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Martin Bozikovic < Back Untitled-MB By Martin Bozikovic June 16, 2026 I believe my research is getting close to my goal. I’ve realized that the artificial brain that I give my subjects is not large enough in capacity to emulate the brain of a human. I feel as though my technology is far too limited to achieve a grandiose goal like this, one that has no real purpose… but I must continue my research. For the sake of the plants. Perhaps the purpose of this experiment lies more in their own survival than something that should be tested on. But even still, the results are so mind-numbingly disappointing that it becomes more and more difficult to continue this experiment. June 19, 2026 Some of the subjects seem promising. There is a cactus that seems to be dealing with the implants well. Some of the other plants melted on contact with this newfound power. Perhaps their bodies are too underdeveloped for this kind of science. It is difficult to imagine what a conscious plant would act like, given that it cannot emotions in the same way we humans can. I can only hope that they will respond to what is told to them. The cactus seems to notice when it is spoken to, and I had Jerry speak to it from different angles to see if it produced different reactions. Upon analyzing its bodies, the activity in the plant cells was much higher for a short period of time immediately after it was spoken to. This activity was found in areas that were towards the angle from which my colleague spoke to it. I believe this is the start of a breakthrough. June 22, 2026 It seems as though only certain types of plants will be able to physically handle the processes that we are subjecting them to. It seems that flowers and other delicate plants cannot handle these processes, perhaps due to their frail and thin leaves and stems. Thicker plants, such as small trees and, of course, cacti, seem to be able to withstand these conditions better. I will have to heavily modify the plant’s body in order to get a level of consciousness that responds in a meaningful way. Because the process calls for an implant of a massive memory drive, which itself is connected to a computer, I will need to create small stimulus programs to test on the plant. Perhaps I can subject the plant to small amounts of pain and record its reaction. This must be done with caution, however, as the plant is likely already suffering through its current condition, and any more could potentially kill it. June 29th, 2026 The plant is beginning to respond to the stimulus programs. I believe that with further development of these programs and some sort of mobile aid for the plants, they could become as conscious as a human. This will aid their survival rates as they will be able to move and understand when they are in danger, in addition to potentially revealing its defensive tactics when necessary. Previous Next

Constructs < Back Previous Valerie Wilcox Constructs Using a myriad of salvaged and repurposed materials, artist Valerie Wilcox creates compositions that explore the associations and contradictions between abstract shapes, mark-making, and painting. Wood, plaster, paint, textiles, cardboard, and other architectural media are sourced, then assembled into abstracted arrangements. Wilcox’s Constructs series demonstrates this process clearly. From afar, these works appear to be two-dimensional; their colors and shapes meld into a singular plane. Upon closer inspection, the dynamic interactions between materials are unmistakable. Each part becomes a unique and dimensional entity, creating a dialogue between structural elements. To Wilcox, these materials are given a second chance. Highlighting the flaws and imperfections of her source media, her work provides an optimistic outlook on society’s ability to reinvent itself. Her compositions elevate the simple textures and colors of her raw resources. They transcend their base materiality and take on new meaning. Next

back to list Vojislav Radovanovic Vojislav Radovanović is a Serbian visual artist, art director, filmmaker, and independent curator based in Los Angeles, CA. Witnessing turbulent political unrest and war in the Balkan region in his youth, his visual and conceptual artwork advocates for beauty, environmentalism, mental health, and societal transmutation. His artwork often utilizes a conceptual concentration on wild plants, specifically weeds. The resilient, boundary-defying plants become a metaphor for nature’s powerful ingenuity. The symbolism and conceptualism of weeds also apply to multiple human aspects: its endurance, queer identity, the immigrant experience, and colonization. Radovanović has presented his works internationally in numerous group and solo exhibitions. Important cultural institutions where he showed his works are Lancaster Museum of Art and History, Ronald H. Silverman fine Arts Gallery, Angels Gate Cultural Center, Brea Art Gallery (California, USA); Mall Galleries (London, Great Britain); UNESCO Headquarters, The Institut Suédois (Paris, France); Centre of Contemporary Art (Torun, Poland); The Círculo de Bellas Artes de Madrid - CBA (Madrid, Spain); Belgrade City Museum, Museum of Yugoslavia, National Library of Serbia and The White Palace (Belgrade, Serbia). Radovanović currently serves as community engagement artist at MOAH Lancaster as part of "Artists At Work" program supported by Mellon Foundation.

