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DTSTART;TZID=America/New_York:20260827T190000
DTEND;TZID=America/New_York:20260827T190000
DTSTAMP:20260712T132055Z
CREATED:20260711T152656Z
LAST-MODIFIED:20260712T132055Z
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SUMMARY:Sonic Collage with Drones in the Garden
DESCRIPTION:PERFORMANCE: Sonic Collage with Drones in the Garden\nFeaturing Patrick Kukucka\, Sleep Number\, Farewell Phoenix\, and Ash Sierra\nThursday\, August 27\, 2026 at 7PM\nBlack Mountain College Museum + Arts Center {120 College Street}\nFree and Open to All\nJoin us for an evening of poetry + music co-curated by Drones in the Garden\, an experimental art collective creating seasonal performance platforms for WNC musicians and writers. This community event will explore the sonic dimensions of collage\, and will also feature a floating botanical collage installation created through community collaboration.\nThis performance is presented in conjunction with Black Mountain COLL(A)GE (May 29 – September 5\, 2026)\, an exhibition exploring medium\, method\, and memory.
URL:https://thelaurelofasheville.com/event/sonic-collage-with-drones-in-the-garden/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2026/07/IMG_1318.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260815T120000
DTEND;TZID=America/New_York:20260815T140000
DTSTAMP:20260723T211341Z
CREATED:20260722T174638Z
LAST-MODIFIED:20260723T211341Z
UID:10006726-1786795200-1786802400@thelaurelofasheville.com
SUMMARY:ELEMENTS of BMC: Waggle Dance Workshop with Swannatopia + Sally Anne Morgan
DESCRIPTION:ELEMENTS of BMC: Waggle Workshop (Collage in Motion)\nwith Swannatopia + Sally Anne Morgan\nSaturday\, August 15\, 2026 at 12PM\nBlack Mountain College Museum + Arts Center {120 College Street}\nFree Registration\nSwannatopia is a group of experimental artists headquartered in Swannanoa\, NC and residing throughout the Southeastern United States. Over the past decade\, they have set out to blur the lines between “artist” and “participant\,” to defamiliarize the familiar\, to nurture an immersive\, whimsical\, thoughtful\, experience of empowerment and offer a glimpse of what is possible. In this workshop\, Swannatopia will explore BEE communication\, putting collage in motion through a “NOW TIME” Hexagon Dance. Inspired by traditions of Square Dancing\, the Hexagon Dance will be accompanied by musician Sally Anne Morgan.\nThis event is presented in conjunction with Black Mountain COLL(A)GE (May 29 – September 5\, 2026)\, an exhibition exploring medium\, method\, and memory.
URL:https://thelaurelofasheville.com/event/elements-of-bmc-waggle-dance-workshop-with-swannatopia-sally-anne-morgan/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/07/IMG_1331.jpeg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260807T190000
DTEND;TZID=America/New_York:20260807T203000
DTSTAMP:20260723T211319Z
CREATED:20260722T153557Z
LAST-MODIFIED:20260723T211319Z
UID:10006714-1786129200-1786134600@thelaurelofasheville.com
SUMMARY:PERFORMANCE: TRAP DUO + GAF TRIO
DESCRIPTION:PERFORMANCE: TRAP (Tashi Dorji + Thom Nguyen)\nand the GAF Trio (Will Greene\, Ishmael Ali\, Lily Finnegan)\nFriday\, August 7\, 2026 at 7PM\nBlack Mountain College Museum + Arts Center {120 College Street}\nTICKETS – $12 General Admission / $8 for BMCM+AC members + Students w/ID\nJoin us for a night of improvisation with TRAP (Tashi Dorji + Thom Nguyen) and the GAF TRIO (Will Greene\, Ishmael Ali\, Lily Finnegan). Tashi Dorji and Thom Nguyen will start our evening with experiments in rhythm\, followed by a deep dive into the GAF TRIO’s distinctive and expansive sound.
URL:https://thelaurelofasheville.com/event/performance-trap-duo-gaf-trio/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/07/IMG_1329.jpeg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260625T190000
DTEND;TZID=America/New_York:20260625T200000
DTSTAMP:20260617T201454Z
CREATED:20260617T182405Z
LAST-MODIFIED:20260617T201454Z
UID:10006472-1782414000-1782417600@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Ida Dierker and Brandon Gouin + LOCALLC
DESCRIPTION:Join us for an evening of experimental collaboration at Black Mountain College Museum + Arts Center with Ida Dierker\, Brandon Gouin\, and LOCALLC (Landon George and Adam McDaniel).\nLOCALLC is a revolving door of local live collaborators. This iteration of the collective features multi-instrumentalists Landon George and Adam McDaniel.\nLandon George (b.1995) is a multi-instrumentalist and serial collaborator based in western North Carolina. His work draws from a variety of influences\, ranging from free improvised chaos to minimalist country ballad singing.\nAdam McDaniel is a music producer and multi-instrumentalist living in Asheville\, North Carolina. Adam’s role as a producer in pop\, rock\, and jazz is characterized by a propensity for experimentation and the inclusion of musique concrète techniques. As founder and co-owner of Drop of Sun Studios\, Adam McDaniel is dedicated to the arts community of Asheville and beyond\, fostering a space and time for artists to seek and discover spiritual and emotional truth in music.\nIda Dierker and Brandon Gouin are a piano/percussion duo founded on free improvisation and are committed to performing works of contemporary music. The pair met in an improvisation class at the University of Maryland\, Baltimore County and since then have performed as an improvised duo in Baltimore’s free scene. Dierker/Gouin have performed many well known works by composers such as Globokar\, Feldman\, Meredith Monk and Kagel as a part of UMBC’s New Music and Percussion Ensembles. Ida and Brandon are members of the Hi-Tom Ensemble\, a group focused on performing works by underrepresented composers and adapting New Music staples to smaller and more accessible instrumentations. In 2024\, Ida and Brandon attended the contemporary music festival\, Nief Norf in Knoxville\, Tennessee.\nGrowing up in Baltimore City\, Ida Dierker studied classical piano. She attended the Baltimore School for the Arts and later the University of Maryland Baltimore County\, where she studied music performance with Dr. Daniel Pesca and Dr. Teodora Adzharova. During her time at UMBC\, she developed a deep appreciation for New Music and improvisation. She has worked directly with composers and performers such as Lois V. Vierk\, George E. Lewis\, Niloufar Nourbakhsh\, Chelsea Loew\, and Vicky Chow. In 2025\, Ida completed both her senior recital titled “Taking Back the Piano”\, as well as completing an undergraduate research award. These two projects focus on works solely by women and non-binary composers. Since graduating\, Ida has played High Zero\, a longstanding Baltimore improvised music festival and performs in the city’s experimental scene as a soloist and member of Hi-Tom Ensemble. She also writes and performs her original songs. Ida’s original song “Figures” appears on More Noise Radio’s compilation album\, “Sounds of Baltimore”. Ida teaches private piano lessons full time and aims to bring her love for exploring and experimenting to her students.\nBrandon Gouin is an improvisor and performer of contemporary music from Laurel\, Maryland. His current projects involve bringing contemporary music to Baltimore City and DC schools and commissioning composers to write accessible works of music for performers of different physical ability. He holds an undergraduate degree from the University of Maryland\, Baltimore County where he studied with Tom Goldstein. He also completed the Post-Baccalaureate Certificate in Contemporary American Music program from UMBC\, studying under Dustin Donahue. In both 2023 and 2024\, Brandon attended the Nief Norf festival of New Music in Knoxville\, Tennessee. He has had opportunities to work with composers such as Annea Lockwood\, Robert Morris\, Niloufar Nourbakhsh\, and Chelsea Leow. Brandon teaches private drumset lessons and performs in the Hi-Tom Ensemble.
URL:https://thelaurelofasheville.com/event/performance-ida-dierker-and-brandon-gouin-locallc/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/06/IMG_1291.jpeg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260529T173000
DTEND;TZID=America/New_York:20260529T200000
DTSTAMP:20260513T013921Z
CREATED:20260508T143200Z
LAST-MODIFIED:20260513T013921Z
UID:10006224-1780075800-1780084800@thelaurelofasheville.com
SUMMARY:OPENING RECEPTION: Black Mountain COLL(A)GE
DESCRIPTION:Join us for the opening reception of our summer exhibition\, Black Mountain COLL(A)GE\, hosted at BMCM+AC. This reception is free and open to all.\nBlack Mountain College Museum + Arts Center presents Black Mountain COLL(A)GE\, an exhibition tracing the presence of collage through the history and legacy of the renowned liberal arts college. Combining work by Black Mountain College artists with select contemporary collagists\, the exhibition foregrounds transformation as a radical strategy\, assembling an ever-shifting picture of collage as medium\, method\, and memory.\nFrom Josef Albers’ matière exercises to the collaborative 1951 “Glyph Exchange” between Charles Olson\, Ben Shahn and Katherine Litz\, cutting up and rearranging found material was a way of life at Black Mountain College. Some of the 20th century’s most influential collage practitioners\, including Robert Rauschenberg and Ray Johnson\, studied at BMC. Many other students took up collage as a life-long medium\, including Irwin Kremen\, William Douglas McGee\, Jo Sandman\, John Urbain\, Mary Parks Washington\, and Susan Weil. Still others continued to experiment with cut-ups while working in other realms of creative production\, such as the writer and critic Suzi Gablik. Today\, collage continues to exert a powerful influence on our art ecosystem. Selected works from contemporary collagists contextualize the medium’s trajectory and provide a window into the future. Curated by Kira Houston\, this exhibition pieces together a wide array of stories to encapsulate a visual and sonic exploration of Black Mountain COLL(A)GE. \nBlack Mountain COLL(A)GE will be on view from May 29\, 2026 through September 5\, 2026.\nBlack Mountain College Museum + Arts Center is donation-based and open to all.\nLearn more on our website at https://www.blackmountaincollege.org/black-mountain-collage/
URL:https://thelaurelofasheville.com/event/opening-reception-black-mountain-collage/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/05/collage-feature-image-2.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260411T140000
DTEND;TZID=America/New_York:20260411T150000
DTSTAMP:20260321T215812Z
CREATED:20260321T170030Z
LAST-MODIFIED:20260321T215812Z
UID:10005934-1775916000-1775919600@thelaurelofasheville.com
SUMMARY:PERFORMANCE: UNCA Experimental Ensemble Returns
DESCRIPTION:After their popular performance last fall\, the UNC Asheville Experimental Ensemble returns to Black Mountain College Museum + Arts Center for another afternoon concert! Join us for this free performance located in BMCM+AC’s upper level gallery on Saturday\, April 11th at 2pm. \nThe UNCA Experimental Ensemble is dedicated to expanding students’ ideas about what music is and how it is made. Incorporating electronics\, found instruments\, and performance art as well as traditional musical elements\, the ensemble collaborates to create a full concert of new\, original music every semester.
