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< Return to Exhibitions Grand Opening 2012 Smooth Operations: Substance and Surface in Southern California Art The Painted Desert Ron_Davis Thatcher May 5, - August 18, 2012 Learn More May 5, - September 16, 2012 Indians, Gold Miners and Gunslingers Smooth Operations: Substance and Surface in Southern California Art Lancaster's Museum of Art and History opens its new dedicated space with "Smooth Operations: Substance and Surface in Southern California Art," an exhibition looking at the use of new and untraditional materials in the fabrication of art objects. "Smooth Operations" will concentrate on the postwar years in and around Los Angeles, when experimentation with such unorthodox, even radical materials and qualities led to the emergence of movements such as finish/fetish and light-and-space. Among the artist whose work will comprise "Smooth Operations" are Peter Alexander, Larry Bell, DeWain Valentine, Ronald Davis, Craig Kauffman, Judy Chicago, Mary Corse, Roland Reiss, John McCracken, Helen Pashgian, Tony DeLap, VASA, Norman Zammitt, Fred Eversley, Jerome Mahoney, Doug Edge and Terry O'Shea. The work of several younger artists who investigate the qualities of synthetic materials, including Eric Johnson, Lisa Bartleson, Andy Moses, Alex Couwenberg, Ann Marie Rousseau, Ruth Pastine, Phlip K. Smith, Gisela Colon and Eric Zamitt, will augment the main part of the exhibition. In effect, "Smooth Operations" will be the first post-Pacific Standard Time exhibition in southern California, opening only days after the official end of the Getty's vast historic initiative but continuing in the spirit o fthat initiative. Like PST, "Smooth Operations" examines aspects of modernism in southern California and their implications for contmeporary artistic practice and scholarship. The Painted Desert The Painted Desert represents diverse perspectives, interpretations and techniques addressing the dessert as subject. This show celebrates its artistic traditions both through process and concept. Paintings by artists Dennis Calaba, Cole Case, Todd Cooper, Jorg Dubin, Robert Dunahay, Smantha Fields, Richard Gallego, Kris Holladay, Christine Kline, Glen Knowles, Ellie Korn, Gregory Martin, Al Miller, Donnie Molls, Debbie Nelson, Ann Sly, Gerald Strangio, Sal Vasquez, Donna Weil and Andre Yi will grace the second floor of MOAH. Indians, Gold Miners and Gunslingers "In small things forgotten..." writes American archaeologist James Deetz, we remember our past. It is in the seemingly insignificant remnants of daily life that we can reconstruct teh history of a people. We can learn their values, derive their prosperity and visit the essence of their existence. In the beginning, Lancaster was a rough and tumble stagecoach and whistle stop thorugh the upper Mojave Desert for weary travelers on their way south toward the Los Angeles Basin or norht toward the San Joaquin Valley. Driving through the City of Lancaster today, it is difficult to imagine a time when Indians populated the landscape, gold mining was a profession and gun slinging was a means of survival. However, prior to 1930, a way of life in Lancaster, CA could be described as just this. Outpost, stagecoach stop, railroad stop, frontier—these are all words that described the area that would be Lancaster prior to 1930. Lancaster was part of the Old West. Come enjoy a brief look back at the people and industry of our predecessors, the things they left behind and the legacy they leave us. As you contemplate the history of Lancaster in the Old West the goal is that you will come away with an appreciation for what life wa like in the past and what it is today. The artifacts and photos of a time gone by seem to say, "Don't read what we have written, see what we have done". (James Deetz) Smooth Desert Gold View or Download the Grand Opening Exhibition Catalog by clicking on the cover image or here.

