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Up LA Painting Various Artists Five Year Survey curated by Cooper Johnson In MOAH’s Main Gallery, Five Year Survey , curated by Cooper Johnson features significant Los Angeles painters over the last five years. Its paintings range from socially-conscious figurative works to “pure” abstraction and everything in between. The exhibition exudes pure joy in paint as a material, with thick impasto brushwork, energetic mark-making, and bright, fresh color palettes. But paint isn’t the only material these artists utilize; photography, digital rendering, and printmaking all make their way into the work to break the mold of tradition and subvert expectations of what painting is and means. Five Year Survey is a cross-section of Los Angeles painting of the last five years, as exemplified by 15 artists who are moving the medium in new directions. Whether the artists of the survey pull from socio-political fray, bend the logic of composition, reinvigorate the mark, or push painting into the digital, all have a command of material and concept that enables multifaceted work. More importantly, their work reflects salient aspects of living in the present moment: an increased awareness of identity, hyper-connectedness and information abundance, and a heightened sensitivity to what is fake and what is real. And in this context, three themes emerge throughout the survey. First, many of the paintings in the survey address ideas surrounding identity. Taken together, these works suggest how identity can be viewed merely as a construct, but at the same time, the cause of serious issues concerning one’s experience. Something fabricated but nevertheless real. In Five Year Survey , identity is not about our physical features or inherent qualities, but is instead about the meanings we create for them, and store through object, symbol, and mark. And how those meanings, usually with historical and cultural momentum, are imposed, inflicted, or bestowed on each of us. Five Year Survey prompts us to consider not only how these attached meanings affect our day-to-day lives, but the inverse: whether there is something we truly are without our fabrications. A second theme throughout the survey is the use of paint to confuse how we define and experience what is “real.” Whether approaching the issue from painting’s tradition of illusion or its drift into the digital, these artists manipulate the mind’s natural functions, ranging from base-level sense-making to the desire to treat illusion as real. Artists handle this in a variety of ways in the survey. Objects in a landscape might be simultaneously revealed as staged—mere props in a diorama—but remain cloaked in the illusion of representation. Forms can be ambivalently representative and abstract, trigging the mind’s need to recognize patterns, but denying it certainty. The “space” in a painting may be structured to contain incompatible objects, forcing the mind to reconcile what shouldn’t exist in the same space. Even light itself, painted as textureless and pure as the sublime, lets slight deviations of the hand creep in. These works leave the viewer in seemingly contradictory states: experiencing the painting as “real,” but at the same time, hearing its confessions to the contrary. Third is the theme of plurality and purity in painting—paintings that do not zero in on any single concept, logic, or style, but are more interested in how different sets of rules can coexist in a single image. As seen over painting’s historical cycles of “purification” (and subsequent complication), narrowing down an image or process to its essence simultaneously constructs rules about the logic of its creation and interpretation. Although this isn’t new, the current trend away from “pure” painting seems to fit in the context of how technologically connected we are—not only do we have increasing access to a broader variety of work, but the role of the traditional gatekeepers is not as critical. In Five Year Survey , for example, this could include: charging geometric abstractions with agency or narrative; imbuing marks with more than the immediate movement or gesture, sometimes even elements of the painter’s identity; distorting the logic of the painting’s creation; nesting disparate styles within each other; or ironically adopting the rules of previous styles but conceptually contributing to them nonetheless. While Five Year Survey has no unifying concept, these three themes have similar analytical structures that inflect on, resonate with, and map onto the others. Whether it is our identity, our reality, or our rules of constructing images, the survey asks the viewer to explore the relationships we have with our own fabrications—the extent to which they only exist because we created them, and the extent to which we are nevertheless bound to them. Solo show DAVID ALLAN PETERS David Allan Peters creates work that explodes with countless layers of color and intricate texture, combining painting with sculptural hand-carved qualities. Diamonds, grids and circles create kaleidoscopic compositions that vibrantly explore geometry, intuition and chance. He has become known for his innovative process of building up material which is then peeled and cut away exposing what is below the initial surface, unveiling various colors at different depths. Peters sometimes works for 15 years on a single painting, painstakingly applying layer upon layer of acrylic paint and then cutting, scraping, sanding and carving into the layers to show the passage of time similar to the rings of a tree trunk. From the by-products of his paintings, Peters recycles the carved-out remnants into bricks forming minimalist installations. He pushes the limits of acrylic paint and the traditional painting processes, while dissolving the boundary between the second and third dimension. Rooted in the history of early West Coast abstraction, the genesis of Peters’ career was inspired by the dense layers found in other abstract artists such as Jay DeFeo. Continuously experimenting with pattern and diverse techniques, David Allan Peters’ latest body of work explores both the bold designs of Native American textiles and post-painterly, geometric