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Looking for things to do in Hendersonville, NC? Whether you’re a local or just passing through we’ve got loads of great tips and events to help you find your perfect adventure.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Calling all organizations! Join us for Camp Connect and help families gear up for an unforgettable summer. Whether your specialty is outdoor adventures, educational fun, arts and crafts, or action-packed sports, we want you to be part of this exciting event!
Join at 10 a.m. on Saturday March 1 for the Friends of the Black Mountain Library March Madness Book Sale. We’ll provide a bag that you can fill with adult books for $5. Children’s books are 4/$1, puzzles are $2, and antique books are priced as marked. The sale ends at 1 p.m. Members of the Friends of the Black Mountain Library can shop early at 9:30 a.m.
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.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Camp Connect – The Adventure Starts Here—a mall-wide showcase designed to connect families with a variety of local summer camps. From sports and arts to education and adventure, this event offers everything parents need to plan an exciting and memorable summer for their kids. Families can explore camp options, gather key details like dates and registration steps, and enjoy an afternoon of fun, all for free! Visitors can register to win a Summer Fun Backpack packed with goodies!
Please join the Blue Ridge Orchestra for two afternoons of orchestral favorites at 3:00 pm: on Saturday, March 1st, and Sunday, March 2nd in Lipinsky Auditorium, UNC Asheville. We open March Melodrama with Gluck’s dramatic Overture to Iphigenie in Aulis. The BRO then highlights pianist Ivan Seng in Mozart’s Concerto No. 23 in A major, K. 488. The second half of the program shifts to Dvorak’s Symphony no.8 in G major, which takes its inspiration from the nature and folk music of his homeland Bohemia, presently the Czech Republic.
Saturday, March 1st, 2025, 3:00 pm
Sunday, March 2nd, 2025, 3:00 pm
UNC Asheville
Lipinsky Auditorium
300 Library Lane
Asheville, NC. 28804
Tickets:
General Admission: $20
Friends of the Orchestra: $15
Students: $5
Children 6 and under: Free
“Oh, What a Night!” Don’t miss your chance to see this Tony Award-winning, blockbuster musical. Discover the true story behind legendary recording artist, The Four Seasons and their chart-topping hits “Sherry,” “Big Girl Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” and more!
This show is rated R for language, mature themes, and adult content.
Peace Concert Hall
Saturday, March 1 at 7:30 pm
Sunday, March 2 at 3:00 pm
PROGRAM
Mary Lou Williams: Zodiac Suite for orchestra
Mason Bates: Liquid Interface
Duke Ellington: Suite from “The River”
Experience the timeless charm and jazzy elegance of Mary Lou Williams’ Zodiac Suite for orchestra, beginning your concert experience with its captivating melodies and intricate rhythms. Then, immerse yourself in a sonic journey unlike any other as we begin the concert with Mason Bates’ mesmerizing Liquid Interface, an evocative exploration of the intersection between nature and technology. Dive into the vibrant world of jazz with Duke Ellington’s Suite from The River, where the music ebbs, gurgles, and flows like our own Reedy River.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Please join the Blue Ridge Orchestra for two afternoons of orchestral favorites at 3:00 pm: on Saturday, March 1st, and Sunday, March 2nd in Lipinsky Auditorium, UNC Asheville. We open March Melodrama with Gluck’s dramatic Overture to Iphigenie in Aulis. The BRO then highlights pianist Ivan Seng in Mozart’s Concerto No. 23 in A major, K. 488. The second half of the program shifts to Dvorak’s Symphony no.8 in G major, which takes its inspiration from the nature and folk music of his homeland Bohemia, presently the Czech Republic.
Saturday, March 1st, 2025, 3:00 pm
Sunday, March 2nd, 2025, 3:00 pm
UNC Asheville
Lipinsky Auditorium
300 Library Lane
Asheville, NC. 28804
Tickets:
General Admission: $20
Friends of the Orchestra: $15
Students: $5
Children 6 and under: Free
The Storm String Quartet, featuring some of WNC’s most accomplished string musicians, is a testament to perseverance and dedication. With personal ties to Hurricane Helene’s impact, their performance reflects resilience through a powerful program.
Peace Concert Hall
Saturday, March 1 at 7:30 pm
Sunday, March 2 at 3:00 pm
PROGRAM
Mary Lou Williams: Zodiac Suite for orchestra
Mason Bates: Liquid Interface
Duke Ellington: Suite from “The River”
Experience the timeless charm and jazzy elegance of Mary Lou Williams’ Zodiac Suite for orchestra, beginning your concert experience with its captivating melodies and intricate rhythms. Then, immerse yourself in a sonic journey unlike any other as we begin the concert with Mason Bates’ mesmerizing Liquid Interface, an evocative exploration of the intersection between nature and technology. Dive into the vibrant world of jazz with Duke Ellington’s Suite from The River, where the music ebbs, gurgles, and flows like our own Reedy River.
“Oh, What a Night!” Don’t miss your chance to see this Tony Award-winning, blockbuster musical. Discover the true story behind legendary recording artist, The Four Seasons and their chart-topping hits “Sherry,” “Big Girl Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” and more!
This show is rated R for language, mature themes, and adult content.
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.
Arboretum visitors will witness some of the most surprising animal behavior in the new National Geographic exhibition, “The Greatest Wildlife Photographs.” The very best wildlife pictures from the pages of National Geographic magazine have been chosen to be displayed in this exhibition. Curated by renowned nature picture editor, Kathy Moran, this exhibition is a celebratory look at wildlife with images taken by National Geographic’s most iconic photographers such as, Michael “Nick” Nichols, Steve Winter, Paul Nicklen, Beverly Joubert, David Doubilet and more. Showcasing the evolution of photography, the images convey how innovations such as camera traps, remote imaging, and underwater technology have granted photographers access to wildlife in their natural habitat.
For 115 years, National Geographic has pioneered and championed the art of wildlife photography, and captivated generations of engaged audiences with a steady stream of extraordinary images of animals in nature. From the very first such image to appear – a reindeer in 1903 – National Geographic Society’s publications have broken new ground and push the bar higher again and again, establishing an unmatched legacy of artistic, scientific, and technical achievement. These are the Greatest Wildlife Photographs. This is included with admission to NC Arboretum.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
Try Tennis for Kids at Hendersonville Racquet Club: A Fun, Affordable Way to Get Into the Game!
Looking for a fun, active way to introduce your child to tennis? Try Tennis for Kids is the perfect program
for children ages 5–14 who are new to the sport or have had minimal experience. Over the course of six
weeks, your child will learn the fundamentals of tennis, including basic strokes, how to rally, and most
importantly, have fun learning a new sport!
For $40, each child will receive a free racquet and instruction from our coaches. This is a fantastic
opportunity to develop important skills in a supportive, welcoming environment.
Program Highlights:
● Ages: 5–14
● Dates: March 4th – April 15th (No class on March 18th for Spring Break)
● Sessions: 4–5 PM and 5–6 PM
● Duration: 6 weeks
● Cost: $40 (includes racquet)
● Location: Hendersonville Racquet Club indoor courts
Spaces are limited! Grab a friend and sign up today at https://www.trytennis.net to secure your spot.
Come join us on the court and watch your child develop new skills, confidence, and a love for tennis. We
can’t wait to see you there!
For more information, call 828-693-0040 or email Kaitlyn at [email protected].
