum

This program is inspired by "Coatlicue & Las Meninas: The Stanford Edition" (2007/2025) by Mexican American artist Pedro Lasch, commissioned by IAJS and on view at Asheville Art Museum from April 16 to July 13, 2025. Asheville Art Museum associate curator Jessica Orzulak and artist Pedro Lasch discuss the work's larger themes, including how mirrors encourage viewers to reflect on the movement of people, ideas, and objects across time and space. Then, a panel featuring Stanford IAJS founding faculty co-director Tomás Jiménez, philosopher and ethicist Kwame Anthony Appiah, immersive journalism and extended reality (XR) pioneer Nonny de la Peña, and immigrant integration advocate Federico Rios will discuss the ways Americans, old and new, see ourselves in each other. This is the first program in “What Can Become of Us?”, a collaboration between the Stanford Institute for Advancing Just Societies (IAJS) and Zócalo Public Square, envisioning new perspectives on migration, America's diverse communities, and how people come together across differences. Timestamps: 00:00 - Intros 04:06 - Artist Talk: Pedro Lasch, Jessica Orzulak 32:11 - Panel: Tomás Jiménez, Kwame Anthony Appiah, Nonny de la Peña, Visit https://www.zocalopublicsquare.org/ for more programs and essays in the series. Follow Zócalo on X: https://x.com/thepublicsquare Instagram: https://www.instagram.com/thepublicsquare/ Facebook: https://www.facebook.com/zocalopublicsquare LinkedIn: https://www.linkedin.com/company/z-calo-public-square/

Keltie Ferris was born in Kentucky in 1977 and currently lives and works in Brooklyn, New York. He graduated with a BFA from the Nova Scotia College of Art and Design and an MFA from the Yale School of Art in 2006.Keltie has had recent solo shows at Mitchell-Innes & Nash, Morán Morán, Klemm's Gallery, Gana Art Sounds, the Speed Museum in Louisville, KY, the University Art Museum at SUNY Albany, the Santa Monica Museum of Art, just to namw a few. His works have been included in group exhibitions at institutions, including Klemm's Gallery, G Gallery, Seoul, the American Academy of Arts and Letters, the Asheville Art Museum, Morán Morán, Makasiini Contemporary, Maruani Mercier,  Saatchi Gallery, the Contemporary Arts Museum of Houston, and the Brooklyn Museum. He was awarded the Rosenthal Family Foundation Award in Painting by the Academy of Arts and Letters in 2014. Sound & Vision is supported by the New York Studio School, Golden Artist Colors and Fulcrum Coffee.

Ann Batchelder joins Let's Talk Memoir for a conversation about using myth as a jumping point for interpreting ourselves, trusting intuition, the idea of mother failure, regret and letting go, addiction and recovery in loved ones, mental health stigma, deciding when to show loved ones the manuscript, and her memoir Craving Spring: A Mother's Quest, a Daughter's Depression, and the Greek Myth that Brought Them Together.   Also in this episode: -how stories save us -Alanon -mother guilt   Books mentioned in this episode: Beautiful Boy by David Sheff Wild by Cheryl Strayed Another Bullshit Night in Suck City by Nick Flynn Glass Castle by Jeannette Walls The Tender Bar by J.R. Moehringer H is for Hawk by Helen Macdonald Eating in the Light of the Moon by Dr. Anita  Johnston Work by Pema Chodron Work by Tara Brach   Ann Batchelder is the author of Craving Spring: A Mother's Quest, a Daughter's Depression, and the Greek Myth that Brought Them Together. She served as Editor of FIBERARTS Magazine, was guest curator for the Asheville Art Museum where she designed and developed three major contemporary art exhibitions featuring artists such as Louise Bourgeois, Ann Hamilton, Sally Mann, Maya Lin, and Laurie Anderson, and was Director of Special Events for the Brooklyn Academy of Music. Ann earned an MSW in psychotherapy and is the mother of two adult children.  Connect with Ann: Website: https://www.annbatchelder.com Facebook: https://facebook.com/ann.batchelder.9 Instagram: https://instagram.com/annbatchelder     — Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Ann Batchelder is the author of Craving Spring: A mother's quest, a daughter's depression, and the Greek myth that brought them together. She served as Editor of Fiberarts Magazine and was a guest curator for the Asheville Art Museum. Ann has kept a mindfulness practice since 2004, is the mother of two adult children, and lives with her husband in Asheville, N.C. This is Ann's first appearance on The Only One In The Room. Ann talks to Laura about how her journaling led to her memoir, and discovering how deep her daughter's depression really was. This leads her to talk about the eating disorder that her daughter developed, which led to a drug addiction as well. It wasn't until her daughter invited her to therapy that she realized her daughter was addicted to heroin. After going to Al-Anon, discovering the Greek myth of Demeter and Persephone, and her daughter getting arrested, Ann finally got the courage to begin her healing process, which led to her daughter's healing as well. This included really learning how to sit with her feelings and to not submit to kneejerk reactions. Before they wrap, Ann shares how her daughter is doing today, and talks a little more about the Greek myth that helped her heal her relationship with her daughter. For more on Ann Batchelder:Email: acbatchelder@gmail.comWebsite: www.annbatchelder.comBOOK: https://www.amazon.com/Craving-Spring-daughters-depression-together-ebook/dp/B0CJK2VNMP IG: https://www.threads.net/@annbatchelderFB: www.facebook.com/ann.batchelder.9Visit our website: https://theonlyonepod.com/ for full interviews, videos, event dates, articles and more. Follow the show on all social media channels: @TheOnlyOneInTheRoom Become a Patreon member for exclusive content, including additional episodes every month, as well as behind the scenes podcast footage. https://www.patreon.com/theonlyonepodcast And send us your questions so we can answer them on the show: TheOnlyOnePod@Gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-only-one-in-the-room--6052418/support.