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Up The Forest for the Trees Various Artists Artists: Sant Khalsa, Constance Mallinson, Greg Rose, Timothy Robert Smith, High & Dry, Robert Dunahay Forest for the Trees is comprised of five exhibitions addressing the complex relationships between people and the living and built environments they inhabit, specifically focusing on humans’ symbiotic connection to trees. Featured in the Main Gallery at MOAH is a survey of work documented over the course of eight years by artist Greg Rose. Featured in the South Gallery is 40 plus years of work by Sant Khalsa. With solo exhibition by Constance Mallinson, site specific installations by artists Timothy R. Smith and High & Dry, a collaboration between Osceola Refetoff and Christopher Langley. Each of the artists explore the environment and the impacts, both positive and negative, that humans have upon it. Greg Rose’s work documents his, nearly decade long, excursions into the San Gabriel Mountains as he catalogs, analyzes, and paints various trees across the forest. Sant Khalsa’s, Prana, brings together work from her more than forty years as an artist, examining humanity’s existence within nature, specifically their connection to trees. Constance Mallinson’s work takes a closer look at the massive amounts of material waste that humans generate, magnifying the remains of landfills and garbage “patches” by painting them on oversized canvases. Timothy R. Smith is constructing a site specific installation regarding the built environment that will span two stories and multiple exhibition spaces. High & Dry’s dispatches takes a look at humans and their impact on the environment, specifically concerning the Mojave Desert region and what we leave behind as a culture. Joining Forest for the Trees at MOAH:CEDAR on Saturday, June 16 from 6 to 8 p.m. is artist Miya Ando. Inspired by her upbringing, Ando’s installation will transport visitors to the redwood forests of northern California. High & Dry LAND ARTIFACTS High & Dry comprises a long-term exploration of the California desert and the people who live there. Balancing images and words with the personal and historical, the cross-platform collaboration between photographer Osceola Refetoff and writer/historian Christopher Langley focuses on the remnants and future of human activity across these vast open spaces, territory that has traditionally been used for resource extraction, toxic dumping and military exercises, and currently faces a future dominated by immense wind and solar arrays. The exhibit Land Artifacts examines the things we leave behind and what they reveal about ourselves, our past and our future. Nowhere are these instructive legacies and endowments more exposed than in the barren California desert. Whether from ruins, artifacts, memorials and/or waste, there is much we can learn about lives, attitudes and the things that we value. It has been said that we borrow our land from our grandchildren. What legacy do you want to leave? Osceola Refetoff’s interest is in documenting humanity’s impact on the world – both the intersection of nature and industry, and the narratives of the people living at those crossroads. The landscape photographs in Land Artifacts are infrared exposures, which accentuate the raw intensity of vast arid spaces and the graphic relationship between land and sky. Though Refetoff does not work exclusively in black and white, what links the diverse forms of his practice is his commitment to render not only what a place looks like, but also how it feels to be there. To that end, his black and white infrared photographs tap into classic historical and visual tropes from the medium’s earliest days, confronting evolving questions of truth, beauty, dispassion, reportage and artistry that have always been a part of how photography functions in our culture. Christopher Langley, a life-long educator, has lived in and studied the Mojave Desert for more than forty-five years. Working as a film historian, founder of the Museum of Western Film History in Lone Pine and Inyo County Film Commissioner, he focuses on the desert’s complex relationship with cinema, and how land plays an essential role in the story of our lives. Co-founder of the Alabama Hills Stewardship Group, Langley’s environmental advocacy has won the National Conservation Cooperation Award. His writing is widely syndicated and includes three books on California’s arid landscape. High & Dry is a regular feature on KCET’s Emmy-winning program Artbound. Greg Rose Tree Fiction Greg Rose has been documenting individual trees and the changes they undergo for the past eight years. It began while taking regular hiking trips through the San Gabriel Mountains. He started noticing the trees of this region were made rugged from enduring extreme weather conditions. Over time, he began regarding the trees by their individual characteristics and started to document them. First he maps, illustrates and photographs the trees, then he paints them. In his series, Tree Fiction , Greg Rose presents detailed gouache renderings of trees which he has isolated in a plane of vibrant gradients. His work takes on the quality of a narrative, mirroring both the tension and sense of connection one may find in their own life such as within families and other relationships. The titles of each painting suggests a variety of complicated exchanges between the trees like characters in a play. Greg Rose is most interested in the concept of change and how much change trees undergo throughout their lifetime, particularly in regard to wildfires. Greg Rose is a Los Angeles based artist with a Bachelor of Fine Arts degree in drawing and painting from California State University, Long Beach, California and a Master of Fine Arts degree in drawing and painting from Claremont Graduate University, Claremont, California. Greg Rose has been exhibited in both group and solo shows in California, New York, Texas, Missouri and Columbia and has been featured in a number of publications including Artillery magazine, The Huffington Post, Artweek, Los Angeles Times, LA Weekly, San Francisco Chronicle and more. Sant Khalsa Prana: Life with Trees Sant Khalsa is an artist and activist whose projects develop from her impassioned inquiry into the nature of place and complex environmental