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Back to Exhibitions Sharon Kagan Bearing Witness A twenty-five-year survey of Kagan’s practice, exploring knitting as an allegory for human interconnectedness and intergenerational trauma across drawing, painting, installation, and performance. January 31 - April 19, 2026 Ralph and Virginia Bozigian Gallery

The Lancaster Museum of Art and History (MOAH) celebrates the art, history, and culture of the Antelope Valley through engaging exhibitions, educational programs, and community events. With four locations, including MOAH:CEDAR and the Western Hotel Museum, it showcases over 10,000 works and artifacts, highlights local and global artists, and honors the region’s Indigenous heritage and diverse cultural legacy. January 31 - April 19, 2026 FEATURING Nathan Huff, Sharon Kagan Bachrun LoMele, Vojislav Radovanović Francis C. Robateau Jr., Brian Singer & Diane Briones Williams Image Credit: Nathan Huff, Phantom Limbs (detail), 2019, Gouache and watercolor on paper, Courtesy of the Artist Shop The Vault Store Left book: Sages Right book: Osceola Refetoff, Magic and Realism Celebrate reading all season long! Enjoy 20% off select books in honor of I Love to Read Month in February and National Reading Month in March. Shop Now Support MOAH Learn More > Shop Learn More > Rentals Learn More > Blog Posts Learn More > Tours Learn More > Join our mailing list and stay up to date with events & upcoming programs JOIN NOW!

Back to Exhibitions Metaphor Winter/Spring 2026 Season Experience the launch of Metaphor , an exhibition season featuring seven solo exhibitions and projects exploring visual metaphor, memory, identity, and collective experience. This season brings together artists who use symbolism and layered imagery to reveal complex stories about self, place, history, and imagination. Image Credit: Nathan Huff, Phantom Limbs (detail), 2019, Gouache and watercolor on paper. Courtesy of the Artist January 31 - April 19, 2026 Nathan Huff Heavy Hope Main Gallery Learn More Bachrun LoMele Burn Pile/ All Kinds of Murmuring Here and There Atrium Learn More Francis C. Robateau Jr. Halftone Histories: Memory, Erasure, and Belonging Mark and Hilarie Moore Family Trust Gallery Learn More Diane Briones Williams The Precarious Life of the Parol Joseph Stello Family and Jewel Box Galleries Learn More Sharon Kagan Bearing Witness Ralph and Virginia Bozigian Gallery Learn More Vojislav Radovanović Fables from the Valley in Between South Gallery Learn More Brian Singer It was a pleasure to burn North Gallery Learn More

Currrent | Upcoming | Past Exhibitions. Metaphor now on view. January 31 - April 19, 2026 | Winter/Spring 2026 exhibition season. Current Upcoming Past Metaphor Winter/Spring 2026 Season January 31 - April 19, 2026 Learn More Nathan Huff Heavy Hope January 31 - April 19, 2026 Learn More Sharon Kagan Bearing Witness January 31 - April 19, 2026 Learn More Bachrun LoMele Burn Pile/ All Kinds of Murmuring Here and There January 31 - April 19, 2026 Learn More Vojislav Radovanović Fables from the Valley in Between January 31 - April 19, 2026 Learn More Francis C. Robateau Jr. Halftone Histories: Memory, Erasure, and Belonging January 31 - April 19, 2026 Learn More Brian Singer It was a pleasure to burn January 31 - April 19, 2026 Learn More Summer 2026 exhibitions to be announced soon! Subscribe to our newsletter for updates on our Summer 2026 exhibitions. Subscribe Blue Grass Green Skies September 27 - January 4, 2026 Blue Grass, Green Skies brought together works that reflected on the natural world, environmental changes, terrain, and scenery, including pieces inspired by the California landscape. Organized in collaboration with Thinkspace and LACMA, the exhibition highlighted diverse artistic perspectives on these themes. Learn More

Up Empty Vessel Excerpts Amir Zaki Amir Zaki is a photographer interested in the rhetoric of authenticity. Although Zaki’s use of hybridized photography tows the line between reality and the abstract, his documentary style ensures the viewer’s trust in the piece remains intact. His subject matter revolves around the architectural and organic California landscape, mainly the idea that California is symbolic of a metaphorical collage of styles and ideas. Empty Vessels explores the vacant landscapes of California skateparks and juxtaposes these images with still lifes of broken, ceramic containers. Using a DSLR and a motorized GigaPan tripod, each photo taken is a composite of a dozen or several dozen photos that he combines. The result is a hyper-realistic rendering of the space which seeks to explore the stillness and isolation of these places, inviting the viewer to contemplate their existence within these spaces. The visual comparison seeks to highlight the malleability of these structures with the undulating rigidity of the barren, concrete landscapes. What was once seen as static, cold and banal transforms into a magnificent display of movement and meditative contemplation. Amir Zaki received his Master of Fine Arts at the University of California, Los Angeles in 1999. Zaki has been featured in over 30 solo exhibitions at institutions and galleries including the Mak Center Schindler House, the Doyle Arts Pavilion, the Dalian Modern Museum in China, ACME Gallery, Perry Rubenstein Gallery, James Harris Gallery, Edward Cella Art & Architecture, and Roberts Projects. He has been included in over 50 group exhibitions in significant venues including The California Biennial: 2006 at the Orange County Museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Flag Art Foundation in New York, Western Bridge in Seattle, Shane Campbell Gallery in Chicago, the California Museum of Photography, Museum of Photographic Arts in San Diego, the San Jose Museum of Art, and the Nevada Museum of Art. He is currently a professor at the University of California, Riverside. January 23 – May 9, 2021 Back to list

Up Play.Create.Collect Various Artists The Art of Toys: A Left Coast Retrospective of Designer Toys Guest Curated by Julie B. & Heidi Johnson Main Gallery Davis & Davis: Planet X Wells Fargo Gallery Moshe Elimelech: Arrangements East Gallery Thumperdome: History of the Pinball Machine South Gallery Woes Martin Mural Main Gallery Teddy Kelly Mural Entry Atrium Hueman Mural Second Floor HCA Presents: Munny on My Mind Marroquin Classroom The Art Of Toys: A Left Coast Retrospective The Art Of Toys: A Left Coast Retrospective: Is the 20+ year evolution of the designer toy, as a celebrated art medium. A thriving movement, art toys are establishing a spot in American art history. So many artists have used this medium as a platform to extend their reach to fans and collectors, without the isolating costs associated with collecting original Pop Surrealism works. Pop Surrealism, also known as Lowbrow Art, was an underground visual art movement originating in Los Angeles around the 1970’s. It reflected the underground street culture and was filled with sarcastic and gleeful humor. Our perspective as curators is from that of the creator, enthusiastic fan, the passionate collector and the cultural instigator. It’s a true collector's paradise