Ann Batchelder is the author of Craving Spring: A mother's quest, a daughter's depression, and the Greek myth that brought them together. She served as Editor of Fiberarts Magazine and was a guest curator for the Asheville Art Museum. Ann has kept a mindfulness practice since 2004, is the mother of two adult children, and lives with her husband in Asheville, N.C. This is Ann's first appearance on The Only One In The Room. Ann talks to Laura about how her journaling led to her memoir, and discovering how deep her daughter's depression really was. This leads her to talk about the eating disorder that her daughter developed, which led to a drug addiction as well. It wasn't until her daughter invited her to therapy that she realized her daughter was addicted to heroin. After going to Al-Anon, discovering the Greek myth of Demeter and Persephone, and her daughter getting arrested, Ann finally got the courage to begin her healing process, which led to her daughter's healing as well. This included really learning how to sit with her feelings and to not submit to kneejerk reactions. Before they wrap, Ann shares how her daughter is doing today, and talks a little more about the Greek myth that helped her heal her relationship with her daughter.For more on Ann Batchelder:Email: acbatchelder@gmail.comWebsite: www.annbatchelder.comBOOK: https://www.amazon.com/Craving-Spring-daughters-depression-together-ebook/dp/B0CJK2VNMPIG: https://www.threads.net/@annbatchelderFB: www.facebook.com/ann.batchelder.9Visit our website: https://theonlyonepod.com/ for full interviews, videos, event dates, articles and more. Follow the show on all social media channels: @TheOnlyOneInTheRoom Become a Patreon member for exclusive content, including additional episodes every month, as well as behind the scenes podcast footage. https://www.patreon.com/theonlyonepodcast And send us your questions so we can answer them on the show: TheOnlyOnePod@Gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-only-one-in-the-room--6052418/support.

When Ann's world was turned upside down by her daughter's addiction and mental health struggles, she was thrown into a journey that no guidebook on parenting could prepare her for. Her heart-rending tale of seeking therapy and rehabilitation for her daughter and confronting the heavy cloak of self-blame unfolds in this episode with raw honesty. Ann Batchelder served as Editor of FIBERARTS Magazine, was guest curator for the Asheville Art Museum, worked as an account executive at a Manhattan advertising agency, and was Director of Special Events for the Brooklyn Academy of Music. Ann earned an MSW in psychotherapy. Her book Craving Spring -a mother's quest, a daughter's depression, and the Greek myth that brought them togetherTaking a page from the timeless Greek myth of Demeter and Persephone, we weave through the intricate dance of holding on and letting go that every parent must learn. Ann's experience opens a window into storytelling's transformative power in healing and self-discovery, challenging the conventional wisdom of 'how-to' parenting in favour of a journey to self-trust. The conversation also serves as a salient reminder that breaking through the silence on mental health can foster a community rich in compassion and support, one story at a time.As we wrap up the conversation, Anne's insights into navigating the intricacies of mother-daughter communication shine a light on the potential of listening and responding with intention. The wisdom she imparts on guiding children into adulthood, coupled with her journey chronicled in "Craving Spring," offers a touchstone for those grappling with similar tribulations. This episode isn't just a sharing of experiences; it's an invitation to embrace the collective strength of vulnerability and remember that you are not alone in the face of adversity.Ann is the mother of two adult children and lives with her husband in Asheville, NC. She just published her memoir. Let's enjoy her story! To connect with Ann - www.annbatchelder.comSupport the showTo Share - Connect & Relate: Share Your Thoughts and Shape the Show! Tell me what you love about the podcast and what you want to hear more about. Please email me at behas.podcats@gmail.com and be part of the conversation! To be on the show Podmatch Profile Thank you for listening - Hasta Pronto!

The Asheville Art Museum is an example of how museums engage, inspire and enlighten communities. Museum leaders Kate Faulkner and Neal Page share how the Asheville Art Museum transforms lives through art.When I'm visiting new places, I like to prepare my options for what to see and do. And one thing always on my agenda is going to a museum. Usually more than one. And why not? Museums are community centers and always make you feel good. Even smarter! And most likely there is a museum near you right now. And lucky for us right here in Asheville, NC, the Asheville Art Museum was established by local artists  and is the third oldest art museum in the state. Big changes happened in the museum building during their major expansion and renovation project a few years ago and now it's time to catch up! Tune in! Only on Speaking of Travel! Thanks for listening to Speaking of Travel! Visit speakingoftravel.net for travel tips, travel stories, and ways you can become a more savvy traveler.