and societal issues. Her artworks create a contemplative space where one can sense the subtle and profound connections between themselves and the natural world. The subject of trees has been a focus in Sant Khalsa’s creative work for nearly five decades. Prana: Life with Trees is the first in depth survey of Khalsa’s intimate connection with trees – her explorations, observations, perceptions and interpretations. Her unique perspective is expressed through a style that encompasses the documentary, subjective and conceptual. Her work evokes a meditative calm to what we often experience as a chaotic and conflicted world. Khalsa is concerned with both the micro and macro aspects of forests: what is seen and unseen; historical, scientific and spiritual; and personal and universal. She is mindful of our symbiotic relationship with trees and forests, grounded in the life-sustaining connection through the breath (exchange of carbon dioxide and oxygen). Her beautiful, distinctive and sometime disquieting works express the cycle of life (birth, life, death and rebirth), the destruction and memory of the forest, as well as the promise of new growth. The exhibition includes her earliest landscapes (self-portraits and photographs of orange groves); images of trees from her three decades photographing in the Santa Ana Watershed and other locations in the American West; and mixed-media sculptures and installation works inspired by her research on air quality and life-changing experience planting more than a thousand trees in 1992 as part of the reforestation of Holcomb Valley in the San Bernardino Mountains. In her recent color photographs, we witness the fruits of her activism, a healthy, thriving and hopeful forest eco-system. Sant Khalsa’s artworks are widely exhibited internationally, collected by prestigious museums including the Los Angeles County Museum of Art, Nevada Museum of Art and Center for Creative Photography in Tucson and published in numerous art books and periodicals. Khalsa is a recipient of prestigious fellowships, awards and grants from the National Endowment for the Arts, California Arts Council, California Council for the Humanities and others. She is a Professor of Art, Emerita at California State University, San Bernardino and resides in Joshua Tree. Constance Mallinson ME, ME, ME Constance Mallinson depicts monumental assortments of post-consumer items that are reminiscent of trash dumps, ocean gyres and urban alleyways. Her art unveils the complexities and moral dilemmas of living in a technological, consumerist, disposable world as humans simultaneously contribute to its demise. Evoking the past, present and future, the content of her work examines the complexities and moral dilemmas that come with living in an imprudent consumerist culture. Post-apocalyptic, darkly humorous, critical and celebratory at once, Mallinson’s images of degraded commodities situate the viewer in a provocative endgame. Mallinson’s art features paintings composed from both natural and manufactured waste that the artist has collected from the streets on her daily walks through her neighborhood. The discarded contents found on city streets are not often associated with the sublime, but in Constance Mallinson’s paintings, they are rendered at a disturbing scale. Decaying plant materials and a fantastical assortment of post-consumer items are deftly interwoven. The rich details, dazzling color, variety of objects and interplay of forms nod towards 17th century Dutch still life painting as well as Cubist collage. Mallinson renders kitsch advertising images in an Old Masters technique with an underlying desire to push for a newer paradigm that reflects globalism and awareness to the threatening of the world’s ecosystems by population, industry and pollution. In their scale and execution her art pieces have been appreciated for their ability to simultaneously seduce and deliver a critique and to share a continuing relevance for painting in an era of ubiquitous mass media. Constance Mallinson received a Bachelor of Fine Arts degree from the University of Georgia and has exhibited her work throughout California. In addition to her recent commission for the EXPO Line MTA Bergamot Station permanent artwork installation, she has designed a poster for the MTA Red Line, been a finalist for a mural for the California Supreme Court in San Francisco and numerous libraries in Southern California. Mallinson has taught at many universities and colleges in Southern California including University of California, Los Angeles and Claremont Graduate School. She was the recipient of the National Endowment for the Arts Fellowship as well as the City of Los Angeles’ Artist Grant. Many of Constance Mallison’s paintings can also be viewed in major private and public art collections including LACMA and the San Jose Museum. Timothy Robert Smith Revised Maps of the Present Timothy Robert Smith is a Los Angeles based oil painter and muralist interested in multi-dimensionalism, which he describes as an attempt to understand how one’s personal experience in the world fits into the greater picture of the universe. Smith’s work does not replicate reality as we perceive it, but rather asks the viewer to consider the realities they do not see, questioning the realness of their perspective both visually and metaphysically. Revised Maps of the Present is a multi-room interactive installation that combines painted walls, sculpted figures, lights, sound and video projections. The installation begins with the scene of a train station in a city. As the observer moves through the installation, layers of reality disconnect and unfold into a labyrinth of warped angles, hidden spatial dimensions and alternative versions of the present. The installation aims to simulate a present moment as if one were to view it from all perspectives at once. The installation as seen here at MOAH is the first incarnation of this exhibit. With each new installment hereafter, Revised Maps of the Present will reconfigure and expand with added rooms and features. Timothy Robert Smith invites the viewer to reexamine the world without their familiar mental filter and to see again as a child sees: enormous, mysterious and full of possibilities. Timothy Robert Smith received a Bachelor of Fine Arts degree in studio art from California