URL:https://thelaurelofasheville.com/event/performance-unca-experimental-ensemble-returns/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2026/03/unca-experimental-ensemble-2026-poster.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T183000
DTEND;TZID=America/New_York:20260409T203000
DTSTAMP:20260321T215804Z
CREATED:20260321T185005Z
LAST-MODIFIED:20260321T215804Z
UID:10005935-1775759400-1775766600@thelaurelofasheville.com
SUMMARY:BURNAWAY Reader Release
DESCRIPTION:BMCM+AC is pleased to host the community release party for the 2026 Burnaway Reader: MYTH. Burnaway is a non-profit magazine of contemporary art and criticism from the American South and the Caribbean\, published online weekly and in print annually. Through its editorial program and cultivation of emerging arts writers and journalists\, Burnaway connects the region’s diverse creative communities and develops exchange between Southern art\, and the national and international art audiences. This reception event will celebrate the publication of Burnaway‘s annual print reader. The event is free and open to the public. Copies of the Reader will be available for purchase\, and Burnaway editorial staff will offer remarks about the project.
URL:https://thelaurelofasheville.com/event/burnaway-reader-release/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/03/v2-burnaway-reader-release-feature-image.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260131T110000
DTEND;TZID=America/New_York:20260131T120000
DTSTAMP:20260118T000939Z
CREATED:20260116T181505Z
LAST-MODIFIED:20260118T000939Z
UID:10005634-1769857200-1769860800@thelaurelofasheville.com
SUMMARY:PERSPECTIVES Artist Talk: Naomi Lindenfeld
DESCRIPTION:PERSPECTIVES: Naomi Lindenfeld\nJanuary 31\, 2026\, 11am | Free and Open to All\nBlack Mountain College Museum + Arts Center {120 College Street\, Asheville NC} \nOn Saturday\, January 31\, 2026 at 11am\, Naomi Lindenfeld will give a “Perspectives” artist talk in BMCM+AC’s upstairs gallery. This event is presented in conjunction with the opening of Dialogue: Lindenfeld + Lindenfeld\, an exhibition exploring artistic conversations between the work of Naomi Lindenfeld and her mother\, BMC alum Lore Kadden Lindenfeld. \nAbout Naomi: \nNaomi has developed a line of colored clay items which are intended for daily use as well as for gatherings and celebrations. The technique involves layering colored clay into a block. Patterns are created by pressing tools down into the block and then slicing it\, or rolling out the layered colored clay\, carving away strips and rolling it flat again to create a multi-dimensional effect. The flat clay is then hand-constructed into pieces that are tactile\, useful and decorative. In addition\, Naomi throws the layered colored clay on a wheel to form the pieces. She then facets the sides to reveal an agate effect or deeply carves the surface. This reveals mesmerizing striations of color that result in a great sense of depth and movement to the pieces. \nFlowing movement is the main feeling that Naomi hopes to convey in her work. Her inspiration is drawn from her love of dance\, patterns in the natural world that result from the movement of water and wind on materials like rock\, wood and shells. The colored clay technique allows one to work with colors while making a piece. Naomi loves to experiment with different color combinations to see how colors blend and contrast to create different moods. \nNaomi took her first pottery class at the age of 12\, continuing to work in clay in high school. She went on to earn a degree in ceramics from Boston University’s Program in Artisanry\, a program designed to prepare students to be professional craftspeople. During her time at B.U. Naomi observed another student who was experimenting with colored clay. Although it was still a few years before she got involved with this technique herself\, she began to be intrigued. \nAfter college she worked for several potters and eventually had the chance to do some of her own work\, which is when her experimentation with colored clay began. Naomi is one of the founding members in 1983 of the Brattleboro Clayworks\, a potter’s collective. The combination of discovering the wonders of colored clay and forming the group studio helped her aspirations fall into place and connect the work with her heart. \nNaomi has had the chance to share her enthusiasm of colored clay by teaching workshops at many craft institutes around New England\, focusing on this technique. Since the fall of 1998 she is the ceramics teacher at The Putney School\, a progressive boarding high school in Putney\, Vt. with a strong arts program.
URL:https://thelaurelofasheville.com/event/perspectives-artist-talk-naomi-lindenfeld/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/01/perspectives-naomi-lindenfeld-feature-image-copy.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260130T173000
DTEND;TZID=America/New_York:20260130T200000
DTSTAMP:20260118T000933Z
CREATED:20260116T181804Z
LAST-MODIFIED:20260118T000933Z
UID:10005635-1769794200-1769803200@thelaurelofasheville.com
SUMMARY:OPENING RECEPTION: Dialogue: Lindenfeld + Lindenfeld
DESCRIPTION:OPENING RECEPTION for Dialogue: Lindenfeld + Lindenfeld\nJanuary 30\, 2026\, 5:30–8pm | Free and Open to All\nBlack Mountain College Museum + Arts Center {120 College Street\, Asheville NC} \nJoin us for the opening reception for Dialogue: Lindenfeld + Lindenfeld hosted at BMCM+AC on Friday\, January 30\, 2026 from 5:30–8pm. \nAbout the exhibition: Dialogue: Lindenfeld + Lindenfeld \nLore Kadden Lindenfeld (1921 – 2010) emigrated from Germany to the US as a Jewish refugee in the late 1930s. She attended Black Mountain College from 1945-48 already equipped with sewing and embroidery skills. She was a student of both Josef and Anni Albers as well as Trude Guermonprez and Franziska Mayer\, all of whom fled Europe like her. Inspired by the Alberses and the Bauhaus tradition\, she worked as a designer for the New York textile industry. While there she met her husband-to-be\, physicist Peter Lindenfeld at a John Cage “Happening” at the 8th Street Club. She went on to have a career as a weaver\, fiber collage artist and as a college level weaving and art history teacher. \nThis exhibition presents the clay and mixed media work of Naomi Lindenfeld as she responded to a selection of her mother Lore’s innovative textiles. The opportunity allowed her to grow creatively and to honor her mother and her life’s work. The pieces created by mother and daughter function independently as well as in dynamic conversation with each other.   \nNaomi Lindenfeld reflects: I grew up with my mother’s loom in our family’s living room\, hearing riveting stories of Black Mountain College\, its avant-garde\, experimental environment and brilliant\, unique personalities. As well\, I was exposed to many artists and craftspeople during my childhood. Not many years later I ended up with clay carving tools and a rolling pin in my own ceramics studio. I responded to the immediacy of clay and pursued it in college\, earning a degree in ceramics. While there I discovered the Japanese technique\, Nerikomi\, of layering colored clays to create patterns. I have been captivated by exploring many ways of working with colored clay ever since. More recently I have been working with mixed media featuring the patterns of tea stains. Both my method of working with clay and the tea art have a sense of movement\, abstract graphic quality\, nature-themed imagery and vivid color that echo my mother’s textiles. \nDialogue: Lindenfeld + Lindenfeld exemplifies the generational impact of Black Mountain College’s remarkable legacy as a cultural melting pot and rigorous laboratory for creative experimentation. The College’s approach to education mixed freedom and responsibility with self-reliance and community. These ingredients co-mingled to create a spirit of exploration that can be shared\, taught\, and passed down from parent to child forever.