Glass Knitting by Carol Milne A pioneer in the field of knitted glass, Carol Milne combines passion for knitting with experience in sculpture. The artist began working with kiln cast lead crystal, experimenting with different methods and developing a lost wax process to cast individual knitted works into glass. Playing with translucency and the material's ability to highlight a prismatic range of hues, light is essential to Milne's body of work, and she has recently been working on pieces that focus on illumination. States Milne: “I see my knitted work as metaphor for social structure. Individual strands are weak and brittle on their own, but deceptively strong when bound together. You can crack or break single threads without the whole structure falling apart. And even when the structure is broken, pieces remain bound together. The connections are what bring strength and integrity to the whole and what keep it intact.” Receiving a degree in landscape architecture from the University of Guelph, Canada, in 1985, Milne realized in her senior year that she was more interested in sculpture than landscape. After casting iron around glass in graduate school, she experimented with many materials: clay, bronze, concrete, wood, glass, epoxy, fiberglass, mosaic and found objects. In 2000, she returned to glass and has been working primarily with the material ever since.   In 2006, Milne created her Knitted Glass, incorporating the techniques of knitting, lost wax casting, mold making and kiln casting. Her unique process involves knitting the original art piece using wax strands, surrounding the wax with a heat-tolerant refractory material, removing the wax by melting it out, thus creating a mold; and placing the mold in a kiln where lead crystal frit is heated to 1530 degrees F, melting the glass into the mold. After it has cooled, the mold material is removed to reveal the finished piece within. Collected internationally, Milne's work garnered the Silver Award at the International Exhibition of Glass, Kanazawa, Japan; the Juror's award, All Things Considered 9: Basketry in the 21st Century, National Basketry Organization; Special Citation and Honorable Mention, the 9th Cheongju International Craft Juried Competition, Cheongju, Republic of Korea; the Joan Eliot Sappington Award for On the Fringe: Today's Twist on Fiber Art, Lake Oswego Festival of the Arts; and Honorable Mention purchase award, Art of Our Century, UVU Woodbury Art Museum, Orem, UT.. Recent exhibitions include Carol Milne: Knit Wit, Bainbridge Island Museum of Art in 2019; Vogue Knitting LIVE! Seattle, Meydenbauer Center, Bellevue, WA; and Carol Milne: Knitting Glass, Schiepers Gallery, Hasselt, Belgium, both in 2017. Milne's collectors include Amazon Headquarters, Seattle, WA; Asheville Art Museum, Asheville, NC; Fuller Craft Museum, Brockton, MA; Glasmuseum Lette, Coesfeld, Germany; The Glass Furnace, Istanbul, Turkey; Gustav Selter GmbH & Co KG, Germany; The Kamm Teapot Foundation, Sparta, NC; MusVerre Nord, Sars Poteries, France; Notojima Glass Art Museum, Ishikawa, Japan; and UVU Woodbury Art Museum, Orem, UT. She has published three e-books: In the Name of Love; Knitted Glass: Kiln-cast Lead Crystal Bowls; and Glass Slippers. Carol Milne Knitted Glass: How Does She Do That?, authored by Steve Isaacson, is available as an e-book and in paperback Through her original work in knitted glass, Milne has blazed a new artistic path. Bringing the visual illusion of softness and drape to a material that is fixed in its final form, her work encourages closer inspection to reveal the nuances of her designs.  Says Milne: “I've knitted since I was 10, but knitting wasn't a career path – or at least it didn't seem like one. I studied landscape architecture as a bridge between engineering and design. But I became captivated by earthworks and kinetic art, which lead me to sculpture. Glass is very much like kinetic sculpture, since it changes with the light.” Through different bodies of work – socks, shoes, baskets, hands knitting themselves – Milne addresses themes including the circle of life, the disconnect between appearance versus reality, black humor and visual puns. If the work wasn't challenging, she says, she would get bored and quit making it. “But in working with glass, scale is the biggest challenge. Large work requires large molds. Large molds are difficult to make, and heavy to move once they're made,” explains Milne. This month, Milne will have an open studio during REFRACT: The Seattle Glass Experience, October 14 from 11 to 4 p.m. She will exhibit a new body of work in an upcoming solo show, Knotty and Nice, at Culture Object gallery in NYC. An opening reception will be held from 6 to 8 p.m. on October 18. Three of her Grenade pieces are on view in an ongoing group show called Like Mother, now through November 2 at the Helen S. Smith Gallery at Green River College, Washington. Milne will teach Knitted Glass from November 4 to 6 and 10 and Casting Hands, November 8 to 9 at Milkweed Arts, Phoenix, Arizona. In 2024, she will exhibit at the Gala Opening of Chasen Gallery's new location at The Mark in Sarasota, FL, on January 20 and participate in Blue Spiral 1 Gallery's Glass Invitational, November 2 – December 25, 2024 in Asheville, NC.  