State University Los Angeles and a Masters of Fine Arts degree for studio art from Laguna College of Art and Design. He also teaches at Laguna College of Art and Design, California State University Long Beach, California State University Los Angeles and Saddleback College. Timothy Robert Smith has also been featured in various media outlets including Juxtapoz Magazine and NBC News and his paintings have shown in solo exhibitions at TEDx Conferences and Copro Gallery in Santa Monica, California. Robert Dunahay He Man Distinguished patrons worldwide collect Robert Dunahay’s art including the Royal Family Al Thani of Qatar, Baroness Monica Von Neumann of Switzerland and celebrities Pierce Brosnan, Kelsey Grammer and Linda Hamilton. His work is part of the corporate collections for Pepperdine University, The Financial Times, The Packard Foundation and the W Hotel. Dunahay is most known for his Palm Series of paintings depicting grand-scale palm trees in vibrant colors. By depicting his subject in face-to-face portraiture style on a solid background, he replaces traditional references to landscape with the transcendentalism of iconography. American artist Robert Charles Dunahay currently lives and works in Palm Springs, California. May 12 - July 15, 2018 Back to list

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

Edward Lee < Back Desertion By Edward Lee Darkness. I don’t know how I got here. I don’t want to be here. The first few months of my life. Easily the worst part of my life. No not easily, my whole life was bad. Very bad. From what I can remember, I was dehydrating most of the time in the soil. Only getting a load of water from the soil that seems to snatch the water away until it finally lets me have its leftovers. Those times were hard, but at the same time, it was a very short time. I remember when I first saw the light, the light that has fed me, made me beg for something to end me, crush me, and take me back into the soil, but I yearned for it when it disappeared beyond the mountains. I remember I continued to grow, my roots swirling and twisting the soil that took so much from me. But, as I grew taller to my mother’s carcass, her leaves started falling around like me like she was weeping. I then realized the emptiness that surrounded me, brown stretching as far as I can see, wrinkled and dead plants, just like me, lay periodically between the endless brown. I realized then, that the soil I hated so much, was just like me, laying in a world we knew so little about. Endless days and nights. But, life wasn’t always so endless. As I grew taller, I saw the endless brown in front of me change. Creatures. There they were so happy and energetic. They were very different from the big and small furry creatures. They seemed to love life. Something that I yearned for. As more time passed I saw more of these creatures and while I continued to wrinkle, worried about the text time the water would come and feed me, I saw those creatures become happier and happier. I wonder what was missing from my life that prevented me from feeling what they seem to be feeling. It's no matter. I can already feel some of my leaves falling, shrinking into a carcass like my mothers. Why do I even care? I am not sentient. I shouldn’t even have these feelings to begin with. But, Happiness. What a joyous looking thing. Previous Next

1. The Bell X-2 Starbuster was a rocket-powered, swept-wing research aircraft designed to investigate the structural effects of aerodynamic heating as well as stability and control effectiveness at high speeds and altitudes. The program was developed jointly in 1945 by Bell Aircraft Corporation, the U.S. Air Force and the National Advisory Committee for Aeronautics (NACA) to explore aerodynamic problems of supersonic flight and to expand the speed and altitude regimes obtained with the earlier X-1 series of research aircraft.. 2. Convair F-102 Delta Dagger on ramp at Edwards Air Force Base. The Delta Dagger was part of the backbone of the United States Air Force's air defenses in the late 1950s. Entering service in 1956, its main purpose was to intercept invading Soviet strategic bomber fleets during the Cold War. 3. Air Force test pilot Arthur "Kit" Murray, posing in front of the Douglas X-3 Stiletto at Edwards Air Force Base, 1956. Murray was the first test pilot to be permanently assigned to Muroc Army Air Field (later, Edwards Air Force Base). Other test pilots, such as Captain Chuck Yeager, were assigned to Wright Field and traveled to Muroc as necessary. •Bell X-2 Starbuster •Convair YF-102 Delta Dagger on ramp at Edwards Air Force Base •Air Force test pilot Arthur "Kit" Murray posing in front of the Douglas X-3 Stiletto 1/1 1. Bell X-2 Starbuster, c. 1955 Photographic Print 2012.999.54 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 2. Convair YF-102 Delta Dagger on ramp at Edwards Air Force Base, 1955 Photographic Print 2012.999.45 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 3. Air Force test pilot Arthur "Kit" Murray posing in front of the Douglas X-3 Stiletto, 1956 Photographic Print 2012.999.47.01 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 1. The Bell X-2 Starbuster was a rocket-powered, swept-wing research aircraft designed to investigate the structural effects of aerodynamic heating as well as stability and control effectiveness at high speeds and altitudes. The program was developed jointly in 1945 by Bell Aircraft Corporation, the U.S. Air Force and the National Advisory Committee for Aeronautics (NACA) to explore aerodynamic problems of supersonic flight and to expand the speed and altitude regimes obtained with the earlier X-1 series of research aircraft.. 2. Convair F-102 Delta Dagger on ramp at Edwards Air Force Base. The Delta Dagger was part of the backbone of the United States Air Force's air defenses in the late 1950s. Entering service in 1956, its main purpose was to intercept invading Soviet strategic bomber fleets during the Cold War. 3. Air Force test pilot Arthur "Kit" Murray, posing in front of the Douglas X-3 Stiletto at Edwards Air Force Base, 1956. Murray was the first test pilot to be permanently assigned to Muroc Army Air Field (later, Edwards Air Force Base). Other test pilots, such as Captain Chuck Yeager, were assigned to Wright Field and traveled to Muroc as necessary.