URL:https://thelaurelofasheville.com/event/opening-reception-dialogue-lindenfeld-lindenfeld/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2026/01/Lindenfeld-Opening-Reception-Event-Cover.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260130T110000
DTEND;TZID=America/New_York:20260509T170000
DTSTAMP:20251125T140419Z
CREATED:20251120T175433Z
LAST-MODIFIED:20251125T140419Z
UID:10005500-1769770800-1778346000@thelaurelofasheville.com
SUMMARY:Dialogue: Lindenfeld + Lindenfeld
DESCRIPTION:Black Mountain College Museum + Arts Center presents Dialogue: Lindenfeld + Lindenfeld\, an exhibition celebrating the works of mother-daughter artists\, Lore Kadden Lindenfeld and Naomi Lindenfeld. Lore\, who attended and graduated from Black Mountain College in the 1940s\, made a career as a textile designer and educator while continuing to create weavings\, fiber collages\, artist books\, and drawings. Her daughter Naomi creates colored clay objects that are tactile\, useful\, and visually complex. In the exhibition\, the mesmerizing striations of color in Naomi Lindenfeld’s pottery are placed in dynamic conversation with her mother’s innovative textiles\, mixed media collages\, and drawings.  \nFrom Naomi Lindenfeld—  \nI grew up with my mother’s loom in our family’s living room. Not many years later I ended up with clay carving tools and a rolling pin in my own ceramics studio. The pairings of work in this show exemplify the influences of my mother’s work on me and have served as an opportunity to both grow creatively and to honor my mother and her life’s work. \nI grew up hearing riveting stories of Black Mountain College\, its avant-garde\, experimental environment and brilliant\, unique personalities. As well\, I was exposed to many artists and craftspeople during my childhood and took my first pottery class with a friend of my mother’s. I responded to the immediacy of clay more than what appeared to be the tedium of threading warps on a loom. While working on a degree in ceramics from Boston University’s Program in Artisanry\, I discovered the Japanese technique\, Nerikomi\, of layering colored clays to create patterns. I have been captivated by exploring many ways of working with colored clay ever since. I have also come to realize that my method of working with clay – the sense of movement\, abstract graphic quality\, nature-themed imagery and vivid color – echoes my mother’s textiles. In designing work for this show\, I was first more drawn to my mother’s fiber collage work than her weavings\, as a closer match for my own techniques and sensibilities. I later saw that the way I carve into the layers in two directions appears as woven fabric. \nIt was both fascinating and challenging to interpret a two-dimensional medium within a three-dimensional realm; to not just reproduce my mother’s ideas and imagery but to draw inspiration and design the pieces as my own. My hope is that my ceramics\, while paying homage to my mother\, stand on their own just as her fiber works do. \n___ \nARTISTS \nLore Kadden Lindenfeld (1921 – 2010) emigrated with her family from Germany to the U.S. in 1938. After settling in a suburb of Boston\, Lore worked to help support her family\, earning fourteen dollars per week as a seamstress and sales clerk. She was the primary breadwinner for the family. She had previously studied fashion design in Germany and worked as a seamstress doing alterations and in various other jobs.  \nAfter enrolling in adult education classes at Harvard\, she received a scholarship to study at Black Mountain College in 1945. She remained at BMC until she graduated in 1948. Lore studied textile design with Anni Albers\, Trude Guermonprez\, and Franziska Mayer as well as taking classes with mathematician Max Dehn\, artist Josef Albers\, and writer M.C. Richards.. Her training at BMC was integral to her development as a textile designer and her work in industrial textile production.  \nInspired by the Alberses and the Bauhaus tradition\, she worked as a textile designer for the New York fashion industry\, followed by a career as a weaver\, fiber collage artist\, and as a weaving and art history teacher on the college level.   \nNaomi Lindenfeld has developed a line of colored clay works\, intended for daily use as well as for gatherings and celebrations. Flowing movement is the main feeling that Naomi hopes to convey in her work. Her inspiration is drawn from her love of dance\, patterns in the natural world that result from the movement of water and wind on materials like rock\, wood\, and shells. The colored clay technique allows one to work with colors while making a piece. Naomi loves to experiment with different color combinations to see how colors blend and contrast to create different moods.  \nShe took her first pottery class at the age of 12\, continuing to work in clay in high school\, and finally earning a degree in ceramics from Boston University’s Program in Artisanry. Naomi has had the chance to share her enthusiasm of colored clay by teaching workshops at many craft institutes around New England\, and since the fall of 1998\, she has been the ceramics teacher at The Putney School. While being one of the founding members of the Brattleboro Clayworks\, a potter’s collective\, she now has her own home studio in West Brattleboro.  \n___ \nRECEPTION AND TALK \nJoin us for the opening reception for Dialogue: Lindenfeld + Lindenfeld hosted at BMCM+AC on Friday\, January 30\, 2025 from 5:30–8pm. \nOn Saturday\, January 31\, 2025 at 11am\, Naomi Lindenfeld will give a “Perspectives” talk about Dialogue: Lindenfeld + Lindenfeld and the artistic conversations between works in the exhibition. \nBoth events take place at Black Mountain College Museum + Arts Center {120 College Street\, Asheville\, NC}. Free and Open to All.
URL:https://thelaurelofasheville.com/event/dialogue-lindenfeld-lindenfeld/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/11/Lindenfeld-Lindenfeld-Feature-Image-For-Calendars.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260107T190000
DTEND;TZID=America/New_York:20260107T200000
DTSTAMP:20251111T134800Z
CREATED:20251107T204004Z
LAST-MODIFIED:20251111T134800Z
UID:10005459-1767812400-1767816000@thelaurelofasheville.com
SUMMARY:PERFORMANCE AND FILM SCREENING: Suite for Two (1958)
DESCRIPTION:Join us at BMCM+AC on Wednesday\, January 7th\, 2026 for a live performance of Merce Cunningham’s Suite for Two (1958) and a screening of the dance film Beach Birds.\n___\nAbout the Performance \nSuite for Two (1958) is an arrangement of three solos and one duet from the dance Suite for Five (1956). Cunningham made this arrangement for Carolyn Brown and himself for a concert at the University of Pittsburgh in 1958. Suite for Two was subsequently performed on two European tours made by Cunningham\, Brown\, John Cage\, and David Tudor in 1958 and 1960. Chalvar Monteiro dances two solos entitled “At Random” and “Stillness.” Jacquelin Harris dances “A Meander\,” a new solo made for Carolyn Brown for the 1958 arrangement. The dance concludes with a duet entitled “Extended Moment.” Renowned pianist Adam Tendler plays John Cage’s Music for Piano.\n___\nAbout the Film Screening \n“It is all based on individual physical phrasing. The dancers don’t have to be exactly together. They can dance like a flock of birds\, when they suddenly take off.” \n– Merce Cunningham \nA work for eleven dancers\, the rhythm for “Beach Birds” was much more fluid than other Cunningham dances\, so that the sections could differ in length from performance to performance. John Cage composed the music\, and painter Marsha Skinner provided the costumes and décor. The dancers were dressed identically in all white leotards and tights\, with black gloves. Skinner’s backcloth was a white scrim on which the light varied in color and intensity\, decided by a lighting plot that was devised using chance methods. While the timings did not relate to the dance structure\, the gradual changes of light have been interpreted to imitate those that might occur from dawn to dusk on a beach. “Beach Birds” was adapted for film and called “Beach Birds for Camera.”\n___\nAbout Merce Cunningham \nOne of the most transformative figures in modern dance\, Merce Cunningham (b. April 16\, 1919) brought his radical approach to movement and composition to Black Mountain College during the Summer Sessions of 1948\, 1952\, and 1953. His time at BMC was pivotal—not only for the young dancer and choreographer himself\, but for the College’s vibrant cross-disciplinary community.⁠ \nAt Black Mountain\, Cunningham was surrounded by artists like John Cage (his partner and collaborator)\, Josef Albers\, and Buckminster Fuller—artists and thinkers who\, like him\, were challenging boundaries between disciplines. This creative ecosystem shaped his belief that dance\, music\, and visual art could exist independently and still create something unified in performance.⁠ \nIn 1953\, while still teaching at Black Mountain\, Cunningham officially formed the Merce Cunningham Dance Company\, marking a turning point in American dance. His classes and performances at the College helped sow the seeds for his revolutionary techniques—emphasizing chance operations\, decentralization of the body\, and a rethinking of time and space in choreography.⁠
URL:https://thelaurelofasheville.com/event/performance-and-film-screening-suite-for-two-1958/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/11/Suite-for-Two.jpeg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251215T190000
DTEND;TZID=America/New_York:20251215T200000
DTSTAMP:20251107T143604Z
CREATED:20251106T180537Z
LAST-MODIFIED:20251107T143604Z
UID:10005457-1765825200-1765828800@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Johnny Loves Johann – Music and Dance
DESCRIPTION:PERFORMANCE: Johnny Loves Johann – Music and Dance\nWith violinist Johnny Gandelsman and choreographers Melissa Toogood and John Heginbotham\nMonday\, December 15\, 2025 at 7PM\nBlack Mountain College Museum + Arts Center {120 College Street}\nTICKETS– $15 General Admission / $10 for BMCM+AC members + Students w/ID \nJoin us Monday\, December 15 at BMCM+AC for a one-night-only performance featuring world-renowned violinist Johnny Gandelsman and internationally acclaimed choreographer/dancers John Heginbotham and Melissa Toogood. \nIn this intimate\, museum-scale version of Johnny Loves Johann\, Gandelsman will perform Bach’s Cello Suite No. 1 with new choreography by Melissa Toogood and Cello Suite No. 4 with new choreography by John Heginbotham. This unique program offers a powerful glimpse into the larger evening-length work\, bringing together music and dance in fresh\, unexpected ways. With Gandelsman’s folk- and dance-inspired interpretation at its core\, Toogood and Heginbotham infuse Bach’s timeless compositions with humanity\, curiosity\, and contemporary movement—transforming them into a vibrant celebration of connection and community.\n____\nAbout the Program \nAt its heart\, Johnny Loves Johann is a tribute to community – both among the artists themselves and with the audience members who join them on this journey. By inviting these remarkable choreographers to bring their personal and cultural narratives to Bach’s music\, the project creates a tapestry of voices and perspectives that reflect the shared human experience. \nBach’s music is often put in the context of order and notions of perfection. While we can enjoy hearing it this way\, it can also limit our experience of this music as the celebration of humanity and beautiful opportunity for connection that it is. \nGandelsman’s interpretation of Bach’s Cello Suites is special in its folk music- and dance-like qualities.  Building upon that\, the Johnny Loves Johann collaborators—each known for visceral\, big-hearted art-making—re-visit the suites by leading with their humanity and curiosity.\n____\nAbout the Performers \nJohnny Gandelsman\nGRAMMY® Award-winning violinist\, producer\, and 2024 MacArthur Fellow Johnny Gandelsman blends diverse musical influences into a unique style. A founding member of Brooklyn Rider and former Silkroad Ensemble artist\, he has collaborated with luminaries including Yo-Yo Ma\, Béla Fleck\, and Mark Morris. \nMelissa Toogood\nRenowned modern dancer and teacher\, Melissa Toogood is Dean and Director of Juilliard’s Dance Division. A former Merce Cunningham dancer and longtime collaborator with Pam Tanowitz\, she is celebrated for her artistry and mentorship worldwide. \nJohn Heginbotham\nBrooklyn-based choreographer and Artistic Director of Dance Heginbotham\, John Heginbotham is known for his innovative works (2019 Broadway revival of Oklahoma!  and Netflix’s The Umbrella Academy)\, and collaborations with top musicians and opera companies. He has received numerous awards\, including a Guggenheim Fellowship and the Jacob’s Pillow Dance Award.
