Merin McDivitt reviews Asheville’s Blue Spiral 1’s Outside the Lines, where artists adopt an irreverent approach to surfaces, creating overlapping layers of meaning through unexpected textures and lines, as well as revelations of color and contour.
Sophia Wright profiles the work of Daniel Essig, an Asheville-based artist whose sculptural books bridge together the ancient and spiritual with contemporary craft.
In this special contribution, Asheville-based artist Hannah Cole reflects on the destruction of her studio by Hurricane Helene, the loss of most of her life’s work, and how she’s navigating the changes to her practice through describing one surviving piece.
Robert Alan Grand, Editor at Large for the Carolinas, reviews Carly Owens Weiss’s debut solo show in her hometown at Tracey Morgan Gallery, Asheville.
Topher Lineberry reviews Vera B. William / STORIES at the Black Mountain College Museum + Arts Center, Asheville.
Burnaway staff celebrates the month of April with a list of our favorite organizations, BA stories, albums, artists, films, books, and events for Earth Day.
Bryn Evans revisits the writing of bell hooks and finds new visions of Appalachia as a site of refuge and freedom for Black folks while viewing Asheville-based musician and multi-disciplinary storyteller Moses Sumney’s Blackalachia, the artist’s first concert film.
JD Ellison experiences the confusing clash of the Rural Avant-Garde: The Mountain Lake Experience at the Asheville Art Museum.
Carolinas editor Susan Lee Mackey observes the successes and failures of public land management through two new exhibits at the Asheville Art Museum.