Look up information and photos of past Lancaster Museum of Art and History exhibitions. MOAH ARCHIVE < Return to Exhibitions 2022 What Would You Say? 01/22/22 - 04/17/22 Activist Graphics from the Los Angeles County Museum of Art Activation 01/22/22 - 04/17/22 Mark Steven Greenfield, April Bey, Paul Stephen Benjamin, Carla Jay Harris, and Keith Collins 2021 Structure 10/02/21 - 12/26/21 One Exhibit; Nine Unique Artists - HK Zamani, Cinta Vidal, Jim Richard, Kimberly Brooks, Chelsea Dean, Mela M, Matjames Metson, Coleen Sterritt, Stevie Love Shelley Heffler 06/05/21 - 09/05/21 "We Are Home" David Koeth 06/05/21 - 09/05/21 "Citrus Series" NASA Armstrong Flight Research Center 75th Anniversary 06/05/21 - 09/05/21 Cudra Clover 06/05/21 - 09/05/21 "Hysteria" Golden Hour: Images from the Museum of Art & History's permanent collection 01/23/21 - 05/09/21 Darryl Curran, Sheila Pinkel, Nancy Webber, Osceola Refetoff, Naida Osline, and Thomas McGovern Show More 2020 The Light of Space 02/08/20 - 04/19/20 Laddie John Dill, Jay Mark Johnson, Kysa Johnson, Shana Mabari, Mary Anna Pomonis, Robert Standish, Gary Lang, Edwin Vasquez, Jeff Frost #CountMeIn: 2020 Census Project 05/09/20 -12/27/20 Robin Rosenthal, Jane Szabo, Nuri Amanatullah, Clovis Blackwell, Edwin Vasquez, Art in Residence A.I.R The New Vanguard III 09/12/20 - 12/27/20 Kayla Mahaffey, Inga Guzyte, Kathy Ager, Alex Garant, Kevin Peterson, Spencer Little, Robin Rosenthal, Jane Szabo, Edwin Vasquez, Nuri Amanatullah 2019 Peace On Earth 1/26/19 - 4/21/19 David Adey, Tami Bahat, Clayton Campbell, Catherine Coan, Emily Ding, Nancy Evans, Jane Fisher, Matthew Floriani, Simone Gad, James Griffith, Laurie Hassold, Chie Hitotsuyama, Kim Kimbro, Debbie Korbel, Laura Larson, Emily Maddigan, Luke Matjas, Zachary Mendoza, Jen Meyer, Lori Michelon, Cynthia Minet, Bobbie Moline-Kramer, Stephen O’Donnell, Lori Pond, Robb Putnam , Margo Ray, Samuelle Richardson, Laurie Sumiye, Devin Thor, Scott Yoell Woven Stories 05/11/19 - 07/21/19 Ray Beldner, Elisabeth Higgins O’Connor, Victoria Potrovitza, Katherine Stocking-Lopez, Nicola Vruwink, Rebecca Campbell, Peter Hiers, R.Rex Parris High School, Meriel Stern, Victor Wilde LA Painting 8/10-19 - 10/20/19 LA Painting guest curated by Cooper Johnson Five Year Survey, David Allan Peters, Erika Lizée, Circle of Truth Photography: Beyond the Surface 11/09/19 - 1/12/2020 Matthew Finley, Rob Grad, John Peralta, Melanie Pullen, Christopher Russell, Joni Sternbach, Rodrigo Valenzuela, Kira Vollman, & Selections from the Permanent Collection 2018 Imagen Angeleno 11/11/17 - 01/14/18 Dark Progressivism, Abel Alejandre, Ana Rodriguez, Ken Gonzales-Day, Linda Vallejo It Takes a Village 02/10/18 - 04/22/18 Betye Saar, Alison Saar, Lezley Saar, Wyatt Kenneth Coleman, Richard S. Chow, Lisa Bartleson, Scott Yoell, Jane Szabo, Rebecca Campbell The Forest for the Trees 05/12/18 - 07/15/18 Sant Khalsa, Constance Mallinson, Greg Rose, Timothy Robert Smith, High & Dry, Robert Dunahay The Robot Show 08/04/18 - 09/26/18 Dave Pressler, Jeff Soto, Cristopher Cichocki, Chenhung Chen, Alex Kritselis, Robert Nelson, Karen Hochman Brown & Patrick McGillligan The New Vanguard II 10/21-12/31/18 Sandra Chevrier, Seth Armstrong, Craig 'Skibs' Barker, Brooks Salzwedel, Andrew Hem, Dan Witz, HOT TEA, Isaac Cordal, Jaune, Laurence Vallieres, Spenser Little 2017 Makers & Movers 2/11 - 4/16/17 Charles Hollis Jones, Chris Franci, David Jang, Lisa Schulte, Lori Cozen-Geller, Sedi Pak, Terry Cervantes Made in the Mojave 5/13 - 07/30/17 Samantha Fields, Kim Stringfellow, Carol Es, Catherine Ruane, Marthe Aponte, Nicolas Shake, Ron Pinkerton, Aline Mare, Randi Hokett Estate Italiana 8/26 - 10/22/17 Alex Pinna, Antonella Masetti, Carla Viparelli, Carlo Marcucci, Marco Casentini, Max Coppeta, Nicola Evangelisti 2016 British Invasion 11/19/16 - 1/22/17 Andrew