URL:https://thelaurelofasheville.com/event/performance-johnny-loves-johann-music-and-dance/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/11/johnny.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251210T190000
DTEND;TZID=America/New_York:20251210T200000
DTSTAMP:20251117T000735Z
CREATED:20251114T235510Z
LAST-MODIFIED:20251117T000735Z
UID:10005493-1765393200-1765396800@thelaurelofasheville.com
SUMMARY:FILM SCREENING: Taking Venice (2024)
DESCRIPTION:This 2024 documentary tells the story of the 1964 Venice Biennale. A cast of influential figures—Alice Denney\, Washington insider; Alan Solomon\, ambitious curator; and Leo Castelli\, a powerful New York art dealer—embark on a daring plan to make American artist Robert Rauschenberg the winner of the Grand Prize. Their deft maneuvers leave the international press crying foul and Rauschenberg questioning the politics of nationalism that sent him to Venice in the first place. \nJoin us for this free screening\, presented in partnership with the Robert Rauschenberg Foundation in conjunction with BMCM+AC’s current exhibition\, Points in Space: Performance at Black Mountain College. \nAbout the film:\nAt the height of the Cold War\, the U.S. government is determined to fight Communism with culture. The Venice Biennale\, the world’s most influential art exhibition\, becomes a proving ground in 1964. Alice Denney\, Washington insider and friend of the Kennedys\, recommends Alan Solomon\, an ambitious curator making waves with trailblazing art\, to organize the U.S. entry. Together with Leo Castelli\, a powerful New York art dealer\, they embark on a daring plan to make Robert Rauschenberg the winner of the Grand Prize. The artist is yet to be taken seriously with his combinations of junk off the street and images from pop culture\, but he has the potential to dazzle. Deftly pulling off maneuvers that could have come from a Hollywood thriller\, the American team leaves the international press crying foul and Rauschenberg questioning the politics of nationalism that sent him there.
URL:https://thelaurelofasheville.com/event/film-screening-taking-venice-2024/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/11/Taking-venice-poster-11-x-17-in.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251204T190000
DTEND;TZID=America/New_York:20251204T200000
DTSTAMP:20251006T211109Z
CREATED:20251002T181416Z
LAST-MODIFIED:20251006T211109Z
UID:10005354-1764874800-1764878400@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Tesla Quartet: The Music of Hugo Kauder
DESCRIPTION:BMCM+AC is excited to welcome back The Tesla Quartet! This special performance\, presented in conjunction with our Points in Space exhibition\, will bring to life the music of Hugo Kauder\, who served as composer-in-residence at Black Mountain College during the summer of 1945. The program will feature Kauder’s Seventh String Quartet\, the same work first performed at BMC in 1945\, offering audiences a rare chance to experience this historic piece in a contemporary setting. \nThe Tesla Quartet is known the world over for their “superb capacity to find the inner heart of everything they play\, regardless of era\, style\, or technical demand” (The International Review of Music). From cutting edge contemporary works to established masterpieces\, the Tesla Quartet’s emotive and thoughtful interpretations reveal the ensemble’s deep commitment to the craft and to their ever expanding repertoire. The quartet recognizes the power of their platform to amplify underrepresented voices and to encourage the proliferation of an equitable and just future for society as well as a hospitable climate for posterity. \n“From the outset\, the quartet plays as a single instrument. Their sound is balanced across registers\, their timbres and articulations matched.” –The Classic Review \nThe Tesla Quartet is Ross Snyder (violin)\, Michelle Lie (violin)\, Edwin Kaplan (viola)\, and Austin Fisher (cello).
URL:https://thelaurelofasheville.com/event/performance-tesla-quartet-the-music-of-hugo-kauder/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/10/TESLAQUARTETVEGAS-20.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251122T140000
DTEND;TZID=America/New_York:20251122T150000
DTSTAMP:20251031T135537Z
CREATED:20251030T210321Z
LAST-MODIFIED:20251031T135537Z
UID:10005438-1763820000-1763823600@thelaurelofasheville.com
SUMMARY:PERFORMANCE: UNCA Experimental Ensemble
DESCRIPTION:The UNCA Experimental Ensemble is dedicated to expanding our students’ ideas about what music is and how it is made. Incorporating electronics\, found instruments\, and performance art as well as traditional musical elements\, the ensemble collaborates to create a full concert of new\, original music every semester.
URL:https://thelaurelofasheville.com/event/performance-unca-experimental-ensemble/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/10/Experimental-.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251113T190000
DTEND;TZID=America/New_York:20251113T200000
DTSTAMP:20251006T211043Z
CREATED:20251002T175745Z
LAST-MODIFIED:20251006T211043Z
UID:10005353-1763060400-1763064000@thelaurelofasheville.com
SUMMARY:When We Were Queens… Murielle Elizéon and Shana Tucker
DESCRIPTION:Acclaimed Durham-based cellist Shana Tucker and Saxapahaw-based French choreographer Murielle Elizéon (co-creator of Culture Mill) present When We were Queens…\, a powerful multidisciplinary performance presented as a diptych—two solos in conversation.  \n“When We were Queens… is shaped as a ritual to call the ancestors. It is the whispering of a spell. It is an attempt to reclaim a lost mythology through somatic embodied imagination. It seeks to face the void of erasure for individual and collective healing. It is shaped as a diptych: two solos in conversation to acknowledge both the singularity of Murielle and Shana’s cultural experience (one is French\, the other is American) and the common thread running through their experience as women of color from the African Diaspora. The performance convokes the audience for a moment of shared witnessing while acknowledging the complexity of a gaze which has often exoticized our Black and Brown bodies.” \nCommissioned by NC State Live\, the original development of the work began in 2022 and after subsequent series of museum and gallery residencies\, When We were Queens… held its world premiere in February 2024\, co-presented by NC State Live and the North Carolina Museum of Art.
URL:https://thelaurelofasheville.com/event/when-we-were-queens-murielle-elizeon-and-shana-tucker/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/10/when-we-were-queens.-feature-image.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251108T190000
DTEND;TZID=America/New_York:20251108T200000
DTSTAMP:20250927T205502Z
CREATED:20250923T214912Z
LAST-MODIFIED:20250927T205502Z
UID:10005324-1762628400-1762632000@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Living Female Respondent or 53 Yakshi
DESCRIPTION:Living Female Respondent or 53 Yakshi\nA Performance by Jennie MaryTai Liu\nSaturday\, November 8\, 2025 at 7PM\nBlack Mountain College Museum + Arts Center {120 College Street}\nTICKETS – $15 General Admission / $10 for BMCM+AC members + Students w/ID \nJennie MaryTai Liu’s Living Female Respondent or 53 Yakshi\, a dance performance created with devika wickremesinghe and Hannah Heller\, draws from Merce Cunningham’s use of chance operations in his 1976 work Torse. Using the I Ching\, Liu and wickremesinghe selected 64 short video clips from across the internet to build a movement vocabulary. The resulting performance explores how digital media\, randomness\, and embodied movement intersect. First presented at LACMA in 2019\, this work both honors and critically engages with the legacy of postmodern dance. \nMore About the Performance: \nA reference to a reference in a Hollis Frampton text sampled in Maryanne Amacher’s composition Remainder which accompanied Merce Cunningham’s 1976 dance Torse\, Living Female Respondent is a dance which exhaustively appropriates Cage and Cunningham’s compositional use of chance. Originally commissioned to accompany the exhibition Merce Cunningham\, Clouds and Screens\, at LACMA (Los Angeles County Museum of Art) in February 2019\, the dance took place in the Korean Art Gallery amidst 17th–19th century Korean ceramics and screen paintings\, highlighting the primacy of Asian thinking and aesthetic values in the production of the western avant-garde. Along with performers Hannah Heller and devika wickremesinghe\, choreographer Jennie MaryTai Liu playfully consulted contemporary feminist oracles and the Chinese divination text I ching to determine all structural elements of a bank of movement created from a ‘gamut’ of random YouTube videos\, manifesting in a theatrical display of indeterminacy. \nWith live music by Andrew Gilbert and costumes by Wendy Yang\, the version to be presented at Black Mountain College Museum and Arts Center re-wrangles the choreographic material for a different moment and place\, a continuance of a response to impure\, incidental inheritance. \nLiving Female Respondent was originally commissioned with additional funding from the Foundation for Contemporary Arts Emergency Grant.