< Back HK Zamani Featured Structure Artist HK Zamani is an Iranian-American multidisciplinary artist and founder of PØST, an alternative exhibition space in Los Angeles. Teetering between the obscure and the objective, his work examines the synthesis of artistic medium, conception, and interaction. Interplay between structural materiality and metaphysical interpretation are prominent in Zamani’s work. He uses this exchange of the indefinite to comment on the current social structures and expectations of society. The physical use of artistic media is put into conversation with the representation of cultural overlap. Body and Immaterial: A Conversation of Sculpture and Painting, A 20 year Survey of Works by HK Zamani comments on the relationship between two prominent art mediums. The exhibition includes works such as Fashion of the Veil (2008), Prague Dome (2004), the Inadvertent Protagonists series, and many more. Works vary in medium. Sculptural and material elements showcase the skeletal and structural aspect of the work. Rigid frameworks such as the metal geodesic support on Prague Dome (2004) are juxtaposed with softer, more gentle textiles that make up the walls of the same work, calling to ideas of duality. Paintings provide preliminary and complimentary concepts that coincide with the sculptural work. Abstracted forms presented in his paintings also mimic the figures that can be seen in works such as Inadvertent Protagonists and Fashion Erasure I-18 (2021), noting the multiplicity of possibility and interpretation discussed in the work. HK Zamani received his Bachelor of Arts in Studio Art from California State University, Dominguez Hills and his Master of Fine Arts in Painting from Claremont Graduate University. He is the recipient of City of Los Angeles Getty Trust and California Community Foundation grants. In 1995, Zamani founded POST, in 2009 it became PØST. His work is included in the collections at Berkeley Museum of Art and the Los Angeles County Museum of Art. He currently works and resides in Los Angeles. Previous Next

Master of Ceremony < Back Previous Charles Arnoldi Master of Ceremony Charles Arnoldi is a multi-disciplinary artist whose varied body of work includes traditional oil paintings on canvas, bronze sculpture, monoprints, lithographs, “chainsaw paintings,” aluminum paintings, and polyethylene wall reliefs. Nurtured in Los Angeles’ burgeoning art scene in the late 1960s, Charles Arnoldi started his art career in Downtown Los Angeles and would move to Venice Beach alongside experimental Light and Space artists like Peter Alexander and Billy Al Bengston. During his early career, Arnoldi garnered notoriety for his abstracted compositions crafted from sticks gathered from orchards, ranches, and woods. His artistic expression would eventually expand working with non-traditional materials like tree branches and chainsaws. Charles Arnoldi: Master of Ceremony is a visual collection of Arnoldi’s metamorphosis throughout his five-decades-long career. His experimentation with line, shape, and color was first realized through his “stick paintings” that utilized tree branches to create lines in space. In Charles Arnoldi: Master of Ceremony, his breakthrough would naturally evolve from his Light and Space colleagues into the use of more organic materials like wood. For Arnoldi, this evolution is a part of his artistic process, saying, “In abstract painting an artist invents a problem and solves it.” Next

Bloom 2013 < Return to Exhibitions May 11 - June 29 SuperCallaFragileMysticEcstasyDioecious: Cole Case, Amir H. Fallah, Penelope Gottlieb and Roland Reiss Sharon Suhovy: Ambrosia Elena Manferdini Jennifer Vanderpool/ Patrick Melroy: Astro Flowers Kathleen Elliot: Living Flame Janice Tieken: Orchid Requiem Susan Sironi: Nothing Domestic Rebecca Niederlander: We are Stardust, We are Golden. And We Have to Find our Way Back to the Garden Penelope Gottlieb Susan Sironi Kathleen Elliot Rebecca Niederlander Janice Tieken Learn More Case Niederlander Vanderpool Manferdini Elliot Tieken Suhovy SuperCallaFragileMysticEcstasyDioecious: Cole Case, Amir H. Fallah, Penelope Gottlieb and Roland Reiss SuperCallaFragileMysticEcstasyDioecious highlights the work of four Los Angeles artists who synthesize artistic and ecological concerns through the painting of flowers. Cole Case, Amir H. Fallah, Penelope Gottlieb and Roland Reiss bring disparate painting approaches and varying cultural associations together as an artistic response to the world’s concentrically dizzying spin. “Whereas older traditions of botanical art and still life painting involved calm, studio-bound reflections of natural beauty and visual order, a new paradigm seems appropriate in the more fragile condition of the world in the early 21st century. We’re in a state of accelerated change, possibly teetering on some sort of apocalyptic brink.” -Penelope Gottlieb Sharon Suhovy: Ambrosia Sharon Suhovy sculpts sumptuous three dimensional paintings with cake-frosting utensils. Her sculptures may reflect structures that are familiar in historical