Hall, Caroline PM Jones, Colin Gray, David Eddington, David Hockney, Dave Smith, Derek Boshier, Eleanor Wood, Gordon Senior, Graham Moore, James Scott, Jane Callister, Jeremy Kidd, Jon Measures, Kate Savage, Max Presneill, Nathaniel Mellors, Philip Argent, Philip Vaughan, Rhea O’Neill, Roni Stretch, Sarah Danays, Shiva Aliabadi, Siobhan McClure, Trevor Norris Green Revolution 2/13 - 4/17/16 Jeremy Kidd, Lynn Aldrich, Fawn Rogers, Charles Hood, Christine Mugnolo, Coleen Sterritt, Ann Weber, LAGI, HCA Artist As Subject 5/7 - 7/24/16 Rebecca Campbell, Andrew Frieder, Kent Anderson Butler, Eric Minh Swenson, Jane Szabo, Nataša Prosenc Stearns Made in America 8/13 - 10/30/16 NASA Flight Research: Probing the Sky, MOAH Collections 30th Anniversary Exhibition, Astronaut Karen Nyberg, Scott Listfield, Gerald Clarke, The New Vanguard, Daniel Albrigo, Jae Young Kim 2015 Legacy 1/24 - 3/15/15 Eric Johnson, Craig Kauffman, Dewain Valentine, John Paul Jones, Tony DeLap, Tom Jenkins, Lisa Bartleson, Jennifer Faist, Andrew Benson, R. Nelson Parrish, Charles Dickson 2015 Juried 4/2 - 4/26/15 Synthesis: 30th All-Media Juried Art Exhibition, 30th Annual All-Media High School Art Exhibition & Educators' Art Exhibition Flora 5/9 - 6/28/15 Nancy Macko, Terry Arena, Gary Brewer, Debi Cable, Candice Gawnw, Lisa Schulte, Mud Baron, Jamie Sweetman, Guest Curator Dr. Bruce Love Play.Create.Collect 7/18 - 9/6/15 Guest Curators Julie B. & Heidi Johnson, Davis & Davis, Moshe Elimelech, Thumberdome, Woes Martin, Teddy Kelly, Hueman, HCA Myths & Legends 10/4 - 11/15/15 Guest Curator Wendy Sherman, Michael Aschenbrenner, Judy Csotsis, Marissa Quinn, Jeremie D. Riggleman, Jonas N.T. Becker, Tina Dille, Seamus Conley Vanity 12/5/15 - 1/24/16 Justin Bower, Roni Stretch, Austin Young, Shana Mabari, Laura Larson, Leigh Salgado, Tina Dorff, Ted Meyer 2014 Colorimetry 1/18/13 - 3/16/14 Ruth Pastine, Gisela Colon, John Eden, Johannes Girardoni, Philip K Smith, Karl Benjamin, Dion Johnson, Innovations Juried Exhibition Spring 2014 3/29 - 6/8/14 29th High School Art Exhibition, YiKai, Brad Howe, Andrew Frieder Spirit of Summer 6/21 - 8/31/14 Selections from the Herbie Fletcher Collection, Coop, Douglas McCulloh & Jacques Garnier, Artist of the film Mana, Allison Renshaw, Thumperdome, John Van Hamersveld Hispanic Heritage 9/13 -11/9/14 Guillermo Bert, Juan Delgado & Thomas McGovern, Linda Vallejo, Johnny Nicoloro, Luis Fileto, Andrea Kraus, Leslie Mazoch, Omar Mireles, Libby Wendt & Robin Rosenthal From the Desert to the Sea 11/22/14 - 1/11/15 Guest Curator Sant Khalsa, Carol Sears, Hollis Cooper, Kim Abeles, Julius Eastman, Jill Sykes, Kelly Berg 2013 Winter 2013 12/6/12 - 3/7/13 (Dates Vary): Ann Marie Rousseau, Cuppetelli/Mendoza, Nike Schröderz, Gisela Colón, Megan Geckler, Chris Trueman, 28th Annual AVHUSC Art Exhibition Spring 2013 3/16 - 5/11/13 (Dates Vary) Gary Lang, Jorg Dubin, Guillermo Bert, Susan Sironi, Thomas McGovern, Danial Nord Bloom 5/11 - 6/29/13 Cole Case, Amir H. Fallah, Penelope Gottlieb, Roland Reiss, Sharon Suhovy, Elena Manferdini, Jennifer Vanderpool, Kathleen Elliot, Janice Tieken, Susan Sironi, Rebecca Niederlander Autumn 2013 8/3 - 10/13/13 Guest Curators Tyler Stallings & Marko Peljhan, Tim Youd, Rebecca Trawich, Jorg Dubin The Frostig Collection & More 10/29/13 - 1/5/14 The Artists of the Frostig Collection, Lou Swenson, Bradford J. Salamon, The Artists of the Open Studio, Christoff Van Kooning 2012 Grand Opening 5/5 - 8/18/12 (Dates Vary) Smooth Operations, The Painted Desert, Indians, Gold Miners and Gunslingers Autumn 2012 8/9- 10/22/12 (Dates Vary) Gregory Martin, Sally Egan & Amy Bystedt, Mercedes Helnwein, Lakes and Valleys Art Guild, Jennifer Glass Holiday 2012 9/29/12 - 1/1/13 (Dates Vary) Jennifer Glass, Ann Marie Rousseau, Selections from the Accatino Collection, David and Kazumi Svenson, Gary Baseman