URL:https://thelaurelofasheville.com/event/performance-living-female-respondent-or-53-yakshi/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/09/Image-18-Jennie-Mary-Tai-Liu-Living-Female-Respondent-or-53-Yakshi-February-2019-LACMA-Los-Angeles-Choreographed-by-Jennie-Mary-Tai-Liu.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251030T193000
DTEND;TZID=America/New_York:20251030T203000
DTSTAMP:20250919T192706Z
CREATED:20250919T162817Z
LAST-MODIFIED:20250919T192706Z
UID:10005313-1761852600-1761856200@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Butoh Dance Festival – Frequency in Motion
DESCRIPTION:Audio Visual Butoh Performance: Frequency in Motion — Featuring Atsushi Takenouchi\, Hiroko Komiya and Chris H.Lynn.\nIn conjunction with Asheville Butoh Dance Festival 2025\nThursday\, October 30th\, 2025 at 7:30 pm\nBlack Mountain College Museum + Arts Center {120 College Street}\nTICKETS – $15 General Admission / $10 for BMCM+AC Members + Students w/ ID \nAsheville Butoh Festival\, in collaboration with Black Mountain College Museum + Arts Center and the University of North Carolina at Asheville\, presents its 15th annual festival from October 30 – November 2. BMCM+AC will host Frequency in Motion\, an audiovisual performance featuring Butoh dancers: Atsushi Takenouchi\, Jenni Cockrell\, Julie Becton Gillum\, and Constance Humphries. Dancers will be accompanied by live sounds\, field recordings\, and objects by Chris H.Lynn and Hiroko Komiya. Visuals\, including Super 8 and digital film\, are by Chris H.Lynn. \n___ \nAtsushi Takenouchi began his Butoh journey in 1980 with the Hoppo-Butoh-ha company in Hokkaido. His final piece with the company\, Takazashiki (1984)\, was created with the direct guidance of Butoh founder Tatsumi Hijikata. In 1986\, he created his own path: Jinen Butoh — as a universal expression of nature\, earth\, and ancient memories\, embracing the rhythms of life itself. From 1996 to 1999\, embarked on a three-year Jinen tour across Japan\, performing over 600 site-specific improvisations rooted in natural landscapes and sacred spaces. Around this time\, he learned the spirit of the universe of Kazuo Ohno and Yoshito Ohno. \nSince 2002\, based in Europe\, working on solo Butoh and collaboration projects with dancers and actors\, with giving workshops internationally. His presence extends into film\, notably ‘Ridden by Nature’\, an award-winning environmental art dance film by Kiah Keya. From 2015 to 2020\, he directed an intensive Jinen Butoh school in Italy. Today\, he devotes himself fully to transmitting Jinen Butoh through seasonal intensive workshops held both in nature and studio spaces — living his art as a continuous dialogue with life itself. In 2021\, compiling these experiences into a book\, he published Atsushi Takenouchi Jinen Butoh writing of his Butoh life\, workshop contents and his Butoh performance works. \n___ \nHiroko Komiya is a sound artist who transmutes the ephemeral – air\, space\, movement\, bodily sensation\, and memory – into boundless sonic expressions beyond conventional melody and rhythm. Since 1999\, she has been the principal musical collaborator for Atsushi Takenouchi’s JINEN Butoh\, and has provided live accompaniment for his performances and workshops worldwide. \nHer artistic reach extends beyond Butoh\, engaging in multidisciplinary collaborations with filmmakers\, sculptors\, painters\, poets\, costume designers\, and performers for exhibitions and installations. In 2022\, she performed an 11-hour tribute performance to Félix Guattari (French psychoanalyst and philosopher) in Paris\, alongside Ramuntcho Matta’s art music collective and Atsushi Takenouchi. In 2021\, she embarked on a new project with US film/sound artist Chris H. Lynn\, creating audiovisual performances with Butoh dancers\, performed in Vienna\, Warsaw\, Barcelona\, Mexico city\, Hong Kong\, Athens and Kumano\, Japan. \n___ \nThe Asheville Butoh Collective serves as a hub for the creative work of Julie Becton Gillum\, Jenni Cockrell\, Rebecca Schoenecker\, and Constance Humphries\, as well as the Asheville Butoh Festival\, which is entering its 15th season. The collective brings together diverse artists with over seventy-five cumulative years of professional dancing\, choreographing\, collaborating\, and teaching. \nButoh History \nOriginating in post-WWII Japan\, butoh is a potent and revolutionary dance form. Butoh uses the body brazenly as a battleground to attain personal\, social\, or political transformation. In its early forms\, butoh embraced and referenced Western artistic movements; German Expressionism\, Dadaism\, Surrealism\, Existentialism\, and Fluxus\, all of which pervaded the Tokyo underground and the avant-garde arts scene at that time. In fact\, the cofounders of butoh\, Tatsumi Hijikata and Kazuo Ohno\, trained in German modern dance\, which was integral to the development of German Expressionism. But\, eventually\, they took opposite approaches to their dance making. Hijikata’s work became known as ankoku butoh (dance of utter darkness)\, and he embraced the grotesque and the absurd\, exploring themes of sacrifice\, struggle\, and death. Ohno’s butoh was playful\, humorous\, and filled with light and life. Today’s butoh is influenced by both Hijikata and Ohno and wrestles to balance those contrary approaches. Philosophically\, butoh slips between the cracks of definition in order to reveal the fervent beauty of the unique human spirit.
URL:https://thelaurelofasheville.com/event/performance-butoh-dance-festival-frequency-in-motion/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/09/FrequencyInMotion1008by-Elias-Hill-03-scaled-1.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251021T190000
DTEND;TZID=America/New_York:20251021T200000
DTSTAMP:20250919T192701Z
CREATED:20250919T150657Z
LAST-MODIFIED:20250919T192701Z
UID:10005311-1761073200-1761076800@thelaurelofasheville.com
SUMMARY:PERFORMANCE: The Music of John Cage\, Lou Harrison\, Arnold Schoenberg\, and Amy Williams
DESCRIPTION:Asheville Symphony Orchestra and BMCM+AC Present\nThe Music of John Cage\, Lou Harrison\, Arnold Schoenberg\, and Amy Williams\nTuesday\, October 21\, 2025 at 7 pm\nBlack Mountain College Museum + Arts Center {120 College Street\, Asheville\, NC}\nTICKETS – $15 General Admission / $10 for BMCM+AC members + Students w/ID\n(https://www.tickettailor.com/events/blackmountaincollegemuseumartscenter/1860212)  \nOn Tuesday\, October 21 at 7 pm\, the Asheville Symphony Orchestra\, in partnership with Black Mountain College Museum + Arts Center\, will present a chamber concert featuring the music of John Cage\, Lou Harrison\, Arnold Schoenberg\, and Amy Williams. The program highlights music that reshaped 20th century sound and celebrates the experimental spirit of Black Mountain College. This event is presented in conjunction with the exhibition Points in Space: Performance at Black Mountain College\, on view at the Black Mountain College Museum + Arts Center (September 5\, 2025 – January 10\, 2026). \nAbout the program: \nThe evening begins with pianist and composer Amy Williams performing excerpts from John Cage’s Sonatas and Interludes for prepared piano. Written between 1946 and 1948\, this cycle of twenty short pieces uses bolts\, screws\, and other objects inserted into the strings of a piano to create shimmering\, bell-like sounds. Cage was influenced at the time by Indian philosophy and the writings of Ananda K. Coomaraswamy\, which shaped the meditative and balanced character of the music. First performed at Black Mountain College in 1948\, Sonatas and Interludes is now considered one of Cage’s most important works. \nThe Asheville Symphony String Quartet\, featuring Brian Allen\, Karen Pommerich\, Kara Poorbaugh\, and Franklin Keel\, will perform Arnold Schoenberg’s String Quartet No. 1 in D minor\, Op. 7. Written in 1904–05\, this expansive\, single-movement work lasts nearly 50 minutes and traces an emotional journey from late romantic lyricism toward the boundaries of modernism. It is one of Schoenberg’s most groundbreaking early compositions\, showing the first signs of the new harmonic language that would later define him as the father of twelve-tone music. \nThe program concludes with the Asheville Symphony Percussion Quartet\, featuring Todd Mueller\, Matthew Richmond\, Nathan Tingler\, and Brian Tinkel\, performing Amy Williams’s Dream Landscape alongside Double Music by John Cage and Lou Harrison. Dream Landscape evokes shifting sonic textures\, and Double Music\, composed jointly by Cage and Harrison in 1941\, is a playful and inventive work for four percussionists. The evening will feature guest soloist and composer Amy Williams performing alongside the musicians from the Asheville Symphony Orchestra. The program reflects the collaborative spirit that both composers carried into their years at Black Mountain College. \nThis concert resonates with the history of the 1944 Summer Music Institute at Black Mountain College. That gathering brought together many of Schoenberg’s closest colleagues\, including Edward Steuermann\, Ernst Krenek\, and Roger Sessions\, and marked the largest celebration of Schoenberg’s music in America at the time. Sessions later described it as “the most important thing that has ever happened in musical education in America.”\n___\nThe “fresh\, daring and incisive” (Fanfare) compositions of Amy Williams have been presented by leading international performers\, including the Pittsburgh Symphony Orchestra\, Buffalo Philharmonic Orchestra\, JACK Quartet\, Bent Frequency\, Ensemble Musikfabrik\, Wet Ink\, International Contemporary Ensemble\, Junction Trio\, Orpheus\, pianist Ursula Oppens\, soprano Tony Arnold and bassist Robert Black. Her pieces appear on the Albany\, Parma\, Blue Griffin\, Centaur and New Focus labels. As a member of the Bugallo-Williams Piano Duo\, she has performed throughout Europe and the Americas and recorded six critically-acclaimed CDs for Wergo (works of Nancarrow\, Stravinsky\, Varèse/Feldman and Kurtág)\, as well as appearing on the Neos and Albany labels. \nMs. Williams has been awarded a Howard Foundation Fellowship\, Fromm Music Foundation Commission\, Guggenheim Fellowship\, Koussevitsky Music Foundation Commission\, two awards from the American Academy of Arts and Letters\, a Fulbright Scholars Fellowship to Ireland\, a MacDowell fellowship and the 2024 Henri Lazarof International Commission Prize. Ms. Williams holds a Ph.D. in composition from the University at Buffalo\, where she also received her Master’s degree in piano performance. She has taught at Bennington College and Northwestern University and is currently Professor of Composition at the University of Pittsburgh. She is Artistic Director of the New Music On The Point Festival in Vermont.