with a massive history, that includes some of the biggest players in pop art today. By starting with West Coast popular culture we begin to begin to tell the story of designer toys from a historical, cultural, and social perspective. This exhibit explores a community of 80+ artists, including; Frank Kozik, Mark Ryden, Gary Baseman, Buff Monster, Joe Ledbetter, David Flores, Tristan Eaton, and Luke Chueh. Toys include fan favorites, as well as works significant to the creator’s careers. Many pieces are developed from original artwork that shares the creative process with the viewer. As important as the artists’ creation is the artists relationship with the producers and distributors of art toys. Companies like, Munky King, 3D Retro, Toy Art Gallery, DKE Toys, and Giant Robot to name a few, have built the bridge between art originals and limited editions to create a cultural phenomenon within the larger context of Pop Surrealism/Lowbrow Art. The resulting show brings together an awe inspiring collection of toys, sculpture installations, a variety of artwork including original sketches and molds, site-specific murals, and a curated retail space that is indicative to the world of Art Toys. This is an art toy paradise, sure to tickle just about anybody’s nerd bone. -Julie B. & Heidi Johnson Davis & Davis: Planet X “The search for Planet X began in 1841 as the search for the eighth planet in our solar system and continues today as the search for the eleventh. Planet X was first renamed Neptune, then Vulcan (Urbain Le Verrier's intra-Mercurial planet), then Pluto, then Niburu (Zecharia Sitchin's "12th planet") and now Xena (the recently discovered tenth planet). Planet X is not a real planet, but rather a placeholder for planets yet to be found. In a mathematical sense, it is a variable: X = n + 1, where n is the number of the last discovered planet. Planet X, in its role as the perpetually undiscovered sphere located at an ever-greater distance from the Earth, embodies both our hopes and our fears for the future. Toy spacemen of the late 40s and early 50s combine a pre-Sputnik naiveté about space travel with a cold war paranoia about all things alien. Their art deco space suits feature bell jar helmets and back-slung, oxygen tanks; their elaborate ray guns bulge with deadly, high technology. Because they appeared before the dawn of the Space Age, they don't look like the astronauts we know today and seem to recall a future yet to come. For this series, we photograph these spacemen as they struggle with robots and other technology, with monsters and aliens, and with themselves in the barren, cratered landscape of Planet X .” -Davis & Davis Davis & Davis have collaborated on a variety of photography, video, sculpture and installation projects over the last several years. Their interests include cinema, psychology, pop culture and fringe sciences. Davis & Davis have exhibited at the Riverside Art Museum, the Chelsea Museum of Art, the Ulrich Museum of Art and the Yerba Buena Center for the Arts, among other venues. Their work is in the collections of the Brooklyn Museum of Art, the Ulrich Museum of Art, California State University Los Angeles, Cal Polytechnic University Pomona, Cypress College and the Kinsey Research Institute as well as many private collections. Davis & Davis have Masters of Fine Arts degrees in Art/Photography and Media from the California Institute of the Arts. Santa Monica Press published a book of their photographs, Childish Things , in 2004. Moshe Elimelech: Arrangements Moshe Elimelech’s exhibition Arrangements showcases modular acrylic cube paintings that are colorful and interactive. Rectangular cradles house gridded cubes that invite viewers to turn, move and rearrange each piece. Influenced by a background in design and by the modernist art movements of optical and kinetic art, Moshe fuses formal elements of art with play. Elimelech employs elements such as line, color, pattern, texture and tone to create varied designs on each cube that goes into Arrangements. Those cubes in turn, when placed beside others create new designs that could essentially be limitless, when placed at random by each individual that interacts with the artwork. Arrangements allows for viewers to express their unique vision of design aesthetics while at the same time enlivening their experience of paintings that are historically expected to be static. Elimelech states “I paint these abstracted landscapes in a way for people to admire and interpret openly, leaving them visual cues for the play of imagination.” Moshé Elimelech was exposed to the artistic process by observing his father’s technique as a master craftsman. He began his course of study at the Avni Art Institute in Israel and then went on to study at The Polytechnic Institute of Design in Tel Aviv. After two and a half years in the army working as an art director for the Israeli army publication house, Maarachot, Elimelech went on to Paris where he assisted the internationally known artist Yaakov Agam. Elimelech was selected as a contributing artist for the Los Angeles Olympics in 1984 and is a recipient of the Windsor Newton award by the Watercolor West Society. In addition to his current studio practice as a fine artist, Elimelech’s design work has been featured internationally, in galleries and museums, such as the Palm Springs Desert Museum, Las Vegas Art Museum, Los Angeles Municipal Art Gallery, Korean Cultural Center, Gallery 825, and at the Museum of Contemporary Art; as well as in the museum stores of Museum of Modern Art in New York and Los Angeles County Museum of Art. Thumperdome: History of the Pinball Machine The modern pinball machine is a direct descendant of the French bagatelle games of the 1700s, which featured a playfield with wooden pegs, and balls that were introduced into the playfield with a pool cue. The French brought this amusement device to America during the American Revolution when they served as our allies against Great Britain. Here in America, the game further evolved using metal pins instead of dowels and the revolutionary introduction of the shooter rod in the early 1800s. The addition of the coin mechanism in the 1930s allowed people to play their troubles away for a penny and even win back some of their money as these “trade stimulators”, as they were called at the time, started becoming gambling devices. The game resonated with people in the U.S. wanting cheap entertainment through the Great Depression-era economy. At that time most drugstores and taverns in the US operated pinball machines, with many locations quickly recovering the cost of the game. The entire machine was designed to be as eye-catching as possible, in order to attract players and their money; every possible space is filled with colorful graphics, blinking lights and themed objects, and the backglass is usually the first artwork the players see from a distance. Pinball was considered gambling; even the act of winning a replay is still banned in several states to this day. As time went on video games replaced pinball in the market, and manufactures were forced to enhance the technology within the pinball machines to be in