Stephanie Pierce's paintings explore relationships between light, time, and perception as it is reconsidered over time. Stephanie's work has been exhibited at The Henry Art Gallery, Seattle; The Staten Island Museum, NY; and Asheville Art Museum, NC. Her work is represented by Jupiter Contemporary in Miami, Alpha Gallery in Boston and Steven Harvey Fine Art Projects in NYC. Stephanie received a Peter S. Reed Foundation Grant in 2018 and a Joan Mitchell Foundation Painters and Sculptors Grant in 2014. Her work has been published in the New Yorker Magazine, Harper's Magazine, and is included in the collections of William Dreyfus, and Joan and Roger Sonnabend among others. Stephanie's upcoming solo exhibition, Simple Pleasures, will be at Jupiter Contemporary, Miami, in October 2023. Stephanie is an Assistant Professor of Painting at the Fashion Institute of Technology in NYC. She lives and works in Brooklyn, NY.    “My most recent body of work consists of paintings centered around indulging what can be loved within my day-to-day experience. An intimate world is presented by way of sustained consideration and a reflection of light, time, and shifting perception. These kaleidoscopic paintings record ongoing transitions that crystalize an emotional light and often verge on the hallucinatory.”   LINKS:  Stephanie-pierce.com @Stephanie_lalaland   I Like Your Work Links: Join the Works Membership ! https://theworksmembership.com/   Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast   Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Luzene Hill didn't think of herself as an artist until well into midlife. Today, she's untethered by discipline in her feminist and Native American matrilineal expression. Hill is an enrolled member of the Eastern Band of Cherokee Indians living in Cullowhee. A series of recent drawings and a new performance video are at the core of “Revelate,” an exhibition of Hill's work on view through May 15 at the Asheville Art Museum. In today's episode, Hill talks about her formative years in Atlanta, her path to artistic expression and the personal and cultural trauma and violence informing her art.Episode photo credit: Jeffrey Gibson StudioSupport The Overlook by joining our Patreon campaign!Advertise your event on The Overlook.Instagram: AVLoverlook | Facebook: AVLoverlook | Twitter: AVLoverlookListen and Subscribe: All episodes of The OverlookThe Overlook theme song, "Maker's Song," comes courtesy of the Asheville band The Resonant Rogues.Podcast Asheville © 2023