URL:https://thelaurelofasheville.com/event/performance-the-music-of-john-cage-lou-harrison-arnold-schoenberg-and-amy-williams/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/09/john-cage-amy-williams-feature-image.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251014T190000
DTEND;TZID=America/New_York:20251014T200000
DTSTAMP:20250817T124256Z
CREATED:20250813T174459Z
LAST-MODIFIED:20250817T124256Z
UID:10005143-1760468400-1760472000@thelaurelofasheville.com
SUMMARY:Aphorisms: A Tribute to Ursula Mamlok
DESCRIPTION:Aphorisms: A Tribute to Ursula Mamlok with dancers from New Chamber Ballet\, flutist Roberta Michel\, and the Momenta Quartet \nPerformances:\nTuesday\, October 14th\, 2025 at 7PM + Wednesday\, October 15th\, 2025 at 7PM \nTICKETS – $15 General Admission / $10 for BMCM+AC members + Students w/ID\n—Link for tickets through the event page.  \nAphorisms is a tribute to composer and Black Mountain College student Ursula Mamlok\, inspired by her life\, art\, and triumph over persecution and oppression. The performance is choreographed by Miro Magloire and performed by the Momenta Quartet\, flutist Roberta Michel\, and the New Chamber Ballet. Presented here as a new performance iteration created especially for Black Mountain College Museum + Arts Center\, this event integrates live chamber music and dance to celebrate Mamlok’s work and legacy. BMCM+AC will present two evening performances (Oct. 14th and Oct. 15th) in the museum’s main level gallery\, in conjunction with the exhibition Points in Space: Performance at Black Mountain College.\n___\nAbout the Performances: \nAphorisms presents six works by Ursula Mamlok\, performed live\, enriched by Miro Magloire’s contemporary ballet choreography. Magloire\, a former composition student of Mauricio Kagel and the founder of the New York City-based New Chamber Ballet\, has pioneered a captivating new form of music-and-dance collaboration: ‘unplugged’\, without stage sets or theatrical lights\, and with the audience seated around the stage and up close to the performers. \nAphorisms opens with the eponymous composition for solo violin\, in which Mamlok’s extremely reduced sound language appears in counterpoint to two simultaneous trios of dancers. Her trio Music for Stony Brook reverses the relationship: this time the dancers perform as soloists. This is followed by a fast-paced dance duet to Sintra for flute and cello\, and a rousing dance to the composer’s String Quartet No 2. The performance concludes with a danced finale to Ursula Mamlok’s Terzianum. \nAphorisms received its world premiere this April in Berlin\, Germany\, and will be seen here in a new version created especially for Black Mountain College Museum + Arts Center. It follows an earlier production entitled Stray Bird\, based on a different musical selection and choreography\, which premiered in New York in 2017 and went on to great acclaim in sold-out performances in Boston\, Philadelphia\, Washington DC\, and opening the Jewish Culture Days in Magdeburg\, Germany.
URL:https://thelaurelofasheville.com/event/aphorisms-a-tribute-to-ursula-mamlok/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/08/New-Chamber-Ballet-Performance-photos-from-Stray-Bird-2017-Photos-by-Arnaud-Falchier_IMG6-1536x1152-1.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250927T200000
DTEND;TZID=America/New_York:20250927T210000
DTSTAMP:20250906T150913Z
CREATED:20250904T190446Z
LAST-MODIFIED:20250906T150913Z
UID:10005261-1759003200-1759006800@thelaurelofasheville.com
SUMMARY:PERFORMANCE: flux in time
DESCRIPTION:flux in time: a heterotpic theater from the aborted future (2025)\nSaturday\, September 27th\, 2025 at 8pm\nBlack Mountain College Museum + Arts Center {120 College Street}\nFREE and open to all – No Registration Required \nJoin us on Saturday\, September 27th for an interactive performance presented in conjunction with the 15th Annual ReVIEWING Black Mountain College International Conference. Kyriakos Apostolidis\, gordon fung\, Kim Nucci\, Che Pai\, and Kyle Price of //sense\, a Chicago-based neo-Fluxus theater troupe\, will stage an immersive “theater of mixed means” that weaves a metaphorical and metaphysical network through history\, art\, and life\, paying homage to the legacy of BMC. \nThis performance invites audiences to collectively revisit the past and reimagine the future. Through the embodied actions of its artists\, the troupe transforms time and space into heterotopic sites where multiple centers across eras converge in the present moment. Conceiving individuals as living time capsules\, the performers fuse human experiences into intellectual rhizomes\, cultivating a shared terrain of intelligence\, consciousness\, and the cosmic mind.\n___ \ngordon fung (b. 1988\, San Francisco\, CA; lives in Chicago\, IL) is a transdisciplinary artist-curator who works with large-scale curatorial/collaborative practices\, experimental audiovisual performances\, new media installations\, noise music\, experimental film/video\, media archaeology\, participatory works\, and happenings. His works highlight unconventional executions like equipment misapplication\, lo-fi presentations\, and glitches. Such aesthetics confront the viewers’ understanding\, perspective\, and point of view on reality through a more philosophical and esoteric investigation.\n___ \nKyriakos Apostolidis (b. Drama\, Greece 1991) is a performance artist\, movement researcher\, and the founder of Morphoplastics\, a practice-based research project in the field of performance studies—an embodied investigation into the performer’s body as a means of expression and knowledge. Their live performances present movement-based endurance actions while involving audio-visual installations at the intersection of art & technology. In addition to performing with //sense\, Kyriakos will present a workshop at ReVIEWING 15.\n____ \nChe Pai is a Chicago-based Taiwanese artist whose practice spans photography\, performance\, and meditation\, primarily manifested through the medium of artist’s books. His unique approach involves conducting images and employing book structures to invite play and performance\, adding a dynamic layer to the contemplative journey of reading. Drawing inspiration from contemporary literature\, slow cinema\, and the physical theater of Tai Chi\, Che’s artwork transforms the reading experience into a multi-sensory exploration.\n___ \nKim Nucci is a Chicago/Oakland-based media artist\, composer\, improviser\, and technologist. They perform on electronics\, synthesizers\, and saxophones. In their studio practice\, they create interactive installations using architectural intervention\, light\, projection\, microcontrollers\, temporary sculpture and painting. Nucci’s research interests explore the pedestrian cybernetic body\, critically examining our relationship with technology/our instruments. Their solo performance practice is invested in ritualism and trance states in improvisation. They hold an MFA in Electronic Music and Recording Media\, an MA in Music Composition from Mills College\, and a BA from Bennington College.\n____ \nKyle Gregory Price is a genre-fluid composer\, percussionist and turntablist by trade\, who regularly produces work in other mediums including stop-motion animation\, jewelry making\, costume design and dance/movement. He has been a practicing artist for over twenty years. Raised in a one stoplight town in Upstate New York\, Kyle put himself through college\, earned a Bachelors of Music in Composition from SUNY Fredonia in 2005 and was active in the Buffalo art scene for several years before migrating to Chicago in 2010. Since moving to Chicago he has performed solo and collaboratively\, and served as the composer and bandleader in various projects ranging from punk and noise to chamber music and free-jazz.
URL:https://thelaurelofasheville.com/event/performance-flux-in-time/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/09/comfortStation_sense0825-3.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250920T130000
DTEND;TZID=America/New_York:20250920T140000
DTSTAMP:20250830T003341Z
CREATED:20250828T212721Z
LAST-MODIFIED:20250830T003341Z
UID:10005186-1758373200-1758376800@thelaurelofasheville.com
SUMMARY:PERSPECTIVES Artist Talk: Stereolab (with Tim Gane\, Laetitia Sadier\, and Joe Watson)
DESCRIPTION:Join us for a PERSPECTIVES Artist Talk with Tim Gane\, Laetitia Sadier\, and Joe Watson of Stereolab ahead of their evening show at The Orange Peel. The band will discuss their performance practice and how the legacy of Black Mountain College – including the work of John Cage\, Merce Cunningham\, and David Tudor – informs their experimental approach. This conversation will highlight connections to the upcoming exhibition Points in Space: Performance at Black Mountain College and how BMC’s radical\, interdisciplinary spirit continues to influence Stereolab’s artistic vision. \nAbout Stereolab: \nWith their hypnotic rhythms and mesmerizing vocals\, Stereolab became one of indie’s most distinctive and influential bands when they emerged in the early ’90s. Led by Tim Gane and Laetitia Sadier\, the group celebrated strands of pop music — bossa nova\, lounge-pop\, movie soundtracks — that were traditionally banished from rock’s lineage. \nOn early singles and albums such as 1993’s Transient Random-Noise Bursts with Announcements\, Stereolab combined ’60s pop melodies with an art rock aesthetic borrowed from Krautrock bands like Faust and Neu!; by the time of 1996’s Emperor Tomato Ketchup\, their sound incorporated jazz\, hip-hop\, and dance music. \nTheir work with John McEntire and Jim O’Rourke on 1997’s Dots and Loops and 2001’s Sound-Dust reflected an increasingly intricate\, experimental approach\, but following the 2002 death of member Mary Hansen\, they eventually returned to a poppier style on albums like 2008’s Chemical Chords. Stereolab’s unmistakable sound had a lasting impact: Contemporaries like Pavement and Blur aped their style in the ’90s\, while hip-hop artists such as J Dilla and Tyler the Creator sampled the band’s music or collaborated with its members in the 2000s and 2010s. Late in that decade and into the 2020s\, Stereolab’s revival as a touring band and a steady stream of reissues underscored their reputation as innovators. \nTim Gane (born July 12\, 1964; guitar\, keyboards) was the leader of McCarthy\, a London-based band from the late ’80s that functioned as a prototype for Stereolab’s sound. Gane met Laetitia Sadier (born May 6\, 1968; vocals\, keyboards)\, a French-born vocalist\, at one of McCarthy‘s concerts. The pair began a romantic relationship that became a musical collaboration after McCarthy disbanded in 1990; Sadier sang on the final McCarthy album. The duo began recording as Stereolab\, borrowing the name from Vanguard Records‘ hi-fi effects division in the ’50s. Gane and Sadier also formed the label Duophonic Records with manager Martin Pike to release their singles. Stereolab’s first year of existence was prolific: The debut EP Super 45 arrived in May 1991\, followed quickly by the Super-Electric EP that September and the Stunning Debut Album EP that November. At that point\, the group were working with Th’ Faith Healers drummer Joe Dilworth and former Chills bassist Martin Kean; Gina Morris occasionally provided backup vocals. \nToo Pure released the band’s first full-length\, Peng!