competitive. Thumperdome is the historic pinball collection of Amanda Cole and Art Perez located in Pasadena, CA. Both grew up in awe of the game with the silver ball, saving up their quarters to drop into the nearest pinball machine they could find. A chance find of a decaying [Evel Knievel” pinball machine gave Art the opportunity to restore his favorite] childhood machine and start the collection that would grow into Thumperdome. Amanda, who works in technology and art, is an artist/photographer with a background in engineering and together their combined interests and expertise are utilized to restore and rejuvenate machines which they have collected throughout the country. The goal of Thumperdome is to preserve the history, technology, artwork and culture of pinball in America and promote pinball to future generations. Thumperdome houses one of the largest and most diverse private collections of pinball machines in the nation. The ever-rotating collection traverses the development of pinball machines from the early bagatelle-like games of the 1930s, to the introduction of pinball flippers in the 1940s until the 1980s and 90s when the threat of video games finally toppled pinball from the hearts of American fun-seekers. This collection shares the beauty of the machines and the challenge of the games to entertain, educate and captivate a new generation as technologies changed. Aaron Woes Martin Aaron “Angry Woebots” Martin aka “Woes Martin” grew up between the Hawaiian island Oahu and the western United States. He was greatly influenced by Saturday morning cartoons, kung fu and comic book cultures, which led him to be involved in the process of creation in some form. His strong passion for toys provided the avenue to design his own resin sculpture with partner Palmetto of Silent Stage Gallery, and through KidRobots Dunny platform. His focal medium is acrylic paintings on wood and canvas. Using minimal colors with detailed character design, these paintings are usually composed of aggravated pandas or bears conveying extreme emotions. The pandas tend to represent the story of struggle, humble beginnings and rolling with the punches. From Hawaii to the mainland U.S. and across the globe he continues to leave his mark, connecting with other artists and other cultures. His creations have been shown in galleries throughout the United States, Southeast Asia, South Pacific and Europe. Woes has worked with many companies like Converse, Disney and Samsung, as well as been part of multiple publications for the art, designer toy and hip hop communities. His custom vinyl toys, Resin figures and collaborations have been showcased at Comic-Con San Diego, Comic-con New York, Designer Con Pasadena and Singapore Toy Con. Teddy Kelly Teddy Kelly is an artist and illustrator whose life and designs are the product of converging cultural influences. He grew up in Mazatlan, Mexico. He has been creating art since he could pick up a pen, drawing influence from both the Disney characters he’d see during childhood visits to the United States and his perspective of the immigrant-influenced culture of his hometown. Kelly grew up immersed in the subculture of surfing and skateboarding, inspired from a young age by the skateboard art that defined this culture. He moved to the United States after high school in search of an education, and fortunately also found a mentor and friend who taught him how to conceptualize his ideas. Teddy was awarded an honorable mention for Illustration by the American Institute of Graphic Arts while attending San Diego City College. His work has been featured in international exhibitions alongside some fine and skate art icons that have also inspired him throughout his life. Hueman Hailing from northern California, Hueman is a Los Angeles based graffiti artist whose work can be found on common walls and in galleries worldwide. She works between the delicacy of canvas and massive city walls, playing with ideas of abstraction and figurative art mashed up with grotesque subjects. Playing is part of her creations, just as it is with her name she brings movement portrayed through various two-dimensional, flat surfaces and places them on the domineering walls of cityscapes. She states, “I am constantly seeking balance: between the beautiful and the grotesque, the abstract and the figurative, and that golden moment between being asleep and awake.” This balance can be found in the way Hueman creates, she is known for beginning a piece by energetically throwing paint and then conjuring up the composition through the stream of consciousness that follows. Hueman earned a Bachelor of Fine Arts degree in Design and Media Arts from UCLA in 2008. Her work has been featured in the LA Times, Hypebeast, Juxtapoz, and caught the attention of CNN, The History Channel, NPR, and international magazines such as Players Magazine and Grab Magazine. She has had solo exhibitions in multiple L.A. based galleries, and exhibited in shows across the United States as well as internationally. Her featured client base includes Disney, Nike, Converse and American Express. She lives and works in Los Angeles. HCA Presents: Munny on My Mind Munny on my Mind is a unique, inter-disciplinary art class that blends design, sculpture, painting and conceptual art into one project. Youth from Arbor at Palmdale and Village Pointe in Lancaster were tasked with creating an art piece of their choosing by carefully establishing a theme and applying their concept to a Munny. Students used templates provided by Kid Robot to design their creations before moving on to customizing their Munny by using a wide range of materials including clay, markers, paint and yarn. July 18 - September 6, 2015 Back to list

Artist in Residence Up Gouache Plein Air Paintings Chloe Allred This art workshop will cover plein air painting techniques in gouache. Plein air painting is the act of painting outside from direct observation of the landscape. There is something magical that happens when you sit in one place for a time, observe, and paint that place. The cotton tail rabbits stop noticing you and come out to explore. Lizards come out to sun themselves in the open. Crows carry on with their clicking conversations. For this workshop Chloe Allred will demonstrate a variety of painting techniques in gouache and participants will discover beautiful areas in the preserve to make paintings from. March 27 - July 6, 2024 Back to list