architecture and almost always include the use of classic flowers like the rose as a metaphor for beauty. Elena Manferdini Elena Manferdini’s site specific installation is a new addition to the MOAH permanent collection. This acquisition was made possible with funds from the Lancaster Museum and Public Art Foundation. Jennifer Vanderpool/ Patrick Melroy: Astro Flowers This site specific installation recontextualizes the historic propaganda of the Cold War Space Race, imaging an alternative history that subverts patriarchal, nationalistic imagery with botanical iconography – the rocket ship for the flower. Thematically, the work acknowledges Lancaster’s role in space technology, while in a tongue and cheek manner suggesting the beautification of space is as worthy a goal as manifest destiny of unknown galaxies and global dominance. Kathleen Elliot: Living Flame Kathleen Elliot lives in two worlds: the “real” one of luscious flora, fruits and vegetables and in her own Garden of Eden. Her works in glass exhibited at MOAH arose from a great love of plants, their life cycles, the beauty of all of their parts – leaves, seed pods, flowers, bark, etc – and the spiritual connection she feels when she is in nature. Janice Tieken: Orchid Requiem California photographer Janice Tieken’s series Orchid Requiem focuses on the beauty of orchids and other flora after their life cycle is finished. This body of work won the International Silver Prize for Art and Science of Color. Susan Sironi: Nothing Domestic Susan Sironi’s altered garden books are fantastical botanical dioramas. Leftover cuttings from the altered books form the basis for Sironi's "Garden Collage" series of mixed-media wall work. Romantic looking floral bouquets are overlaid with Sironi's handwritten stream of consciousness texts which are modified -- leaving us to ponder the poetic content. Rebecca Niederlander: We are Stardust, We are Golden. And We Have to Find our Way Back to the Garden As an artist, Rebecca Niederlander’s practice is founded in the relationship of the individual to the larger whole. Her art contains an aesthetics of multiples, a commitment to the singular element and how it fits into a larger balanced context of many. Her works invite the viewer to participate on an active level by creating pieces of their own within the installation that add to the whole of Niederlander’s work. Rebecca Niederlander is the Community Engagement Artist working in conjunction with sculptor Brad Howe on the new Los Angeles County Multi Ambulatory Care Center scheduled to open in Lancaster in 2014. Sironi View or Download the Bloom 2013 Exhibition Catalog by clicking on the cover image or here.

< Back Kimberly Brooks Featured Structure Artist Contemporary American artist Kimberly Brooks examines identity, history, and memory by utilizing a combination of landscape, abstraction, and figuration in her work. Stemming from a long tradition of American painting, her scenes depict subject matter that meets the edges of realism and abstraction. Examination of feminine identity is also present in a majority of her work. Projects such as The Stylist Project (2010), Fever Dreams (2019), I Have a King Who Does Not Speak (2015), as well as many others include the depiction of women in relation to their surroundings. Their identities and histories are depicted in loose brushstrokes, hinting to ambiguity and fleeting memories.The hand of the artist is apparent; the painterly quality of her work stands out in her varying compositions. Painting Architecture (2021) showcases the use of the built environment as landscape and subject matter. Both interior and exterior scenes are depicted: Rococo walls adorned with paintings hung salon style, arches and tilework of a mosque, an outdoor gate and pathway flanked by foliage. While these spaces may seem innocuous and arbitrary, these environments carry strong associations that are informed by their architectural styles. Brooks calls forth the provenance and significance of these spaces. The line between contemporary and antiquity is blurred. Instead of deviation, similarities are shown. A quiet, more meditated atmosphere is harmonious between the works. The play of light provides a still and almost objective showcase of these environments. There is a formal rigidity that is present between all of the works that is made apparent by the strong perspective lines that indicate the boundaries of these spaces. Juxtaposed to this is again, the use of loose brushstrokes and painterly techniques that are a mainstay of her practice. Kimberly Brooks was born in New York City, New York and raised in Mill Valley, California. She obtained her Bachelor of Arts in Literature from the University of California, Berkeley and studied painting at the University of California, Los Angeles and Otis College of Art & Design. Brooks hosts monthly artists talks on her discourse platform First Person Artist and is also the author of The New Oil Painting. Her works have been showcased internationally. She currently lives and works in Los Angeles. Previous Next