\, in May 1992\, and the EP compilation Switched On in October. As with all of the group’s releases from this era\, both albums featured the visual trademark of a maniacally grinning cartoon taken from a ’70s Swiss political comic (which the band named “Cliff”). That year\, Stereolab also issued the Lo-Fi EP and added keyboardist/vocalist Mary Hansen and drummer Andy Ramsay to the fold.\nReleased in early 1993\, Stereolab’s The Groop Played “Space Age Bachelor Pad Music” EP featured the core group of Gane\, Sadier\, Hansen\, and Ramsay\, along with ex-Microdisney guitarist Sean O’Hagan and bassist Duncan Brown. One of the first ’90s alternative records to explicitly draw from the “Space Age” lounge-pop music of the ’50s\, The Groop became an underground sensation\, paving the way toward Stereolab’s first American record contract with Elektra Records. Their next album\, and first American release\, was Transient Random-Noise Bursts with Announcements. Released in August 1993\, it became an underground and college hit throughout the U.S. and U.K. They followed it that October with Crumb Duck\, a split EP with Nurse with Wound. Early the following year\, the Jenny Ondioline EP became Stereolab’s first charting release when it entered the U.K. Singles chart at number 75. \nStereolab soon became a hip name to drop for many musicians\, including Sonic Youth\, Pavement\, and Blur\, who had Laetitia Sadier provide guest vocals on their 1994 hit single “To the End.” Where Transient was dominated by a lo-fi experimentalism\, the group’s sound became lusher and more layered with Mars Audiac Quintet\, which was released in August 1994. O’Hagan moved from a full member to a part-time guest during the recording of the album — he was busy forming his own band\, the High Llamas — and the group added keyboardist Katherine Gifford. By the time of Mars Audiac Quintet’s release\, Stereolab’s style was prominent throughout the underground\, and the band began to change their approach. Created for an interactive art exhibit by Charles Long\, the limited-edition 1995 EP Music for the Amorphous Body Center boasted detailed\, intricate string and vocal arrangements that were more sophisticated than the group’s previous releases. That July\, the band issued their second rarities compilation\, Refried Ectoplasm\, which was released on Drag City in the U.S.\nBefore Stereolab recorded a new album\, Gifford was replaced by Morgane Lhote. Featuring contributions from Tortoise‘s John McEntire\, 1996’s Emperor Tomato Ketchup was an even bigger departure from the band’s early drone rock\, demonstrating a heavy hip-hop\, jazz\, and dance influence. It was Stereolab’s greatest success to date\, earning positive reviews in both the U.S. and U.K. and becoming a significant college hit in the process. After the recording of Emperor Tomato Ketchup\, bassist Duncan Brown was replaced by Richard Harrison. That year\, the band worked with Herbie Mann on “One Note Samba/Surfboard\,” which appeared on the Red Hot Organization’s AIDS benefit album Red Hot + Rio. At the end of 1996\, Stereolab released the limited-edition\, horn-driven Fluorescences EP. For their next album\, Dots and Loops\, the band reunited with McEntire and recruited Mouse on Mars‘ Jan St. Werner; after its September 1997 release\, it peaked at number 111 on the Billboard 200 chart. Another Nurse with Wound collaboration\, Simple Headphone Mind\, appeared that year\, and singer/poet Brigitte Fontaine joined Stereolab on the 1998 single “Calimero\,” which featured the debut of Sadier‘s other project Monade on its B-side. Aluminum Tunes\, the group’s third rarities collection\, appeared in October 1998. \nAfter taking time off from touring following the birth of Gane and Sadier‘s first child\, Stereolab resurfaced in 1999 with the intricate Cobra and Phases Group Play Voltage in the Milky Night\, which featured production by McEntire and Jim O’Rourke. An EP\, The First of the Microbe Hunters\, quickly followed in 2000. Their seventh full-length\, 2001’s Sound-Dust\, reunited the band with O’Rourke and McEntire and took a more melodic approach. In 2002\, Sadier and Gane ended their relationship\, but Stereolab continued. The collection ABC Music: The Radio 1 Sessions arrived that October\, just a few months before Hansen died at the age of 36 when the bicycle she was riding was hit by a truck in December 2002. Following Hansen’s death\, the group soldiered on\, releasing The Instant 0 in the Universe EP in October 2003 and the full-length Margerine Eclipse — a tribute to Hansen — in January 2004. After Elektra Records folded later in 2004\, Stereolab returned to Too Pure\, which released a series of six limited-edition singles collected on 2006’s Fab Four Suture. The group re-teamed with producer/arranger Sean O’Hagan for 2008’s Chemical Chords\, a collection of short\, poppy songs released by 4AD. \nFollowing their Australian tour in February 2009\, Stereolab went on an indefinite hiatus. Not Music\, a collection of material recorded during the Chemical Chords sessions\, arrived in 2010. Subsequently\, Gane formed the kosmische-inspired trio Cavern of Anti-Matter\, which also featured former Stereolab drummer Joe Dilworth. Sadier pursued several projects\, including solo albums and the groups Little Tornados and the Laetitia Sadier Source Ensemble. In 2019\, Stereolab ended their hiatus to play a series of concerts and festivals that coincided with deluxe reissues of their albums\, beginning with Transient Random-Noise Bursts with Announcements and Mars Audiac Quintet that May. Emperor Tomato Ketchup\, Dots and Loops\, and Cobra and Phases Group Play Voltage in the Milky Night followed that September\, and Sound-Dust and Margerine Eclipse appeared that November. Electrically Possessed: Switched On\, Vol. 4 arrived in February 2021 and collected singles\, B-sides\, and rarities from 1999 to 2008\, including the entirety of The First of the Microbe Hunters. \nIn 2022\, Gane\, Sadier\, and Stereolab manager Martin Pike revived Duophonic Super 45s with the first full-lengths released by the label in over 20 years: Ghost Power\, the self-titled album from the duo of Gane and Dymaxion’s Jeremy Novak\, appeared that April\, as did Flickering i\, the debut album from Astrel K\, the solo project of Ulrika Spacek‘s Rhys Edwards. Sadier contributed vocals to the Japanese doom rock duo BlackLab‘s August 2022 album In a Bizarre Dream\, and that September saw the release of Pulse of the Early Brain: Switched On\, Vol. 5\, which gathered rarities and remastered tracks spanning the early ’90s to the Chemical Chords era and featured collaborations with Nurse with Wound and remixes by Autechre. Around the time of the collection’s release\, Stereolab embarked on a world tour. In March 2024\, the box set Switched On\, Vols. 1-5 gathered all of the band’s singles and rarities collections. ~ Stephen Thomas Erlewine & Heather Phares\, Rovi
URL:https://thelaurelofasheville.com/event/perspectives-artist-talk-stereolab-with-tim-gane-laetitia-sadier-and-joe-watson/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/08/Stereolab-Feature-Image-Logo-cropped-vers-1.jpg
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250910T190000
DTEND;TZID=America/New_York:20250910T190000
DTSTAMP:20250526T222630Z
CREATED:20250523T183628Z
LAST-MODIFIED:20250526T222630Z
UID:10004895-1757530800-1757530800@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Lea Bertucci + Olivia Block
DESCRIPTION:Join us for a duo performance by Lea Bertucci and Olivia Block live at BMCM+AC\, on Wednesday\, September 10th\, 2025 at 7pm. Lea Bertucci is an experimental musician whose works revolve around electronic and spatial extensions of instrument and voice. In addition to her longstanding practice performing with woodwinds\, she has created compositions for strings\, brass\, percussion and other instruments\, often incorporating electronics and multichannel sound. With an ear toward site-responsiveness and acoustics\, her work has expanded toward installation and non-linear presentations of her music\, often staged in hyper-resonant spaces. Olivia Block (1970) is a media artist and composer based in Chicago. For nearly 30 years\, she has been a pioneering force in the world of experimental music. She performs live experimental music in festivals and concerts around the world\, where at any given concert she might be playing electronic instruments\, piano\, organ or amplified objects. Block also creates surround sound concerts\, sound installations and scores. Her latest solo release\, The Mountains Pass (Black Truffle)\, features Block singing and playing piano. Olivia Block and Lea Bertucci’s first collaborative release\, I Know the Number of the Sand and the Measure of the Sea is out on Room40.
URL:https://thelaurelofasheville.com/event/performance-lea-bertucci-olivia-block/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/05/v2-feature-image-lea-bertucci-and-olivia-block-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250905
DTEND;VALUE=DATE:20260111
DTSTAMP:20250803T123115Z
CREATED:20250730T174232Z
LAST-MODIFIED:20250803T123115Z
UID:10005085-1757030400-1768089599@thelaurelofasheville.com
SUMMARY:Points in Space: Performance at Black Mountain College Exhibit
DESCRIPTION:Black Mountain College’s interdisciplinary and collaborative philosophy fostered groundbreaking time-based experiments across disciplines\, significantly influencing performance\, theater\, film\, music\, dance\, and visual art worldwide. Points in Space: Performance at Black Mountain College will feature visual and time-based artworks that echo BMC’s innovative spirit from 1933 to 1957. BMC was a nexus of avant-garde activity\, fostering innovation through collaboration and experiential learning. The exhibition will highlight key events and figures\, such as John Cage\, Merce Cunningham\, Lou Harrison\, Roland Hayes\, Ray Johnson\, Hugo Kauder\, Ursula Mamlok\, Robert Rauschenberg\, David Tudor\, Alma Stone Williams\, Stan Vanderbeek\, and Stefan Wolpe\, alongside movements like Bauhaus\, Dada\, and Fluxus. The exhibition will feature historical and contemporary works\, interactive installations\, performances\, and immersive experiences that bring the past into conversation with the present. \nPoints in Space aims to bridge the past and present\, ensuring BMC’s interdisciplinary spirit continues to inspire new generations. Through performance-integrated exhibitions and public programs\, the exhibition will foster a dynamic dialogue between historical and contemporary artistic practices\, expanding the reach and relevance of BMC’s radical approach to art\, education\, and community engagement. \nLearn more about featured artists on our website. \nPoints in Space: Performance at Black Mountain College is organized by Jeff Arnal\, curator\, and Adolfo Alzuphar\, curatorial assistant.