Up Woven Stories Various Artists Featured Solo Exhibitions Ray Beldner, Elisabeth Higgins O’Connor, Victoria Potrovitza, Katherine Stocking-Lopez, Nicola Vruwink Installations Rebecca Campbell, Peter Hiers, R.Rex Parris High School, Meriel Stern, Victor Wilde Group Fiber Exhibition Orly Cogan, Mike Collins, Valerie Daval, Terri Friedman, Gina Herrera, Anne Hieronymus, Uma Rani Iyli, Sandra Lauterbach, Karen Lofgren, Suchitra Mattai, Art Moura, Maria E. Piñeres, Vojislav Radovanovic, Joy Ray, Leisa Rich, Samuelle Richardson, Cindy Rinne, Nike Schroeder, Annie Seaton Lisa Solomon, Sandra Vista, Dana Weiser, Diane Williams Ray Beldner Ray Beldner uses found imagery from magazines, books, posters, and catalogs to create his dense, textural collages. He then mounts the collages to museum board and cuts eat piece into a unique shape. Like many of Beldner’s past projects, these Untitled Shaped Collages explore the idea of value: each small clipping is stripped of its historical significance and is appreciated for its more formal qualities such as texture, color, pattern, and shape. The works are “woven” together to create a new, visually active image. Ray Beldner is an interdisciplinary artist whose work has been exhibited nationally and internationally and can be found in many public and private collections. Born in San Francisco, Beldner received a BFA from the San Francisco Art Institute and an MFA from Mills College. He has received numerous awards and fellowships, and has taught sculpture, interdisciplinary studies, and professional practices at the San Francisco Art Institute, California College of the Arts, San Francisco State University, and the University of California in Santa Cruz. Elisabeth Higgins O'Connor In Blamethirst and Hate Stayed the Ending , Elisabeth Higgins O’Connor uses familiar animal-like forms to call attention to the struggles of the human experience, and the intersection between nature and culture. These creatures reach their physical and mental limits as they struggle to stand upright – bits of their armor-like coverings begin to unravel, their bodies distort, and their apparent fatigue lends an all-too-familiar sense of vulnerability. O’Connor gathered her materials for these sculptures from second-hand shops and thrift stores, reworking each element through cutting, sewing, ripping, wrapping, roping, tying, and stiffening, to create a surface that feels simultaneously distressed and beautiful. The salvaged materials (boxes, couches, bedding, blankets, pillows, Afghans) used by O’Connor rest on a skeleton of broken down furniture. The weight of these materials are quite heavy, and require “crutches” for support. Elisabeth Higgins O’Connor received her BFA from California State University, Long Beach, and her MFA from the University of California, Davis. She has shown extensively in group and solo exhibitions in California, as well as throughout the US and Canada. Her work has been featured in several publications including Juxtapoz Magazine, ArtForum, Artillery Magazine, and more. Elisabeth has taught studio art classes at the University of Washington, Seattle, Cal State University, Long Beach, and currently teaches as UC Davis. Victoria Potrovitza No Exit and Landscape by Dusk by Victoria Potrovitza were created by embroidering vibrant-colored thread into canvas and applying gouache or acrylic paint. Her background in architecture influences her abstract compositions, and she often references universal tribal symbols, drawing upon personal and shared history. Potrovitza is a contemporary abstract fiber artist with her MS degree in Architecture from UAUIM, Romania. A significant part of her career was dedicated to creating wearable art with a focus on hand-painted silk, and her collections have been featured at New York Fashion Week. During the last decade, Potrovitza shifted her focus from fashion to embroidery. Her artwork is featured online at Saatchi Art, and has been exhibited in the United States, Israel, and Romania. She lives and works in Lancaster, California. Katherine Stocking-Lopez Using natural forms, Katherine Stocking-Lopez investigates her personal experience of womanhood and motherhood, as well as the limits of gender and the human body. Inspired by the inevitability of change, Katherine stitches soft fibers, beads, and found objects together reflect on her struggles with anxiety, infertility, pregnancy loss, postpartum depression, and the imperfections of life. “Growth is inherently beautiful; seeds sprout, flowers bloom, love grows. But when things keep growing, or grow where they shouldn’t, growth can constrict and choke. Depression grows in the dark. Anxieties sprout from deep in the mind. Sickness clusters and bursts like spores. A garden can have both a tangle of thorns and a bloom of flowers. The duality of nature as creator and destroyer is present in my work.” Katherine Stocking-Lopez is a mixed media artist with a specialty in combining traditional drawing and sculpture work. She combines the family tradition of needlework with the complexity of emotions that family itself inspires. Katherine won Best of Exhibition at MOAH’s CEDARFEST juried art show in 2017, and first place in the 3-D/Mixed Media category at CEDARFEST 2016. Nicola Vruwink In Please and Your Everything, Nicola Vruwink crochets magnetically coated plastic film from cassette tapes, rather than the usual yarn. Employing obsolete materials such as cassette tapes is just one way that Vruwink draws attention to the loneliness of modern urban life, the fast pace of technological advancements, and the detritus that humans leave behind. The act of crocheting these typographical works provides the artist with a sense of symmetry and meditative order in the midst of our chaotic world. Originally from Iowa, Vruwink has lived and worked in Los Angeles for the past fifteen years. She received her MFA from the University of Washington, Seattle. Her work has been featured in solo and group exhibitions across the West Coast. She has also been featured in several publications such as the Los Angeles Times, ArtForum, and the Huffington Post. Vruwink is currently an assistant professor at ArtCenter College of Design, and is adjunct faculty at Santa Monica College and El Camino College. May 11 - July 21, 2019 Back to list

Up Green Revolution Various Artists Jeremy Kidd: The Interrupted Landscape Lynn Aldrich: Water Feature / Silver Lining Fawn Rodgers: Subject Charles Hood: Under/Water Christine Mugnolo: California Hydroscape Coleen Sterritt: Selected Works from 2010 - 2016 Ann Weber: Jewel LAGI: The Future of Energy is Here HCA: Glue Zoo Green Revolution utilizes art and environmental education as a creative catalyst for leading greener, more sustainable lives. Sponsored by Lancaster Choice Energy and sPower, the diverse artworks on display will incorporate recycled materials; addressing urban farming and gardening, sustainable design, water harvesting and renewable energy such as wind and solar power. Jeremy Kidd: The Interrupted Landscape British-born, Los Angeles based artist Jeremy Kidd approaches landscape photography innovatively, by combining sculptural elements and condensing up to 100 long exposure photographs into a single work. He believes this to be a more cohesive way of expressing a landscape pictorially to an audience. Incorporating sculptural elements invigorates the viewing experience. Through this process, Kidd explores movement and condensed time; all the while exemplifying the transcendental and the essence of place in the urban or desert landscape. “It seems unrealistic to expect a single photographic shot, a single moment in time, to convey the human experience of seeing.” - Jeremy Kidd His artwork presents a condensed vision of multiple photographs as a metaphor for repeated perceptual glances. This in turn engages the viewer by conveying an animated experience of the dynamic natural or