Mark Peiser: The Moving Target of Perfection Since 1967 when Mark Peiser became involved with the Studio Glass Movement, he has been recognized for his uniquely individualized approaches and accomplishments in glass. Continual investigation of the expressive implications of glass properties and processes has led to his distinctive bodies of work. Recently Peiser published the book, Thirty-Eight Pieces of Glass – with Related Thoughts, pairing his glass with brief writings of resonance.  To quote from the preface: “Since I began with glass 50 years ago, I've received countless questions asking, basically, what's it about? In that discussion I've tried to answer honestly and completely but I've always felt to have fallen short – short of the words and short of the voice that would say them. When I started to assemble this book, I began feeling much more truthful and satisfying answers to that question. I hope you will, too. That these selections sorted out into something of an abridged life story was a bit of a surprise to me. It shouldn't have been. All along I've said my work has been about my feelings and experiences and, over many years, what else is a life?”  Peiser, an internationally known glass artist, was born in Chicago in 1938. After studying electrical engineering at Purdue University (Lafayette, Indiana, 1955-1957), he received a Bachelor of Science in Design from Illinois Institute of Technology (Chicago, Illinois, 1961). Peiser studied piano and composition at DePaul University School of Music (Chicago, Illinois, 1965-1967) before attending Penland School of Crafts (Penland, North Carolina) in 1967. After five weeks of glass classes, he became the first resident craftsman in glass at the school. Peiser is a founder of the Glass Art Society, of which he is now an honorary member, and a leading presence in the Studio Glass Movement. Inducted into the College of Fellows of the American Craft Council in 1988, Peiser received the Lifetime Achievement Award from the Art Alliance for Contemporary Glass in 2004, the North Carolina Governor's Award in 2009, the Lifetime Achievement Award from the Glass Art Society in 2010 and the North Carolina Living Treasure Award in 2011, among others. He has exhibited worldwide and is in many public and private collections including the Asheville Art Museum, the Chrysler Museum of Art, The Corning Museum of Glass, the Glassmuseum Ebeltoft, the Lucerne Museum of Art, the Milwaukee Art Museum, The Museum of Art and Design, the Peggy Guggenheim Collection, the Toledo Museum of Art, the Smithsonian American Art Museum and the Tokyo Museum of Modern Art, among others. By challenging established formulas and techniques throughout his career, Peiser has created and combined new and unusual colors in his glass sculptures. This approach to glass is radical as he has literally invented new glasses in order to pursue an idea through to creation. In 2009, a special glass formulation was created by melting opal glasses for his Palomar series of sculptures that pay homage to Corning Glass Works' famous 200-inch Disk, the telescope mirror cast in 1934 for the Mt. Palomar Observatory in California. Currently, Peiser is working on the Marko Blanko Project to develop a specialty glass for filigrana. Peiser's work highlights include: EARLY WORKS  1967 – 1977 Develops blowing skills, designs and builds various furnaces and equipment, develops formulations for crystal, various opal and luster glasses. Produces iridescent miniatures, gather pots, flower forms, spaghetti bowls, copper core vessels, opaque geometric and image vessels. PAPERWEIGHT VASES (PWV) 1975 – 1981 Introduces and develops torch working techniques for furnace blown work allowing more detailed imagery and perspective. Produces Paperweight Vases portraying natural subjects and landscapes, urban views and abstract imagery related to the vessel form. INNERSPACE (IS) 1983 – 1994 Develops graphite molding process and casting glasses. Makes compound cast glass pieces that compose the internal volume of solid transparent forms. Produces Innerspace series including Ascensions, Hands, Light Beams, Moons, Mountain Skyscapes, Muses, Planets and Polychrome Progressions. FORMS OF CONSCIOUSNESS (FOC) 1994 – 2004 Develops bottom pour casting furnace, casting and mold techniques, and glass formulae allowing larger scale work representing psychological conditions. CONTRITION SECOND STUDY (CSS) 2000 – 2004 Produces a limited edition of 50 as a learning experience to formulate and develop casting process for controlled translucency in sculptural glass. COLDSTREAM CASTING (CSC) 2001 – 2007 A creative use of my bottom pour furnace. My most fun in a glass shop since 1969. View videos of the Coldstream Casting process on You Tube by searching Mark Peiser. PALOMAR  2008 – 2012 Develops vermiculite molding process. Produces Palomar series as a tribute to the accomplishment of the Palomar Mirror in 1934. For more about the Palomar series and the transition to the Passage and Etudes Tableau, search You Tube for Mark Peiser's Corning Museum of Glass talk.  PASSAGES AND ETUDES TABLEAU  2012 – PRESENT Refines formulation and heat treatment of light scattering glasses. Produces work whose subject is light. Now, more than a half century later, Peiser's name is synonymous with invention and precision. He conveyed to ToYG podcast: “Most of my earliest memories are of making things. I seem to have a knack for seeing how things work, how things go together, and how to make it. If I have a gift, that's it. “When I was in design school, I became concerned with the essence of quality. Read some books and papers, sat through some lectures, and developed a somewhat subconscious but deep commitment for my life's efforts. Later working in industry, design and advertising it was difficult to impossible to implement quality. At my level it was irrelevant and deeply unsatisfying. When I happened into Penland and the beginning of the Studio Glass Movement, the control offered by the notion of a one-man glass studio seemed an avenue that could lead to quality. I've done my best to hold to that path throughout my career. All in all, I've been successfully self- employed for 57 years. As we all hope, with the rest of life, I did the best I could at the time. But unlike the rest of life, I could disappear a bad piece like it never happened.  “Being an artist is not just another job. It's a commitment.”  

Bo Bartlett is a painter based out of Columbus, Georgia. He studied with Ben Long in Florence, and received his degree in Fine Art form the Pennsytlvania Academy of Fine Arts. He has had numerous solo exhibitions nationally and internationally. Recent solo exhibitions include Morris Museum of Art, Augusta, GA; The University of Mississippi Museum, Oxford, MS; “Love and Other Sacraments,” Dowling Walsh Gallery, Rockland, ME; “Paintings of Home,” Ilges Gallery, Columbus State University, Columbus, GA; “A Survey of Paintings,” W.C. Bradley Co. Museum, Columbus, GA; “Paintings of Home,” PPOW Gallery, New York, NY; and “Bo Bartlett,” Ogden Museum of Art, New Orleans, LA. Recent group exhibitions include “Rockwell and Realism in an Abstract World,” Norman Rockwell Museum, Stockbridge, MA; “Brine,” SOMA NewArt Gallery, Cape May, NJ; “The Things We Carry: Contemporary Art in the South,” Gibbes Museum of Art, Charleston, SC; “American Masters,” Somerville Manning Gallery, Greenville, DE; “The Philadelphia Story,” Asheville Art Museum, Asheville, NC; “The Outwin Boochever 2013 Portrait Competition Exhibition,” Smithsonian National Portrait Gallery, Washington, DC; “Best of the Northwest: Selected Paintings from the Permanent Collection,” Tacoma Art Museum, Tacoma, WA; “Perception of Self,” Forum Gallery, New York, NY; “Real: Realism in Diverse Media, Imago Galleries, Palm Desert, CA; “Thriving in Seattle: A Retrospective,” GAGE Academy of Art, Seattle WA; “private (dis)play,” New York Academy of Art, New York, NY; “Figure as Narrative,” Columbus State University, Columbus, GA; “Solemn & Sublime: Contemporary American Figure Painting,” Akus Gallery, Eastern CT State University, Willimantic, CT; Tacoma Art Museum, Tacoma, WA, “private(dis)play,” Center of Creative Arts, St. Louis, MO; and “Five Artists of Accomplishment from the Pennsylvania Academy of Fine Arts, Philadelphia, PA. His work may be found in the permanent collections of the Greenville County Museum of Art, Greenville, SC; La Salle University Museum of Art, Philadelphia, PA; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Santa Barbara Museum of Art, Santa Barbara, CA; Southern Alleghenies Museum of Art, Loretto, PA; Philadelphia Convention Center, Philadelphia, PA; McCornick Place Metropolis Pier and Exposition Authority, South Hall, Chicago, IL; United States Mint, Philadelphia, PA; Academy of Music, Philadelphia, PA; Office of the Governor, Harrisburg, PA; Curtis Institute, Philadelphia, PA; Franklin Institute, Philadelphia, PA; Hunter Museum of American Art; Chattanooga, TN; Morris Museum of Art, Augusta, GA; Denver Museum of Art, Denver, CO; and Seattle Art Museum, Seattle, WA. Bartlett is the recipient of the PEW Fellowship in the Arts, the Philadelphia Museum of Art Award; Museum Merit Award, Columbus Museum of Art, Columbus, GA; William Emlen Cresson Traveling Scholarship, Pennsylvania Academy of Fine Arts, Philadelphia, PA; Charles Toppan Prize, Pennsylvania Academy of Fine Arts, Philadelphia, PA; and Packard Prize, Pennsylvania Academy of Fine Arts, Philadelphia, PA. This episode is sponsored by Golden Artist Colors and the New York Studio School. You can follow the podcast @soundandvisionpodcast on IG and Brian at @alfredstudio