URL:https://thelaurelofasheville.com/event/points-in-space-performance-at-black-mountain-college-exhibit/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/07/Points-in-Space-feature-image.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250814T190000
DTEND;TZID=America/New_York:20250814T200000
DTSTAMP:20250803T122956Z
CREATED:20250730T173723Z
LAST-MODIFIED:20250803T122956Z
UID:10005084-1755198000-1755201600@thelaurelofasheville.com
SUMMARY:FILM SCREENING: Artists and the Unknown
DESCRIPTION:Join us for a screening of Artists and the Unknown\, a selection of documentary films by Art21. These films—five in total\, making up an hour-long program—explore the work of artists who use randomness\, mystery\, and unknowability to try to answer some of life’s biggest questions. Featured artists include Linda Goode Bryant\, Sarah Sze\, Rose B. Simpson\, Josephine Halvorson\, and Michael Rakowitz. The screening is free to attend and open to all. Pre-registration helps us plan for the right amount of guests\, but is not required. You can pre-register using the button above. \nThis event is presented in collaboration with Art21. For more information\, visit art21.org. \n“What does the ‘unknown’ mean? It is something we encounter in ways big and small every day of our lives. It appears when we wake up and wonder what the day holds\, as we watch the world around us change\, develop\, and decay\, and in our risks\, dreams\, and curiosities. The unknown can appear unexpectedly\, at any time\, and with myriad forms and faces. What do we do with that information? At Art21\, we look to artists.” \nThese five films capture engaging\, inspiring\, and stimulating conversations that explore encounters with the unknown. Featuring the works and words of groundbreaking contemporary artists\, this collection serves as a guide and a companion in your own encounters with unknowability.
URL:https://thelaurelofasheville.com/event/film-screening-artists-and-the-unknown/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/07/Film-screening-feature-image-1.png
ORGANIZER;CN="Black Mountain College Museum + Arts Center":MAILTO:info@blackmountaincollege.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250807T190000
DTEND;TZID=America/New_York:20250807T190000
DTSTAMP:20250526T222616Z
CREATED:20250523T175246Z
LAST-MODIFIED:20250526T222616Z
UID:10004894-1754593200-1754593200@thelaurelofasheville.com
SUMMARY:PERFORMANCE: Sarah Hennies + Tristan Kasten Krause
DESCRIPTION:Join us for a duo performance by Sarah Hennies and Tristan Kasten-Krause\, August 7th\, 2025 at BMCM+AC. Composer and percussionist Sarah Hennies and composer and bassist Tristan Kasten-Krause make music rooted in observation. Timbres across percussion and string instruments gradually meld into one; pitches gently float into consonance after bristling in dissonance. The Quiet Sun (2025)\, their debut duo album recorded at ISSUE Project Room\, presents two works that each show a different lens into the large-scale forms they have developed together. Sarah Hennies is a composer based in Upstate NY whose work is concerned with a variety of musical\, sociopolitical\, and psychological issues including queer and trans identity\, psychoacoustics\, and the social and neurological conditions underlying creative thought. She is primarily a composer of acoustic ensemble music\, but is also active in improvisation\, film\, and performance art. Tristan Kasten-Krause is a bassist and composer living in Brooklyn\, New York who’s work enlarges the minutiae of close tones and subtle gestures. His work exploring duration and expanded time has led to multiple sets on the Hudson Basilica’s 24-Hour Drone festival\, performances of extended\, endurance-based works with extreme metal band Scarcity\, and the premiere of a marathon 6-hour opera (2023’s Stranger Love) for the LA Phil.
URL:https://thelaurelofasheville.com/event/performance-sarah-hennies-tristan-kasten-krause/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/png:https://thelaurelofasheville.com/wp-content/uploads/2025/05/Sarah-Hennies-and-Tristan-Kasten-Krause.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250717T190000
DTEND;TZID=America/New_York:20250717T190000
DTSTAMP:20250526T222447Z
CREATED:20250526T222447Z
LAST-MODIFIED:20250526T222447Z
UID:10004893-1752778800-1752778800@thelaurelofasheville.com
SUMMARY:Ashley Paul\, Jake Pugh & Shane Justice McCord Performance
DESCRIPTION:Asheville-based musicians Ashley Paul\, Jake Pugh\, and Shane Justice McCord will play as a trio on July 17th. Their performance blends acoustic instruments and live computer processing. All three musicians have released music on their own\, Ashley’s albums under her name\, Jake’s albums under Splash Blade\, and Shane’s albums under Sham and Shane Justice McCord. Ashley Paul is an American multi-instrumentalist/ composer currently based in Asheville\, NC. Her intuitive process integrates free form song structures with a focused approach to sound. Since moving to Asheville\, Ashley has returned to performing solo using her unique set-up of saxophone\, prepared guitar\, voice and found objects. Jake Pugh performs and releases music as Splash Blade. Recent releases include Limit Breaker / Comet Lake (2024)\, Live from The Edge of Eternia (2023)\, and Memory:Link (2023). Shane Justice McCord is a human being living in Woodfin\, NC. Shane has been making music for 20 years intentionally (and 29 years accidentally). Tree of Heaven (2025) is the first release under birth name SHANE JUSTICE MCCORD\, however Shane has released music with Sham\, Ellicott Hooligan\, and other projects the last years. The three musicians performed as a trio for the first time at this year’s annual {Re}HAPPENING.
URL:https://thelaurelofasheville.com/event/ashley-paul-jake-pugh-shane-justice-mccord-performance/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/05/Phot-by-Brett-Naucke_Ashley-Paul-Jake-Pugh-Shane-Justice-McCord-trio.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250712T120000
DTEND;TZID=America/New_York:20250712T133000
DTSTAMP:20250608T193258Z
CREATED:20250606T144204Z
LAST-MODIFIED:20250608T193258Z
UID:10004935-1752321600-1752327000@thelaurelofasheville.com
SUMMARY:Elements of BMC: Intuitive Photography and Collage Workshop
DESCRIPTION:ELEMENTS OF BMC is a workshop series that explores the fundamental parts of creative practice at Black Mountain College\, highlighting a range of artistic mediums and techniques. The series investigates the role of these elements in shaping the college’s legacy and lasting influence on contemporary art. Join us for an intuitive photography and collage workshop with Anna Helgeson. Please register if you plan to attend. \nAbout the Workshop:\nWe are all haunted; by ideas\, history\, ancestors (biological and otherwise)\, and by animating forces we can not quite explain. This workshop will welcome the possibility of collaborating with these mysterious forces. \nParticipants will be led through a guided meditation (which is nothing to be afraid of) before going on an intuitive photo walk around downtown Asheville. We will then return to BMC Museum + Art Center to create collages based on the photographic discoveries collected. There is no right or wrong way to engage with this workshop\, unless you allow ideas of right and wrong to control your actions\, which would clearly be wrong. \nNo photography experience necessary. Any image capturing device will work\, including your phone\, a point and shoot camera\, a fancy DSLR.
URL:https://thelaurelofasheville.com/event/elements-of-bmc-intuitive-photography-and-collage-workshop/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
ATTACH;FMTTYPE=image/jpeg:https://thelaurelofasheville.com/wp-content/uploads/2025/06/Anna-Helgeson-photograph-from-What-Light-Knows.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250705T110000
DTEND;TZID=America/New_York:20250705T130000
DTSTAMP:20250528T175610Z
CREATED:20250528T154508Z
LAST-MODIFIED:20250528T175610Z
UID:10004900-1751713200-1751720400@thelaurelofasheville.com
SUMMARY:ARTIST TALK: Alison Croney Moses
DESCRIPTION:Join us for a PERSPECTIVES Artist Talk with Alison Croney Moses\, recipient of the 2024 Black Mountain College International Artist Prize. This event will take place at BMCM+AC\, and is free and open to all\, no registration required. \nBoston-based artist Alison Croney Moses creates wooden objects that reach out to your senses—the smell of cedar\, the color of honey or the deep blue sea\, the round form that signifies safety and warmth\, the gentle curve that beckons to be touched.  \nBorn and raised in North Carolina by Guyanese parents\, making clothing\, food\, furniture\, and art is embedded in her memories of childhood. She carries these values and habits into adulthood and parenting—creating experiences\, conversations\, and educational programs that cultivate the current and next generation of artists and leaders in art and craft.  \nAlison Croney Moses’s work is in the collections of the Museum of Fine Arts Boston\, Museum of Fine Arts Houston\, and Renwick Gallery of the Smithsonian American Art Museum. She holds an MA in Sustainable Business & Communities from Goddard College\, and a BFA in Furniture Design from Rhode Island School of Design. She is a recipient of the 2023 Boston Artadia Award\, the 2022 USA Fellowship in Craft\, and a finalist of the 2024 LOEWE FOUNDATION Craft Prize. She was named one of the 2023 WBUR 10 Makers. Her work has been featured in American Craft Magazine and Boston Art Review. In the Fall of 2023\, her first solo was reviewed in the Boston Globe. Most recently\, she was a recipient of the ICA Boston’s 2025 James and Audrey Foster Prize. Croney Moses debuted her first public art installation at the Boston Public Art Triennial\, which is on view until the end of October 2025.
URL:https://thelaurelofasheville.com/event/artist-talk-alison-croney-moses/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
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DTSTART;TZID=America/New_York:20250625T190000
DTEND;TZID=America/New_York:20250625T190000
DTSTAMP:20250526T222340Z
CREATED:20250523T152549Z
LAST-MODIFIED:20250526T222340Z
UID:10004891-1750878000-1750878000@thelaurelofasheville.com
SUMMARY:PERFORMANCE + ARTIST TALK: Richard Garet
DESCRIPTION:Richard Garet is a contemporary artist whose work spans sound art\, experimental music\, visual art\, and multimedia installation. Merging sound\, vision\, and technology\, Garet creates immersive environments that examine perception\, time\, and the evolving relationships between analog and digital media\, often through ontological inquiries and the activation of background noise. In Rebirth\, Garet explores cycles of destruction and renewal through sound\, light\, and digital debris. The work unfolds as an intricate dialogue between glitching visuals and sonic disturbances\, where light acts not as a neutral medium but as an active force that modulates spatial perception. Temporal dislocations and layered visual noise reinforce the work’s ephemeral and ever-shifting nature. His sonic material is drawn from amplified electromagnetic emissions\, modified audiocassettes\, dysfunctional tape mechanisms\, altered speakers\, circuit boards\, sonified light\, field recordings\, and computer-based processes. These raw elements form unstable textures that waver between saturation and disappearance\, generating a reciprocal field where sound and image continuously influence and transform one another.
URL:https://thelaurelofasheville.com/event/performance-artist-talk-richard-garet/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Asheville\, North Carolina\, 28801
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