urban infrastructure. Kidd’s current body of work explores the presence of Wind Farm Turbines whose placement interrupts the natural landscape with a beautiful array of upright forms that possess a surreal presence and scale. Combining the wind farm components with his photographic process, Kidd believes, will draw awareness to both the arts and alternative energy and bring into question their aesthetic placement. Integrating sculpture with his photographs, Kidd includes replicas of the windmills that move forward out of the images as sublime objects embracing and interacting with the viewer. The works attempt to explore our relationship to these interrupted landscapes as places for spiritual renewal and functional utility. Jeremy Kidd received his Bachelor of Fine Art and Sculpture at Du Monfort University in Leicester, England. His work has been exhibited across the United States and Europe. He has been featured in the New York Times, Los Angeles Times, Art LTD, Art & Text Wired Magazine and The Observer UK. He has taught at the California Institute for the Arts and Otis Parsons School of the Arts in Los Angeles. He has upcoming one person shows at Imago Gallery Palm Desert and Panorama Masdag Museum in the Netherlands. Lynn Aldrich: Water Feature / Silver Lining The art of Lynn Aldrich is inspired by landscape, light and color in nature, and aspects of various natural environments, focusing on familiar objects from the everyday world and transforming them structurally in order to create a deep sense of mystery for the viewer. The objects are deviated from function, and added to with imaginative aspects, altering their state to a greater significance, but not in a theatrical sense. The objects must remain familiar to the viewer to celebrate and question the ordinary in its new form. She creates the new objects with references to the experience of living in a culture that is fragmented and oriented toward artificiality and consumerism. The incentive for her artwork is to increase perception and wonderment while instigating powerful questions – to create a platform for both conceptual analysis and poetic reflection in the mind of the viewer. She invokes a sort of transparent alchemy that allows these ordinary objects to remain common even as they may take on a more precious value, carrying metaphorical weight or spiritual significance. Lynn Aldrich received a Bachelor degree in English Literature from the University of North Carolina, Chapel Hill, and a Bachelor of Fine Art from California State University, Northridge and a Master of Fine Art from the Art Center College of Design in Pasadena. Her work has been exhibited nationally and across Europe. Aldrich is part of the public collection at the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles. In 2014, she received the Guggenheim Fellowship Award in Creative Arts. Fawn Rogers: Subject Fawn Rogers is a LA based contemporary artist. Rogers’ interest of entropy, anthropology and evolution come together in a deck of cards entitled Subject inspired by a produce truck driveshaft and the most fertile soil (Terra Petra) found in California. The installation creates a propositional composition of a closed system with man-made objects, nature and the by-product of biotechnology. The artist invites the viewers to watch super weeds grow from the soil under the resurfaced produce truck drive shafts where organic and inorganic compounds slowly reach chemical equilibrium through the sedimentation of time, as nature gradually re-establishes its ecological balance beyond our existence. As part of the installation Rogers invited 52 California artists to represent produce currently farmed in California as works of art on a deck of oversized playing cards through their own interpretations knowing water would be represented on the joker cards. The artists represent a vast spectrum from very established to outsider.Fawn Rogers’ wide-ranging practice reflects and challenges the interrelations between nature, structures of ideological power and various models of social constructs. Her work has been featured in ArtNET News, Forbes Magazine, The Creators Project, Italian Vogue, and the Huffington Post. Charles Hood: Under/Water “Resource allocation is always a tricky business. Who has priority if a commodity is scarce? The 400-mile-long Los Angeles Aqueduct cuts through the west end of the Antelope Valley on its journey to Los Angeles, and at full capacity, 5,000 gallons of water per second roar through its well-bolted, 12 foot diameter pipes. How much of that is allocated for local use? None. In a classic case of ‘look but don’t touch,’ the water races past us, headed for wealthier towns.” – Charles Hood Charles Hood seeks to consider the visual and political statements this engineering project makes; his photography installation surveys a generous portion of the Aqueduct itself. The documentary photos fill 30 feet of gallery wall in two parallel rows. The top half captures the stark, modernist beauty of land, pipe and sky, often creating two intense bands of abstract color. Beneath that, each panel has a mirrored twin, and in those inverted shots, the sky becomes a parallel river beneath the main Aqueduct itself—the memory or echo of the resources being taken from one landscape and delivered to another. Water’s importance in our daily lives is further explored with an immersive soundscape. The sound fills the gallery in a subtle way, and is built out of recordings of everyday household water uses (washing hands, changing the water in a fish tank) when combined into a sound experience, create an aural river to complement the visual one. Charles Hood teaches at Antelope Valley College and is a research fellow with the Center for Art Environment, Nevada Museum of Art. He also has been an artist-in-residence with Playa Foundation, the National Science Foundation, the Center for Land Use Interpretation, and the Annenberg Beach House. His tenth book, illustrated by Christine Mugnolo, won the 2016 Kenneth Patchen Innovation Fiction Award and will be released next summer. Christine Mugnolo: California Hydroscape Christine Mugnolo seeks to help residents, visitors and community groups appreciate the value of water—and the ingenuity and complexity of its delivery infrastructure—via a wall-sized, watercolor map of California’s water network showing the state’s major water resources, storage facilities and distribution systems. Layering complex data sets, this map attempts to communicate a simple, pressing concept: the huge and cumbersome discrepancy between the state’s supply and demand for water. While maps assert knowledge and authority over resources, they also function as sentimental emblems for one’s love of place. California Hydroscape straddles and navigates both operations. By turning the state 90 degrees to its side, this map pushes against two concepts implied by California’s iconic vertical status: that California is proudly self-sufficient and that water flows logically from north to south. This assemblage of hand-painted panels combines the practice of mapping with the aesthetics of painting. Together, the paper panels create a legible map of