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Around 9:30 this past Friday night, Asheville's Pack Square sounded eerily familiar. There were no protestors or counter-protesters surrounding the Vance Monument, no police on bikes or in riot gear. A busker serenaded people--almost all of them white--waiting in a tightly packed line outside French Broad Chocolate. If it weren't for the relatively few wearing masks, you'd swear this was so 2019. But if you rounded the corner onto Broadway and looked up at the facade of the Asheville Art Museum, you saw beautifully rendered drawings of Breonna Taylor , Tony McDade , Nina Pop and, yes, George Floyd, dissolving into text quotes from the novelist James Baldwin and the activist Cece McDonald , along with the call to "Defend Black Lives."

Around 9:30 this past Friday night, Asheville's Pack Square sounded eerily familiar. There were no protestors or counter-protesters surrounding the Vance Monument, no police on bikes or in riot gear. A busker serenaded people--almost all of them white--waiting in a tightly packed line outside French Broad Chocolate. If it weren't for the relatively few wearing masks, you'd swear this was so 2019. But if you rounded the corner onto Broadway and looked up at the facade of the Asheville Art Museum, you saw beautifully rendered drawings of Breonna Taylor , Tony McDade , Nina Pop and, yes, George Floyd, dissolving into text quotes from the novelist James Baldwin and the activist Cece McDonald , along with the call to "Defend Black Lives."

Linda chats with Lindsey Grossman and Kristi McMillian of the Asheville Art Museum. Lindsey and Kristi discuss the current and upcoming exhibitions, their favorite exhibitions, how artists can apply for an opportunity to display their work at the museum and the work involved from securing exhibitions to hanging exhibitions. Here your chance to learn about how the Asheville Art Museum operates and its history!Support the show (https://www.patreon.com/LindaRiesenbergFisler)

Ask any of the 50 artists invited into Asheville Art Museum's "Appalachia Now!" exhibition and, to a person, they'll tell you they were honored and elated. Many were motivated to stretch themselves artistically to create what they regard as their most ambitious works. For good reason. "Appalachia Now!" is the flagship exhibition that reopened the Asheville Art Museum last November and few of the artists had ever experienced exposure on this level. The exhibition closes Feb. 3. But here's another truth: Even the museum director acknowledges the artists were largely paid with exposure. The museum raised $24 million for its renovation and only distributed stipends of $100 each to the "Appalachia Now!" artists, regardless of whether they simply loaned pieces out of their studios or created major new works at the request of the exhibition's curator.

Ask any of the 50 artists invited into Asheville Art Museum's "Appalachia Now!" exhibition and, to a person, they'll tell you they were honored and elated. Many were motivated to stretch themselves artistically to create what they regard as their most ambitious works. For good reason. "Appalachia Now!" is the flagship exhibition that reopened the Asheville Art Museum last November and few of the artists had ever experienced exposure on this level. The exhibition closes Feb. 3. But here's another truth: Even the museum director acknowledges the artists were largely paid with exposure. The museum raised $24 million for its renovation and only distributed stipends of $100 each to the "Appalachia Now!" artists, regardless of whether they simply loaned pieces out of their studios or created major new works at the request of the exhibition's curator.

"Come on in, welcome to the museum." And with that, at 11am Thursday morning, the Asheville Art Museum reopened to the general public. David and Olivia Franklin, in town from Atlanta on their honeymoon, stepped in from the cold to become the museum's first general-admission patrons. "We always make it a point to go to the art museum wherever we go, and we felt like we needed to be able to be a part of history," David Franklin said. "It seemed like a wonderful little bit of serendipity."