2021 < View Public Art Projects Paleolithic Herd by Devin Thor 2021 Permanent Art Project Devin Thor presents three pieces from his raw, unique stone works that make extinct paleolithic creatures live again as a life-size sculptural herd. The use of material makes these flat works fascinating in texture as well as image. In the use of color (russet, gold, brown) and material (sandstone, rebar, and found/discarded materials), they appear as if they arose from the earth itself. The herd, which includes a buck, a doe, and a fawn, makes extinct creatures live again. Seeming tribal in nature, their beautiful simplicity serves as an elegy to the losses of the past, and a pristine prayer for a better future. According to Thor, his paleolithic creatures are “ a homage to our prehistoric ancestors, but also an exploration of the global influence of humans on our environment…” adding that “modern humans have modified the planet and now must take on a stewardship role, otherwise we might face extinction ourselves.” Thor is a geologist as well as an artist, which is likely a reason for his choice of material. The rough brown surface creates an elegant but primal visual perspective, representing a tribute to the beings themselves and the land where they once roamed. His minimal approach is relatable with an easily recognizable shape and universal figures that open the world of the past with hope for tomorrow. A poignant reminder that despite the bulk and weighty purpose of these beings, they were too fragile to survive in the end representing a cautionary tale for the preservation of many species including our own.

Land and Image: Chris Engman, 2002-2022 < Back Chris Engman Land and Image: Chris Engman, 2002-2022 May 14 - August 21, 2022 1/4 Previous Next Born and raised in Seattle, Washington, Los Angeles-based photographer Chris Engman spent his earlier years with an appreciation for nature, art, and travel. Throughout his undergraduate career Engman continued to travel from his studio in Seattle to the desert landscapes in eastern Washington, Oregon, and Nevada, collecting materials and building photography sets in Seattle and relocating them to the desert. Over the past two decades, Engman has dedicated his art to understanding how images deceive the eye and the human need to make sense of visual perception. Engman’s photography, at first glance, appears normal, yet, under careful examination, viewers become aware of the optical illusion and begin to question the constructed image. Engman’s twenty-year practice is grounded in research and conceptual thought. He documents remnants of labor and the juxtaposition of human material and vast landscape through sculpture and photography. He explains, “My constructions are not sculptures in the traditional sense. They’re just vehicles to reveal a process that is focused on experiencing time and understanding what photographs do – or don’t do. . .” Chris Engman was born in Seattle, WA. He currently lives and works in Los Angeles, California. He earned an MFA from the University of Southern California in 2013, and a BFA from the University of Washington in 2003. His work has been shown widely in the United States and Europe including at Luis De Jesus Los Angeles, Greg Kucera Gallery in Seattle, Henry Art Gallery, The Seattle Art Museum, Institute for Contemporary Art in San Jose, Museum of Photographic Arts in San Diego, Museum of Fine Arts in Houston, Clair Gallerie in Munich, 68 Projects in Berlin, Project B in Milan, and Flowers Gallery in London. His work is featured in numerous public and private collections including Orange County Art Museum, The Henry Gallery, Seattle Art Museum, Houston Fine Arts Museum, Covington Library, Microsoft, and the Elton John Collection. Engman is represented by Luis De Jesus Los Angeles and in Seattle by Greg Kucera Gallery.