Young Artist Workshops Free Drop-in Craft Workshops for Kids Follow MOAH on Instragram and watch Reels of our upcoming YAW Workshops How it works Young Artist Workshops are free art activities for children ages 3+ (must be accompanied by an adult). The YAWs at MOAH are inspired by artworks that are currently on view, and the YAWs at Elyze Clifford Interpretive Center (ECIC) are inspired by the local, natural environment. Drop In Participants can come to a YAW anytime between 3 and 7 pm. Workshops at MOAH are every first Thursday of the month, and workshop dates for ECIC can be found here . Art activities take about 10-30 minutes to make; seating and supplies are first-come, first-serve. Create Participants create an artwork from start to finish, with all the supplies and guidance provided by MOAH staff. Each YAW is unique and introduces children to a variety of art techniques, materials, and processes. Share Tag any pictures of your finished piece with #MOAHYAW on Facebook or Instagram! YAW at MOAH 665 W Lancaster Blvd, Lancaster, CA 93534 Every 1st Thursd ay 3 PM - 7 PM Event dates can be found on our event calendar (661) 723-6250 YAW at Elyze Clifford Interpretive Center 43201 35th St. W Lancaster, CA, 93536 Every Third Sunday 12 PM - 4 PM Event dates can be found on our event calendar (661) 723-6250

< Return to Exhibitions Winter 2013 December 6, 2012 - March 2, 2013 Ann Marie Rousseau: Sight Lines January 1 - March 2, 2013 Nervous Structure: Cuppetelli/Mendoza Nike Schröderz: 34° N 118° W Gisela Colón: PODS January 26 - March 10, 2013 Megan Geckler: Rewritten by Machine on New Technology Chris Trueman: Slipstream Brian Wills January 24 - March 7, 2013 28th Annual Antelope Valley Union High School District Art Exhibition Megan Geckler Brian Wills Ann Marie Rousseau Gisela Colón Nike Schröder Chris Trueman Cuppetelli/Mendoza AVUHSD 2013 Learn More PODS Nervous Geckler 28thAVUHSD Nike Nervous Structure: Cuppetelli/Mendoza Nervous Structure is an interactive installation created by emerging artists Annica Cuppetelli (USA) and Cristobal Mendoza (Venezuela). The work is composed of hundreds of vertical elastic lines illuminated with interactive computer graphics that react to the presence and motion of viewers. The piece consists of three planes that intersect: the physical plane (the structure), the virtual plane (the projection) and the perceptual plane (the viewer and his/her interaction). The artists note that “it is in these various points of intersection that the piece works, and our interest lies in the perceptual problems that arise within these intersections.” A significant aspect of the installation is the moiré pattern, which is created when the projected lines move over the structure. A moiré pattern is the optical result of two overlapping grids that are not in perfect alignment. The term is used widely in physics and computer graphics; however the word is hundreds of years old and originates from a type of textile that has a “watery” look, which is produced by layering fabric. The fact that so much of modern technology terminology has its origins in historical techniques (particularly in textiles) is of great interest to the artists, as it connects their individual practices and it ties their work to history. Cuppetelli and Mendoza began their artistic collaboration in autumn 2010. They have exhibited in the Biennial of Video and Media Arts (Chile, 2012) and festivals such as Scopitone 2012 (France), ISEA 2012, FILE 2011 (Brazil), FAD 2011 (Brazil), video_dumbo 2011 (New York, NY) among others. Cuppetelli received her MFA from Cranbrook Academy of Art (Fibers, 2008) and Mendoza at the Rhode Island School of Design (Digital Media, 2007). Mendoza is an Assistant Professor in the Department of Art and Art History at Wayne State University in Detroit, MI, where they are based. Nike Schröder: 34˚N 118˚W 34˚N 118˚W is a site-specific installation made especially for the MOAH entrance lobby by Los Angeles-based artist Nike Schröder. The installation represents an abstraction of the moment when the sun pierces the desert horizon at dawn. Schröder captured the color scheme from this moment in time by integrating it into the textile art piece, which brings a reflection of the ephemeral horizon into the museum. As the artist painstakingly hand stitched thousands of colored threads onto the canvases, she allowed them to hang in the manner that paint drips from the canvas, forming a symphony of color that is sensitive to the movement of people as they walk through the entrance doors and to the subtle and shifting air currents in the museum. The two canvases are placed at a prescribed distance apart, creating a locus of conversation between each panel. The top threads slightly touch the lower canvas while leaving drips of cut-off thread on the floor as part of the discussion between materials and location. Nike Schröder earned her Art Therapy degree in Germany in 2008 and moved to Los Angeles in 2012. Working as a professional studio artist, Schröder has shifted her practice from figurative motives