This is a monumental week for Asheville's arts scene. The Asheville Art Museum reopens this Thursday and, two days later, the Center for Craft reopens. Both are emerging from major renovations.

Alex Bernstein: Time, Creation and Transformation   If we were to examine a cross-section of an ancient iceberg, no doubt the layers and various densities and opacities of color would be beautiful, but they would also signify something greater than ourselves. Such is the case with Alex Gabriel Bernstein’s sculpture. The forms and the techniques he uses to create them, mirror processes in nature such as oxidation, erosion, growth and decay, inspiring in the viewer a profound contemplation of time, creation and transformation.   In his hometown of Asheville, North Carolina, Bernstein purchased what was a dark and dingy pool hall called Sharkey’s and worked with a local architect to design a bright and open space for creativity. As the French Broad River flows by, the artist casts glass in layers of transparent color which intermingle with ambient light to evoke images of flowing water, ice crystals, mountain peaks and jagged canyons – all structures that seem solid and unyielding, but are actually in constant flux.   Unwittingly, fortuitously, Bernstein discovered a method of applying metal to glass, and began using it as a jagged, impenetrable crust for his glass castings. Though others have openly copied these techniques - resulting in a new verb, “bernstein-ing” - none will achieve the depth or emotions unique to Bernstein’s sculpture.   As the child of two established glass artists, William and Katherine Bernstein, Alex grew up in a creative environment with access to many of the artists of the American Studio Glass movement. The beautiful surroundings of the Blue Ridge Mountains in Western North Carolina where they lived, played almost as much a part in his inspired upbringing as did the breadth of teachers around him.   After studying psychology at the University of North Carolina in Asheville and working at a children’s psychiatric hospital, Bernstein made the decision to pursue his artistic endeavors full time. He received an MFA from the Rochester Institute of Technology’s School for American Crafts and went on to teach at the Rochester Institute of Technology, the Cleveland Institute of Art, the Penland School of Crafts, and The Studio at the Corning Museum of Glass. Twelve years ago, Bernstein was the Department Head of Glass at the Worcester Center for Crafts in Massachusetts, but made the decision to return to his hometown in 2007 to set up a studio and focus on creating his own work full-time. He is currently on the board of the Asheville Art Museum as well as the North Carolina Glass Center.    Bernstein has recently mounted solo shows at George Billis Gallery, New York City; Hooks Epstein Gallery in Houston; Habatat Gallery in Royal Oak, MI; and the William Traver Gallery, Seattle. His work is included in numerous collections, including those of the Corning Museum of Glass, the Glasmuseum Frauenau in Germany, the Mellon Financial Corporation, the Museum of Fine Arts in Boston, and the Palm Springs Art Museum.   Upcoming Bernstein exhibitions and events include Habatat Prime Chicago, a pop-up gallery located three miles from Navy Pier and open during Sofa Chicago. The 7500-square-foot space offers an incredible collection of the finest in contemporary glass, including Bernstein’s newest work. Winterowd Fine Art, a contemporary art gallery located on historic Canyon Road in Santa Fe, New Mexico, is gearing up for Bernstein’s solo exhibition in 2020. In January 2020, Bernstein’s work will be exhibited at a collectors weekend held at Lahaina Gallery in Maui, Hawaii.    

Did you know the Asheville Art Museum is the third oldest art museum in North Carolina? It was established by local artists and incorporated in 1948, and has seen several homes over the years. And now, with its current state-of-the-art facility, the museum will celebrate its 70th anniversary with the opening of the new Asheville Art Museum at 2 South Pack Square. Join Kristi McMillan and Lindsey Grossman of the Asheville Art Museum to hear about events and programs for this exciting new chapter.

Susie Ganch is an artist and educator living in Richmond, VA where she is Interim Chair for the Department of Craft/Material Studies at Virginia Commonwealth University. She received her MFA from University of Wisconsin-Madison. Part of her practice is Directing Radical Jewelry Makeover, an international jewelry mining and recycling project that continues to travel across the country and abroad. Recent solo exhibitions: How Soon is Now?, MS State University, TIED, an ArtForum Critics’ pick, Visual Arts Center, Richmond, VA, Land and Sea, Sienna Patti Contemporary, Lenox, MA. Her work has been included nationally and internationally in museum exhibitions including: Smithsonian National Museum for Women in the Arts, MFA Boston, the Design Museum, London, the National Gallery of Victoria, Melbourne, Australia, Ueno Royal Museum, Tokyo, Japan, Kohler Art Center, Sheboygan, WI, Milwaukee Art Museum. Public collections: LACMA, CA, Asheville Art Museum, NC, MFA Boston, Fuller Craft Museum, Brockton, MA, Metal Museum, Memphis, TN, Quirk Hotel, Richmond, VA. Grants include: Virginia Museum of Fine Arts Fellowship, Peter S. Reed Foundation Grant, Theresa Pollack Fine Art Award, a VA Commission for the Arts Grant, and multiple VCU Faculty Research Grants. She is represented by Sienna Patti Contemporary Gallery.You can find out more: www.susieganch.com and www.radicaljewelrymakeover.org.