California while showing how the Colorado River, California Aqueduct, Los Angeles Aqueduct and groundwater aquifers all combine to provide water that is anywhere from three years to 10,000 years old. Saturation is used to indicate the age of the water (vibrant colors at the source and less saturated colors for the final destination). Further, this does not operate as purely an informational map, as the liquid properties of the medium are exploited to create chaotic and dynamic transitions. Liquid properties are intended to reference water’s animation and call attention to the map as an image of the lifespan of water, rather than as an objective record of cataloged data. This visceral visual language likens California to a body and its water systems to life-giving vascular operations. In this way, Mugnolo uses the sensual properties of watercolor to help create a more personal, intimate connection to California’s water systems. Christine Mugnolo is Associate Professor in the Art Department at Antelope Valley College. She received her Bachelor Degree in Art History from Princeton University, a Master Degree in Early Modern British Art from Courtauld Institute of Art in London, a Master of Fine Art concentrated in painting and printmaking from the University of Connecticut and a Master of Fine Art in painting from Indiana University. Mugnolo has been exhibited nationally. Coleen Sterritt: Selected Works from 2010 - 2016 For close to 40 years, sculptor Coleen Sterritt has worked with a variety of materials ranging from plaster and tar, pinecones and fishing line, found furniture and studio waste. With this range of materials, she focuses on the interactions between organic and geometric forms, balance and imbalance, the intimate and remote. Sterritt explains her technique as being both immediate and studied while also abrupt and fluid. The sculptures Sterritt creates play with movement and chance; doubt, discomfort and desire, beginning sometimes in one direction and then turned upside down upon completion. She creates forms indicative of a nature to culture convergence. As a process of re-creation the material rehabilitates and reinvents itself to become rediscovered by the viewer and interact with them in a new way. She fashions a visual language both formal and evocative while exploring the many possibilities the sculpture itself can hold. All these elements combined, act as a barometer for lived experiences Sterritt hopes the viewer will find familiar as they interact with the pieces. Coleen Sterritt was born in Morris, Illinois. She holds a Bachelor of Fine Art from the University of Illinois, Urbana-Champaign and a Master of Fine Art from Otis Art Institute, Los Angeles. She began teaching in 1983, including positions at Otis College of Art and Design, University of Southern California and Claremont Graduate University. She has been a professor and the faculty coordinator of the sculpture program at Long Beach City College since 1998. Sterritt is a recipient of residencies, grants and fellowships from the National Endowment for the Arts in 1986, Art Matters in 1994, the Roswell Art-in-Residence Program in 1994, the J. Paul Getty Trust Fund for the Visual Art/California Community Foundation in 1996 and the City of Los Angeles Individual Artist Fellowship in 2007. Her work has been shown in numerous exhibitions throughout the United States and Europe. Ann Weber: Site Specific Ann Weber began her artistic journey with ceramics, creating functional pottery. Inspired by her days working with Viola Frey at California College of Arts and Crafts, the scale of her artwork shifted to monumental forms. She began working with cardboard as a way to create lightweight forms, while eliminating the cumbersome process of the clay. Weber sees her abstract sculptures as metaphors for life experiences, such as the balancing act that defines life. Ultimately, Weber’s interest lies in expanding the possibilities of making beauty from a common and mundane material. She views the psychological component of her artwork as one of the most important aspects. Being between representational and abstract, Weber invites the viewers to bring their own associations to the artwork. The artwork is composed with a palette of simple circles and cylinder forms, representing the symbolic male and female forms in the natural world, and tying in architecture and art historical references to evoke memories, relationships and morality in the sculptures. When it comes to her public art, Weber casts ordinary cardboard into bronze and fiberglass, illustrating that things are not always what they appear to be. Even when cast in other materials, it is easy to see the details of the former lives of cardboard boxes and individual staples. Born in Jackson, Michigan, Ann Weber now works and resides between Emeryville and Los Angeles. She received a Bachelor of Art degree in art history from Purdue University and a Master’s of Fine Art from the California College of Arts and Crafts in Oakland. Weber has been an artist in residence at the International School of Beijing, China, and Schwandorf, Germany, as well as a visiting artist at the American Academy of Rome. In 2004, she was awarded the Public Art Award by Americans for the Arts. Her artwork has been chosen as part of public art and private commissions across the United States. LAGI: The Future of Energy is Here The main goal of the Land Art Generator Initiative (LAGI) is to design and construct public art installations that have the added benefit of utility-scale renewable energy generation. Each sculpture continuously distribute sclean energy into the electrical grid, resulting in thousands of homes powered by art. Presenting the power plant as public artwork—simultaneously enhancing the environment, increasing livability, providing a venue for learning and stimulating local economic development—is a way to address a variety of issues from the perspective of the ecologically concerned artist and designer. By nature of its functional utility, the work also sets itself into many other overlapping disciplines from architecture and urban design to mechanical engineering and environmental science. This interdisciplinary result has the effect of both enhancing the level of innovation and broadening the audience for the work. The Land Art Generator Initiative utilizes the design competition model as a free and open platform to engage as many interdisciplinary teams of artists, architects, scientists, ecologists, landscape architects, and engineers around the world as possible to conceptualize aesthetic and pragmatic solutions for 21st century environmental challenges. The results of the competition are made public in exhibitions, workshops, literature, and educational materials to inspire the general public about the potential of our energy landscapes. HCA: Glue Zoo Glue Zoo combines art, design and science into a one-of-a-kind program serving multiple affordable-housing communities in the Antelope Valley. Free of cost to residents and under the guidance of on-site instructors, participants of Glue Zoo produced papier-mâché sculptures of endangered animals. Through creating life-sized versions of our planet’s disappearing species, students focused on building both engineering and design skill sets. In addition to making sculptures, students also learned about the animals being created as well as current conservation efforts and what they can do at home to help minimize their carbon footprint. Participants of the program were asked to bring in recycled newspaper, cardboard and other materials to help bring the creations to life. February 13 - April 17, 2016 Back to list