to exploring the world of abstraction through precise systems of color. Her color calculations are based on a specific place and/or time and generously provide the viewer with keen color gradations that she configures into sensitive linear and formal compositions. Coming from a painting background, the artist explores the exceptional materiality of fibers and textiles as they overlap and extend beyond the traditional frame of a painting into the environment. Additionally, by utilizing materials that respond to movement, her work invites public interaction while activating the museum space. Schröder exhibits internationally in galleries, at art fairs and in commercial spaces such as Urban Outfitters and Stefanel. MOAH is thrilled to showcase Nike Schröder’s site-specific piece 34˚N 118˚W, a work that celebrates the Antelope Valley through her distinctive artistic sensibility. Gisela Colón: PODS PODS—the new work of Los Angeles-based abstract artist Gisela Colón —features a painting-sculpture hybrid of blow-molded plastic forms that are meticulously saturated with automotive lacquers in iridescent, reflective, radiating pigments. Colón’s use of anthropomorphic, amorphous, organic and asymmetrical lines appear to cause the object to dissolve into the surrounding environment, thereby inviting the viewer to experience pure color and form in space. Colón was born in Canada to a German mother and raised in her father's native Puerto Rico. Having spent the last two decades living and working in Southern California, Colón’s latest body of work reflects the influences of her surroundings and embraces the quintessential SoCal artistic practice of perceptualism—also known as "light & space" and "finish fetish" that developed here in the 1960’s and 1970’s. Megan Geckler: Rewritten by Machine on New Technology “I cannot overemphasize the need for play, for in play you don’t extract yourself from your activity. In order to invent I felt it necessary to make art a practice of affirmative play or conceptual experimentation” – Richard Serra. Megan Geckler’s installations are fun – let’s just get that out in the open. Her work is an absolute pleasure to look at, and the impending sense of vertigo one may self-induce by circumnavigating her installations and craning one’s neck at precipitous angles is part of the visceral delight. And it is a pleasure that Geckler wants to induce. Her practice of building large scale, site-specific installations out of commonly produced, industrial, rather than art-specific, materials is, at its core, oriented toward the human figure. Geckler creates a kind of grand spectacle full of pulsating color to trigger the eye, while the scale of her work, the investigation of architecture, and the manner in which the pieces unfold dimensionally elicits an awareness of space as traversed by the figure. This hybrid endeavor that blurs the distinctions between disciplines draws on the history of geometric abstract painting, late twentieth century sculpture, and contemporary practices in installation. Geckler focuses on the phenomenological experience of the singular viewer, offering an encompassing environment that notes the vocabulary of minimalism and its use of industrial materials and literalness. Rewritten by Machine on New Technology is the first of Geckler’s installations to be re-imagined for a new architectural setting, re-engineered, and re-deployed. Fill It Up and Pour It Down the Inside, her 2006 installation at the Torrance Art Museum was the first iteration and featured a vortex-shaped twist between two rectangles. Machine is about twice the size, and it involves a rhombus and a new color scheme designed specifically for the Lancaster Museum of Art and History. Her new work invites consideration: What does it mean to have created a site-specific, temporally limited work that gets resurrected and transformed? What are the implications now that the work has passed into the realm of an idea, to be retrieved from Plato’s cave, as it were, and precipitated, realized as a new specificity? Geckler’s work, in its re-imagination, takes on a self-reflexive quality, but one that is light-hearted and whimsical, rather than ironic. It is a return to the idea, a playful reiteration, and an enchantment with time, place, and perception. Christopher Michno—Los Angeles, 2013 Megan Geckler earned her Bachelors degree from the Tyler School of Art in Philadelphia in 1998 and her Masters degree from the Claremont Graduate University in 2001. She has mounted solo shows at the Wexner Center for the Arts, Utah Museum of Contemporary Art, Pasadena Museum of California Art, Los Angeles World Airport, and the Creative Artists Agency among others, as well as in partnership with corporations such as Nike, Target and Urban Outfitters. For more images and information about Geckler, please visit her website - megangeckler.com Chris Trueman: Slipstream noun \slip-strēm\ aeronautics: a current or stream of fluid (as air or water) driven aft by a revolving propeller or jet engine. an assisting force regarded as drawing