Shana Kaplow is a visual artist working with large-scale, ink-on-paper installation, sculpture, and video. Her images of mass-produced household objects peruse the familiar and the enigmatic confronting a society organized around ever-expanding consumption and exploitation. Her work has been featured in exhibitions and screenings at Minneapolis Institute of Art, Walker Art Center, Asheville Art Museum, Franklin Art Works, Urban Institute for Contemporary Art, The Soap Factory, and others. She is the recipient of the Joan Mitchell Foundation Grant for Painters and Sculptors, The McKnight Visual Artist Fellowship, the Minnesota State Arts Board Artist Initiative Grant, and the Arts Midwest/NEA Artist Fellowship. She was an artist in residence at the Joan Mitchell Center in New Orleans, the Red Gate International Artist Residency in Beijing, and the Vermont Studio Center. Kaplow received her MFA from the Maryland Institute, College of Art in visual studies and her BA from Connecticut College. She lives and works in St. Paul, Minnesota and is a Professor in the Art Department at St. Cloud State University.Show Notes:-Shana’s website and instagram-PBS “Minnesota Original” interview with Shana-“Art should comfort the disturbed and disturb the comfortable” -Cesar A. Cruz* -news on her book coming soon! *THANK YOU FOR LISTENINGSubscribe & leave a review on iTunesHave any questions, comments or guest recommendations? Email me hereLET’S CONNECT:Follow the Process Piece instagramRuby’s instagramSubscribe to the newsletter

The Asheville Art Museum 's long-awaited reopening is awaiting longer than anyone hoped or anticipated. Just a few months ago, museum officials gave area media a first look from inside the renovated galleries and announced an opening sometime in the summer. Now that summer has passed, leaders now are saying the museum won't welcome visitors again at least until October -- three years after the museum closed for its $24 million renovation.

The Asheville Art Museum is opening its renovated and expanded building in summer 2019. Big changes are happening during their major expansion and renovation project in the heart of downtown Asheville, NC. When the Museum opens, you’ll see fresh approaches, additions to the Collection, exhibitions, educational programs, and so much more.

Here's a little perspective: This year's high school graduates haven't been able to set foot inside the Asheville Art Museum since early in their freshman year. That's how long the current, $24 million renovation and expansion is taking. But this past Friday, museum director Pam Myers and some of her staff walked BPR and other local media through three floors and a rooftop of new galleries and other features that, up to now, have never been part of the museum's 71-year history.

In this episode, you will learn about how the Museum Association of New York (MANY) is consistently growing their tourism efforts from Erika Sanger. Erika Sanger joined MANY (Museum Assoc. Of New York) after serving twelve years as the Director of Education at the Albany Institute of History and Art. There she provided vision for the development of programs for adults, children, schools, and families, focusing on object-based learning and digital initiatives. She had led the institute’s digital renaissance, most notably with the launch of a new website and creation of interpretative strategies around hand-held digital devices and interactive media. Erika has gained her extensive arts experience through positions held at renowned institutions including the International Center of Photography, the Jewish Museum, the New York Historical Society, the Brooklyn Museum of Art, and the Asheville Art Museum in Asheville, NC. She served as Director of Development at Penland School of Crafts in Western North Carolina, where she was actively engaged in the region’s artists community, and participated in the design and implementation of campaigns for capital and endowment funds. She has also developed program assessments with Harvard University’s Project Zero, the NC Center for the Advancement of Teaching, and with the education department at the University at Albany. Programs produced under her direction have received funding from major organizations, including the Institute for Museum and Library Services and the National Endowments for the Arts and Humanities. Erika holds a B.F.A. from Clark University, in Worcester, MA, and an M.A. from New York University’s Steinhardt School of Culture, Education, and Human Development. The Annual Conference of the Museum Association of New York will be in April 2018 in Rochester, NY, details to follow. What you’ll learn about in this episode: How the Museum Association of New York encourages its members to stand out and appeal to visitors around the globe Collaborating with the strong cultural institutions throughout the state to attract visitors not just into New York City, but to all of New York state How legislators and local governments make a HUGE difference in our cultural institutions, and how to get them on your side Current challenges facing museums and cultural institutions today and how they are affecting visitors How the Museum Association is changing up their programs this fall to push tourism to new heights The interplay between different cultural institutions on a local level and what that means for a community Museum’s crucial role in New York tourism and economic development Leveraging partnerships to attract international travelers The importance of attracting visitors to other areas of the state and the usefulness of the I LOVE NEW YORK app Ways to contact Erika: Website: www.manyonline.org Phone: (518) 273-3400

This week's show visits Raleigh's Antiques Extravaganza, we learn about treasures of the North Carolina Archives, check out art at ZaPow Gallery in Asheville, visit the popular Stanbury Restaurant in Raleigh, and Deborah Holt Noel looks at children's activities at the Imperial Centre in Rocky Mount.