Up The New Vanguard II Various Artists Artists: Sandra Chevrier | Cages and the Allure of Freedom Seth Armstrong | Lil' Baja's Last Ride Craig 'Skibs' Barker | Suzy is a Surf Rocker Brooks Salzwedel | Rut in the Soil Featured Installations: Andrew Hem Dan Witz HOT TEA Isaac Cordal Jaune Laurence Vallieres Spenser Little The New Vanguard II, a dynamic group exhibition of works by international artists working in the New Contemporary art movement. The highly anticipated follow up to 2016's successful first iteration of The New Vanguard, on view in tandem with this year's POW WOW! Antelope Valley will feature special solo projects by artists Sandra Chevrier, Seth Armstrong, Craig 'Skibs' Barker, and Brooks Salzwedel. A sequel to what was in 2016 the most extensive presentation of work from the New Contemporary movement in a Southern Californian museum venue to date, The New Vanguard II, in keeping with the first, will present a diverse and expansive group of curated new works. The group show will include new pieces by ABCNT, Adam Caldwell, Alex Garant, Alex Hall, Alexandra Manukyan, Amy Sol, Andrew Schoultz, Benjamin Garcia, Brian Mashburn, Carl Cashman, CASE, Dan Witz, Drew Merritt, EINE, Ekundayo, Ermsy, Esao Andrews, Evoca1, Fernando Chamarelli, Fidia Falaschetti, Fintan Magee, Helen Bur, Hueman, Hula, Huntz Liu, Jaune, Joel Daniel Phillips, Jolene Lai, Juan Travieso, Kaili Smith, Kathy Ager, Kikyz1313, Laura Berger, Lauren YS, Lonac, Mark Dean Veca, Mars-1, Martin Whatson, Masakatsu Sashie, Meggs, Michael Reeder, Milu Correch, The Perez Bros, PichiAvo, RISK, Robert Xavier Burden, Robert Proch, Ronzo, Saner, Scott Listfield , Sergio Garcia, Seth Armstrong, Snik, Stephanie Buer, Super A, Super Future Kid, TikToy, Tran Nguyen, Van Arno, and Yosuke Ueno. Alongside the focused solo presentations by Chevrier, Armstrong, Barker, and Salzwedel, the exhibition will include site-specific installations by Andrew Hem, Dan Witz, HOTxTEA, Isaac Cordal, Jaune, Laurence Vallieres, and Spenser Little. A movement unified as much by its diversity as its similitude, 'New Contemporary' has come to denote an important heterogeneity of styles, media, contexts, and activations over the course of its establishment since the 90s. Unified in its fledgling beginnings by a founding countercultural impulse searching for its own nomenclature, the New Contemporary movement's shifting and inclusive designations have offered alternative narratives over the years to those popularized by the dominant art establishment and its conceptual predilections. Though stylistically disparate, the work belonging to this rapidly expansive movement reveals a desire to reference the popular, social, and subcultural domains of contemporary experience, grounding, rather than rarifying, imagery in the familiar. Looking to the urban landscape and the kaleidoscopic shift of individual identities within it, these artists use the figurative and narrative to anchor their work in the accessible and aesthetically relatable. A fundamentally democratic stance governs the ambitions of this new guard, ever in search of novel ways to expand rather than to contract. Sandra Chevrier - Cages and the Allure of Freedom Chevrier creates work that explores identity as a locus of competing imperatives and complex contradictions. Drawing parallels between the assumed invulnerability of the superhero and the impossible demands placed upon the contemporary individual, Chevrier creates literal and metaphoric masks by combining comic book imagery assembled from found and imagined sources. Her dystopian spin on the iconic figure of the superhero looks to reveal the flaws in the staged extroversion of a superficial veneer. In Cages and the Allure of Freedom, her first significant solo museum presentation, Chevrier showcases large-scale sculptural works for the first time including three massive portrait based reliefs alongside three life-sized, hand-painted busts complementing some of her largest two-dimensional acrylic on canvas works. Sandra Chevrier is a Montréal-based Canadian artist. Her work has been shown in Canada as well as in the United States, United Kingdom, Europe and Asia and in collections in Europe, the United States, Netherlands, Japan, New Zealand, Australia, and Russia. Seth Armstrong - Lil' Baja's Last Ride Seth Armstrong creates paintings that arrest a sense of time. Some offer expansive views and others a contracted intimacy, moving freely in and out of public and private spaces to create intersecting narratives. Known for paintings that self-consciously capture the act of looking - whether as a voyeur in trespass or a participant in the landscape - Armstrong apprehends the simultaneity of the city as a place of endless, contingent narratives, jarring interruptions and suspenseful pauses. In Lil' Baja's Last Ride, the artist presents a sequential vignette of over ten new paintings in which his own car becomes an unlikely protagonist. His immersive approach to his subject matter often produces anecdotal adjuncts. Following several pilgrimages into the landscape between his home in LA and Lancaster for the exhibition, a route, incidentally, which also happens to have personal childhood significance for the artist, Armstrong's beloved beater and proverbial instrument of research, 'Lil' Baja,' caught fire and was partially incinerated in the museum's parking lot. The overarching narrative structure of the works feels ambiguously suspended somewhere between fiction, social realism, and personal history. In an ending befitting Armstrong's own penchant for cinematic turns, poetic hooks, and absurd knacks, Lil' Baja's Last Ride is an unexpected swan song in memoriam to an old friend's final expedition. Armstrong is a Los Angeles-based painter who holds a Bachelor of Fine Arts degree from California College of Arts in San Francisco. His paintings have been exhibited throughout the United States and Europe. He is represented by Thinkspace Projects in Los Angeles, Vertical Gallery in London and Bold Hype Gallery in New York. His work has been featured in international art fairs such as SCOPE and the LA Art Show. Craig "Skibs: Barker - Suzy is a Surf Rocker Barker has been immersed in both the punk rock and surf culture of southern California since the early 1980s. His imagery, being informed by the print media and graphics of the subcultural terrain shaping the time period, reflects this upbringing. Influenced and surrounded by punk flyers, album covers, and surfing magazines, Barker began testing his artistic skills by initially making flyers and t-shirts for his punk bands and his friends. Barker’s work explores the junctions between past and present, memory and