something along behind something else such as to ride in the slipstream of a fast-moving vehicle. How might a stationary painting behave like a slipstream? Southern California based painter, Chris Trueman answers this question deftly and deliberately by combining forces between hard edge lines and the organic fields of color that occupy his expansive, immersive canvases. While his command of the painted surface is apparent in the formal qualities of his work, he simultaneously questions and reconstructs the ideological precepts of Abstract Expressionism, OP Art, Hard-Edge and Minimalism, which takes his work beyond the formal and into rich—and often opposing—philosophical terrain. The assisting force of Trueman’s slipstream is generated by the intersection of these formal and philosophical experiments. Trueman’s slipstream gains additional strength and efficiency as he traverses a range of painterly applications including his generous use of color, tonality, form, texture, and the visible record of his exploration of materials, each providing a tangible contrast to one another. Trueman seduces the viewer by calculating the pressure between hard and soft edges; through directing color combinations that vibrate in the moiré to trick the eye; and by leading the conversation that occurs between the painted surface and the areas where he reveals the raw, untreated canvas. His attention to materiality—the softness of the raw canvas against the strictly defined edges and textural depth—exposes the truth of the material. Trueman’s painted slipstream is equally structural: his canvases are composed with architectonic forms that reference the tenets of geometric abstraction as defined by Picasso’s lineage of producing an illusionistic space that one feels compelled to step into. Formal elements and historical styles may be easily identified in this exhibition, however the process of analyzing the work is complicated by the very act of viewing and thus, experiencing the painting. The effect of various moiré and optical patterns shift constantly according to the distance and angle from which they are viewed, and often interfere with the ability to see and envision the entirety of the painting at once. At times the underlying forms are completely dependent upon the leading or foreground layers; much like a cycling team is reliant upon the leading cyclist who is creating a slipstream. Within Trueman’s new work exists yet another type of slipstream, one that is energized by a collision of philosophical references. Moving beyond the formal principles of design, Trueman’s slipstream builds considerable momentum as he shifts through several periods that define the history of modern art: the iconic, self-absorbed and experimental nature of Abstract Expressionism; the mathematical and perceptual trickery of OP Art; the rigorous precision of Hard-Edge painting; and the quiet, contemplative principles of Minimalism. Trueman states that for him, the most compelling collision occurs between the philosophical arrogance of abstract expressionistic gesture painting and the humble “blue collar” act of hard-edge painting. This ideological conflict precipitates a kind of vigorous tension that pulls the viewer into the painting as strongly as the formal properties of his works. While Trueman’s new body of work is richly painted and contains complex formal and ideological principles, it simply draws the viewer in and is pleasurable to engage. Trueman gives you the autonomy to move between the layers and create your own slipstream in real time as you move toward and away the painting. Chris Trueman graduated from the San Francisco Art Institute in 2003, earning dual BFA degrees in Painting and Digital Media. He relocated to southern California to attend Claremont Graduate University, earning a MFA with a concentration in Painting in 2010. Trueman currently teaches painting at Fullerton College and Santa Ana College and has previously taught at Chapman University. Trueman has exhibited his work nationally in San Francisco, Los Angeles, San Diego and internationally in Milan, Italy. 28th Annual Antelope Valley Uniton High School District Art Exhibition For 28 years the Lancaster Museum of Art & History, formerly the Lancaster Museum/Art Gallery, has been proud to present the artwork of the Valley’s burgeoning young artists. This year marks the first time the show will be located at the brand new MOAH facility. Featuring the work of over 100 students from across the Antelope Valley, this all-media show will fill three of MOAH’s galleries. Over $1,000 in awards, donated by the Lakes and Valleys Art Guild, Lancaster Photography Association, Lancaster Museum and Public Art Foundation, Beryl Amspoker Memorial, as well as awards from Lancaster’s Mayor R. Rex Parris, City Manager Mark Bozigian, Director of Parks, Recreation and Arts Ronda Perez and MOAH’s Interim Curator Andi Campognone will be presented to students encouraging their passion for art. Trueman View or Download the Winter2013 Exhibition Catalog by clicking on the cover image or here.