Samantha Martinez < Back Rosemary By Samantha Martinez Name Rosemary, Rosemary they say originally from the Mediterranean which in Latin means dew of the sea. Date of entry unknown: I remember being sprouted from a tough, dry ground, only receiving water once in a while, allowing me to expand my roots slowly. Around me were my three older plants, and later on, the pitiful woman I call mother gave birth to seven more despite my pleas. I would plead to her to stop sprouting because we were poor, POOR something she could not grasp. I was forced to take root much faster than my family as I was in charge of nourishing my siblings and washing their aromatic leaves, feeling how they were connected by a delicate stem pricking myself each time. However, after 21 years, I had my own seed to worry about. I still remember coming home each day, being unnourished from traveling miles in a pot, somehow finding my way home each time only to find that there was no food in the garden knowing better than to ask my mother plant I would withhold the pain I felt in my stem. The only thing my son received daily when in my womb was water and the nutrients my soil provided me with. In two years’ time, my sunshine was pulled away from me; I was being ripped away from my sprout by a man who picked me up from my roots and confined me until we reached what was known as “ the land where dreams came true.” I had made it; I had escaped my poverty but at what cost. The cost of leaving my tiny sprout behind with the motherly plant I hated? With the plant, I had promised to shelter him from? NO, NO, I could not accept this reality, so I went back, back, back on my own terms. I remember hiding through the bushes that seemed familiar, the sunshine that became the fear of being caught, the abuse I had to withstand each day ripping my long, skinny, and once beautiful leaves from my stem, allowing me to feel each emotion and temperature brush my skin. Then when I had given up all hope, I started to smell an air that I had grown to find comforting; I had made it, I made it back to my land to see my bud. Forwarding a couple of months, the MAN returned, pleading for me to grab my once rejected bud and go back to America. My innocent and fragile self back then thought it was the best thing to do. So I go back except this time my flowerlet is feeling the way the dirt becomes an accessory on our delicate green leaves, how the ground goes from cold to hot from dry to wet—counting the days that would go by, by taking note of when the sun rose and when it set. In a week’s time, we made it; I had successively done the impossible Twice. Nevertheless, life was not all sunshine and daisies but more like pouring rain and thunder. I was getting physically and mentally abused by this MAN who swore he was going to change. Plumule, my plumule, was asking for a sister because he felt lonely and unwanted, but I had learned from my momma plants flaws. I had learned not to bring an innocent seed into a world full of neglect. Then my Plumule told me something that shattered my heart; he missed his “mom,” he missed the motherly plant I had grown to hate. So we returned, we went back to the tunnels of darkness, the place where chills ran up and down your peduncle no matter the weather. The mountains that stunk of fear and desperation reminding me of my once comforting smell of bitterness with a slight sweetness. An aroma that would start to burn if you stood and smelt it for too long. Again my bud and I found ourselves in our Tierra, Linda, y Querida (land), and this time; I promised myself that I would start a life in the land I wanted to escape from so severely. But it is said that once you see shadows, they will never leave your side, and in 6 months, the man returned, and I was back by his side in the promised land. Again how could I be so naive to believe his trancing words? He would leave for months on end, leaving me alone in a tiny room in a city I did not know with no nourishment and no one to talk to. It got so bad that I felt as though I was shriveling and drying up in the corner I called home. One thing, however, did stay true about my promise to myself, and that was never neglecting my flowerlet as my mother plant did to me, which is why for ten years, I would attempt the impossible just to see my plumule for a few weeks until his wish came true and my daughter sprout was born. She was born, and the bud who wished for her so badly could not enjoy the blessing God gave me. He gave me this blessing to have someone to talk to in my solidarity and a guardian angel to guide me through my torment life. Always remember my kids the Name is rosemary, rosemary they say originally from the Mediterranean, which in Latin means dew of the sea. A journal that is written using the stories my vigorous mother told at “storytime.” By the daughter that became familiar with neglect through a different path. Previous Next

An exhibition highlights the many achievements and accomplishments of the Armstrong Flight Research Center Up NASA Armstrong Flight Research Center 75th Anniversary NASA An exhibition highlights the many achievements and accomplishments of the Armstrong Flight Research Center The Armstrong Flight Research Center is approximately twenty-two miles northeast of Lancaster. The Armstrong Flight Research Center dates back to 1946, when thirteen engineers and technicians came from the Langley Memorial Aeronautical Laboratory in Hampton, Virginia to the Muroc Army Air Base presently known as the Edwards Air Force Base in Edwards, California. The migration to Edwards Air Force Base served to prepare for the first supersonic research flights by the X-1 rocket plane. From this project, Edwards Airforce Base established the Armstrong Flight Research Center. This year, 2021, marks the Armstrong Flight Research Center's seventy-fifth anniversary. This exhibition highlights the many achievements and accomplishments the Armstrong Flight Research Center has made possible for the aviation and aerospace field. Strategically and uniquely, the Armstrong Flight Research Center resides in the Antelope Valley area taking advantage of the year-round flying weather and over 300,000 acres of remote land with varied topography. The Armstrong Flight Research Center’s mission is to advance science and technology through flight research towards revolutionizing aviation and aerospace technology. This exhibition shines a light on the research and technological progression the Armstrong Flight Research Center has made in aerospace and aviation. The center has the amenities and expertise to analyze, maintain, and conduct flight research and tests on modified or unique research vehicles and systems. The Armstrong Flight Research Center facility is NASA's primary center for high-risk, atmospheric flight research and test projects. The objects on display are remnants of past programs and projects the Armstrong Flight Research Center conducted. June 5 – September 5, 2021 Back to list

Mission Statement As a community resource leader in the Greater Antelope Valley, the Lancaster Museum and Public Art Foundation fosters the diversity and richness of the region through collaborative support of programs celebrating arts, culture , and history. Learn more President Vice President/Treasurer Secretary Directors Directors Emeritus Administrative Assistant Nicole Christensen Michelle Shaver Donna Hill Andi Campognone Kara Avery De'Chane Yusef Leo Stallworth Steven Eglash Jocelyn Sanchez For more information on the Lancaster Museum & Public Art Foundation: Visit us online: LMPAF.org E-mail: LMPAF@cityoflancasterca.org Click to make a donation to the Lancaster Museum & Public Art Foundation: Support MOAH