imagination, fantasy and reality, while creating a dialog between image and viewer. Barker’s most recent paintings infuse his long-standing love for painting and rendering the human female figure with his punk-fueled graphic design aesthetic. Mixing different approaches, techniques and mediums, he creates a sense of memory, personal history, and appreciation for the female form. Combining elements of pop culture and literary censorship, he creates layered scenes of voyeuristic playfulness. His artworks feel surreal and partial, yielding results of decontextualization. The way Barker frames his figurative subjects, his compositions feel like spontaneously taken polaroids. Born and raised in Huntington Beach, Barker has been exhibiting installations and his paintings in places such as Long Beach Museum of Art, Thinkspace Projects Los Angeles and was featured at MOAH in 2014. His work has been included in Newbrow and Juxtapoz magazines. Brooks Salzwedel - Rut in the Soil Obscuring the boundaries between actual and imagined landscapes, Salzwedel constructs light, delicate and translucent vistas that fluctuate between solid and ethereal states. These assembled works explore the juxtaposition of natural and simulated scenes, bringing together scant terrains and fabricated sierras with hazy atmospheres and primordial vegetation. Eroding woods and frosty, glacial peaks veil repressed settings, evoking a landscape untethered from this reality existing on the periphery of dreams. Salzwedel continues this series of ghostly, celestial worlds that are suspended indefinitely, the scenes often feel almost real but are undoubtedly conjured from vivid imagination. Salzwedel induces a sense of solitude through ephemeral, surreal fantasies of supernatural scenery using a combination of materials to create his mixed-media works. His drawings are comprised of graphite, mylar and resin, tape, colored pencil and ink. Salzwedel earned his Bachelor of Fine Arts degree with honors and distinction at Pasadena Art Center College of Design in 2004. He has been featured in more than 50 blogs and publications and he has participated in numerous group and solo exhibitions. His work has been displayed at renowned museums worldwide, including the Hammer Museum, MOCA, Honolulu Museum of Art and the San Diego Museum of Contemporary Art. Salzwedel was born in Long Beach and works in Los Angeles, California. The New Vanguard II A movement unified as much by its diversity as its similitude, 'New Contemporary' has come to denote an important heterogeneity of styles, media, contexts, and activations over the course of its establishment since the 90s. Unified in its fledgling beginnings by a founding countercultural impulse searching for its own nomenclature, the New Contemporary movement's shifting and inclusive designations have offered alternative narratives over the years to those popularized by the dominant art establishment and its conceptual predilections. Though stylistically disparate, the work belonging to this rapidly expansive movement reveals a desire to reference the popular, social, and subcultural domains of contemporary experience, grounding, rather than rarifying, imagery in the familiar. Looking to the urban landscape and the kaleidoscopic shift of individual identities within it, these artists use the figurative and narrative to anchor their work in the accessible and aesthetically relatable. A fundamentally democratic stance governs the ambitions of this new guard, ever in search of novel ways to expand rather than to contract. A sequel to what was in 2016 the most extensive presentation of work from the New Contemporary movement in a Southern Californian museum venue to date, The New Vanguard II, in keeping with the first, presents a diverse and expansive group of curated new works. This group show includes new pieces by ABCNT, Adam Caldwell, Alex Garant, Alex Hall, Alexandra Manukyan, Amy Sol, Andrew Schoultz, Benjamin Garcia, Brian Mashburn, Carl Cashman, CASE, Dan Witz, Drew Merritt, EINE, Ekundayo, Ermsy, Esao Andrews, Evoca1, Fernando Chamarelli, Fidia Falaschetti, Fintan Magee, Helen Bur, Hueman, Hula, Huntz Liu, Jaune, Joel Daniel Phillips, Jolene Lai, Juan Travieso, Kaili Smith, Kathy Ager, Kikyz1313, Laura Berger, Lauren YS, Lonac, Mark Dean Veca, Mars-1, Martin Whatson, Masakatsu Sashie, Meggs, Michael Reeder, Milu Correch, The Perez Bros, PichiAvo, RISK, Robert Xavier Burden, Robert Proch, Ronzo, Saner, Scott Listfield , Sergio Garcia, Seth Armstrong, Skewville, Snik, Stephanie Buer, Super A, Super Future Kid, TikToy, Tran Nguyen, Van Arno and Yosuke Ueno. October 21 - December 30, 2018 Back to list

Up A print collection Nuri Amanatullah Nuri Amanatullah is an Antelope Valley-based painter, illustrator, and designer whose stylized, graphic depictions of flora and fauna are represented in a variety of mediums including illustration and large-scale murals. Employing both traditional techniques and digital media, Amanatullah has designed for Disney, storyboarded for Uber, illustrated for Airbnb, and painted walls at numerous sites around the Antelope Valley including a mural with Antelope Valley Walls in 2018, as well as in Flint, Michigan as part of the Free City Mural Festival. He has also lent his talents to the non-profit Housing Corporation of America for the past three years helping to jump-start and brand a wide variety of art programs at affordable income housing properties. Illustrating animals and plants in a colorfully bold and vibrant style, Amanatullah subverts the idea of the desert as a barren and desolate setting by exploring the intersection of our everyday lives and the natural world. These brief, chance encounters with wildlife take place in the “vacant” spaces between housing and commercial developments, highlighting our own place amongst nature--often at odds with it, and far separated from our surroundings. February 2019 - May 2021 Back to list

Up Threads of Entanglement Orly Cogan Hand embroidery typically conjures up images of docile women, silently working on their expected domestic duties through their needle work. This traditionally feminine medium was once seen as an indicator of marriage suitability, teaching ideas of modesty, virtue, and obedience. Artist Orly Cogan reclaims the medium, using vintage fabrics as a foundation for her hand stitched explorations of modern women. Cogan challenges the idea of embroidery being a symbol of female domesticity and injects themes of sensuality, feminism, and power to portray the evolving role of women in society. Cogan’s love for embroidery stems from her early years in grade school where she would learn to knit and crochet with natural fiber materials. This fondness for the material was also encouraged through her mother's collection of samplers — pieces of embroidered cloth meant to represent a larger whole — and quilts. Cogan describes her work as intuitive, figuring out the stitching as she goes, utilizing an embroidery hoop, appliqué, and paint to bring movement within the stitches. The result is a dreamy and ethereal quality that speaks to the feminist fairytales she creates in her pieces. May 13 - August 20 Back to list