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Mission Statement: The Lancaster Museum of Art and History is dedicated to strengthening awareness, enhancing accessibility and igniting the appreciation of art, history and culture in the Antelope Valley through dynamic exhibitions, innovative educational programs, creative community engagement and a vibrant collection that celebrates the richness of the region. History: Founded in 1986, the Lancaster Museum of Art and History operates four sites within the City of Lancaster, serving the Antelope Valley and greater Los Angeles County regions. MOAH, the museum’s primary exhibition space, is host to large-scale curatorial initiatives, which celebrate the historic traditions and artistic revolutions taking place in Southern California. MOAH holds a collection of over 10,000 artworks and artifacts, producing community-oriented programming engaging diverse audiences. MOAH:CEDAR, located at the Cedar Center for the Arts campus, boasts additional gallery spaces which highlight experimental and emerging artists and their studio practices, is home to the Museum’s artist-in-residence program and activates the regions youth and young adults through its weekly programs. The Western Hotel Museum and the Elyze Clifford Interpretive Center offer semi-permanent exhibitions highlighting the rich indigenous, ecological, natural, and economic histories of the Antelope Valley and provide access to the past and future from environmental perspectives. Learning is at the core of Lancaster MOAH’s mission. Collecting, exhibitions and programs are all undertaken in an effort to provide the residents of the Antelope Valley with a way of integrating art and history into their lives and taking away the lessons that these disciplines offer. By presenting quality exhibitions and programs as well as committing to the proper care and preservation of works of art and artifacts relating to history and culture of the Antelope Valley, the Lancaster Museum of Art and History is the region’s center for art and historical engagement. MOAH's exhibition program is diverse, offering a range of displays for all age groups. Exhibitions of locally collected dinosaur and native artifacts, collectible toys and hands-on history of the pinball machine have delighted children, while the presentation of works by major California artists and creative presentations from sustainable energy to the history of the surfboard have appealed to adults. Exhibitions that are especially relevant to the Antelope Valley have included shows on aircraft and space travel as well as displays on the industries and natural resources that built the area. For artists, the museum hosts an Annual Juried All-Media Art Exhibition and Annual High School Student Exhibition. Increasingly, the Lancaster Museum of Art and History is presenting exhibitions to the residents of the Antelope Valley that feature works by regional, national and internationally renowned artists. Land Acknowledgement: The Lancaster Museum of Art and History (MOAH) acknowledges the original inhabitants of the Antelope Valley including the Tataviam, Vanyume, Nüwü (Chemehuevi), Serrano, Kawaiisu, and Kit anemuk peoples who call this region home. The museum honors the Valley’s history as a renowned center of trade and commerce, a vital part of a widespread economic network that reached far beyond its own boundaries. The Lancaster Museum of Art and History recognizes its position as a guest on these unceded lands and honors the ongoing work of Indigenous peoples to preserve their history, culture, and stories for future generations.

Kiel JohnsonNotes on a Morning WalkThe idea of “work as play” is central to Kiel Johnson’s art practice bringing a sense of curiosity and exploration through his whimsical creations. His primary focus is on drawings and sculpture that speak to the travels and adventures of his everyday life. Johnson’s sculptures and drawings serve as a visual diary that captures his animated and vast stream of consciousness. < Back Kiel Johnson, Notes on a Morning Walk Kiel Johnson, Notes on a Morning Walk 1/1 Kiel Johnson Notes on a Morning Walk The idea of “work as play” is central to Kiel Johnson’s art practice bringing a sense of curiosity and exploration through his whimsical creations. His primary focus is on drawings and sculpture that speak to the travels and adventures of his everyday life. Johnson’s sculptures and drawings serve as a visual diary that captures his animated and vast stream of consciousness. Inspired by odd discoveries, coincidence and chance, Johnson seeks to personify inanimate subjects. Johnson brings a sense of curiosity and exploration to the viewer, utilizing the world and its curiosities as his palette and canvas. His creations are inspired by robots, Greek sculpture, Egyptian gods, boats, and spaceships, among others, are a visual language that is an embodiment of Johnson’s humorous and energetic mind and eye. Through his heightened level of inquisitiveness and playfulness, Johnson continues to explore places, objects, and spaces that exist within his imagination. Previous Next