Art is everywhere here. On the sides of buildings. On the street corners. On the undersides of bridges. At the Asheville Visitor Center.
The three sculptures on the Visitor Center lawn give you a glimpse into the artistic and cultural history of our community. They are a reflection of the diverse voices and experiences of three Asheville artists.
We invite you to learn more about these artists and their inspiration.
Community Accountability Plan, The New Green Book by DeWayne Barton
Artist Statement:
“Community Accountability Plan, The New Green Book” is one in a series of seven sculptures, each representing a key concept in the Community Accountability Plan, a framework for restoring marginalized communities. The ‘book’ in green at the top of sculpture represents local equity and inclusion policies and initiatives. The concrete mimics the restrictions of Jim Crow segregation, and the gold chains highlight historical ramifications of slavery and profits extracted from hundreds of years of racial oppression. The red represents the blood and sacrifice of millions, while the black represents the current “State of Black Asheville.”
Explore the links below to learn more about the Green Book and the State of Black Asheville.
Hood Huggers
Learn more about DeWayne Barton and his work through Hood Huggers International, LLC to build greater communication, connection and wealth in systemically marginalized neighborhoods in the Affrilachian (African Americans living in Appalachia) region through the arts, environment, and social enterprise. Take a Hood Tour to explore the story of resilience of the past, present and future of African-Americans in Asheville. The Hood Huggers’ Community Accountability Plan (CAP) implements and celebrates a grassroots regenerative revitalization and accountability system designed to build, maintain, and protect pillars of resiliency in historically African-American neighborhoods.
The Green Book: The Black Travelers’ Guide to Jim Crow America
Published from 1936-1966, the “Negro Motorist Green Book” provided African American motorists and tourists with information on establishments (like hotels, restaurants and tourist attractions) that were safe for African Americans during the era of segregation. Read this History.com article to learn more.
400 Years of Inequality
2019 marks the 400th Anniversary of the arrival of the first Africans to be sold into bondage in North America: in 1619 at Jamestown. This site provides resources on the history and impact of inequality in the United States. 400 Years of Inequality is a diverse coalition of organizations and individuals calling on everyone – families, friends, communities, institutions – to plan their own solemn observance of 1619, learn about their own stories and local places, and organize for a more just and equal future.
The State of Black Asheville
Resource site with map and photos of historic black Asheville, links to articles and community resources, and statistics on education, health care, economics and more.
Living Asheville: A Comprehensive Plan for our Future
Adopted in 2018, Asheville’s comprehensive plan provides a visionary framework to help guide Asheville’s continued long-term development, and provides an essential tool for use across the City’s many departments. Includes an opening poem by DeWayne Barton.
Isaac Coleman Economic Community Investment
Named for social justice champion Isaac Coleman, this is a program of Buncombe County that calls for targeted investments in our communities that are currently working to champion equitable opportunity. These investments are part of a broader approach to augment emerging and innovative community efforts, support for small businesses, and investments in education and the economy. Learn more about these investments and how grant recipients are working to improve equitable opportunity, connect people and ensure positive place in Buncombe County.
Harmony by Pamela Holthouser
Artist statement:
“Harmony” – a sculptural Zen chime by Pamela Holthouser is a collection of steel, copper, stainless and aluminum pieces that have been ink dyed and torched for various colors, textures and patinas. The recurring shapes – circles, triangles and squares – represent the diversity of peoples found in our community. One is able to interact with the sculpture on multiple levels, ringing the large lower bell or brushing against the upper tubes to listen for the metal on metal sounds. The larger components of this sculpture were resurrected from the local metal scrapyard.
Sage II by Ralston Fox Smith
Artist statement:
My recent foray into geometric abstraction is the culmination of years of creative exploration. Geometry’s ubiquitous nature was expressed early on as natural elements in my representational, abstract landscapes; cylindrical tree-trunks, spherical boulders, planar fields and bodies of water. I became increasingly interested in the more abstract qualities inherent within these images. My most recent body of work combines vibrant color, math and visual psychology in elemental compositions that are balanced, honest and uplifting. Exploring these ideas in new materials of steel, wood, glass and light further my dedication to my new oeuvre, and brings clarity to my creative response to this day and age.