abstractions. Peters received his Master of Fine Arts degree from Claremont Graduate University following his undergraduate at the Art Institute in San Francisco.The artist has been featured in WhiteWall magazine’s profile on the Anderson Collection as well as the Los Angeles Times, the Huffington Post, the New York Times and an artist profile in Elle Decor. Site Specific Installation ERIKA LIZÉE Site-specific installation Infinite Love/Flesh and Blood by Erika Lizée spans three floors in the MOAH atrium. Erika Lizée uses trompe l’oeil and sculptural acrylic painting to create images that seem to “react” to the actual light and shadows of the space in which they reside. Her magically biomorphic installations are strange yet familiar, and seem to recede behind the gallery wall and reach out toward the viewer simultaneously. Lizée imagines the wall surface as a symbolic threshold between different realms or states of existence. She is also inspired by Plato’s Allegory of the Cave, a tale of human perception and how our perceptions and experiences shape our personal reality. “The visionary function, which fulfills the soul’s need for placing itself in the vast scheme of things, has been suppressed, with the result that as a culture, we have lost the gift of vision,” states Lizée. She believes there is a “universal and ever-present urge for transcendence, for going beyond the mundane to experience the sublime. I hope to provide such an otherworldly experience.” Lizée’s recent body of work is based on her studies of the numbers 1 through 10 as well as sacred geometry. Infinite Love/Flesh and Blood at MOAH is inspired by the number 8, with visual references to the shape of the clematis flower, oxygen (the 8th element on the periodic table), musical octaves (there are eight notes in an octave) and the infinity symbol (which looks like a number “8”). Raised in a family of four and now having her own family of four, the number eight holds great symbolic power for Lizée as she reflects on love and life. Erika Lizée earned her Bachelor of Fine Arts degree in Painting from the University of North Carolina Asheville and her Master of Fine Arts degree in Painting from California State University Northridge. She is currently a tenured professor at Moorpark College and the Director of the Moorpark College Art Gallery. A Visual Game of “Telephone” 49 works of art created by 49 contemporary artists in absolute secrecy over a period of nine years. Laura Hipke and painter Shane Guffogg’s curatorial project Circle of Truth in the South Gallery is comprised of works by Ed Ruscha, Shane Guffogg, Billy Al Bengston, Lita Albuquerque, Jim Morphesis, Charles Arnoldi, Robert Williams, Ruth Weisberg and 41 other artists in a modern, visual take on a common childhood game “Telephone”. The Circle of Truth project opens a dialog regarding the nature of what is considered “truth”, and the inherent flaws of receiving and re-transmitting information from one person to the next. The process for the Circle of Truth project was simple: the first painting, created by Shane Guffogg, was delivered to a second artist in the Circle along with a blank canvas. The second artist was instructed to find the “truth” in the first painting and respond with their own creation. That painting was then passed on to the next artist. As a rule, each artist was asked to keep their participation a secret until the project was completed. Circle of Truth, launched in 2009, was completed in 2016 and includes paintings by 49 different participating artists, all of which come from a variety of backgrounds and utilize painting styles ranging from hyper-realism to pure abstraction. The paintings will be hung in chronological order so visitors can see the progression of the “truth” over time. Each artist was also asked to write an essay about their experience. Excerpts of the essays will be available in the exhibition catalogue titled Circle of Truth (available for purchase at MOAH) and can be autographed during the book-signing on September 7 at 1 p.m. Kaye Freeman in collaboration with Amy Kaps The Anatomy of a Painting Kaye Freeman in Collaboration with Amy Kaps: The Anatomy of a Painting , examines the performative act of applying paint while expanding the painting plane to include the Museum’s entire East Gallery. Kaps’ role as curator quickly morphed into that of cohort, catalyst and collaborator when she asked artist Kaye Freeman to participate in creating the immersive painting installation. Together, they explore the body in relation to the process and product of painting. The curatorial vision for The Anatomy of a Painting is to tell the story of “creation” from the artist’s point of view using Freeman’s bright color palette and intuitive brush marks. Inspired by Yves Klein’s Anthropometries, Freeman paints directly on Kaps’ nude body, using the human form as a mark-making tool. The installation is made complete with a performance by Amy Kaps in which she walks around the gallery as viewers tear pieces of artwork off her dress, gradually revealing a satin under-dress embellished with body prints, black and white photographs and gestural brush-strokes by Freeman. Kaye Freeman uses painting and drawing to “fold and unfold the myths that surround us like a cosmic origami”. Memories and shared emotions weave through her paintings, abstracted and reshaped again and again until an ineffable common humanity and truth is revealed. Kaye Freeman was born in Hong Kong, raised in downtown Tokyo and currently resides in Los Angeles, California. She has shown in solo and group exhibitions throughout Australia and southern California. Amy Kaps is an interdisciplinary artist in constant dialogue with her surroundings and those who inhabit it. Possessing a predilection for the abstract and surreal while emphasizing the human form and condition, she presents a psychological puzzle hoping to entice the viewer to question what they see. Kaps is a past Artist-in-Residence at the Museum of Art and History and completed a major installation at MOAH:CEDAR in 2018. She has worked in the realms of performance, installation, video, photography, music and words in the United States, Germany, Cuba and Spain. She currently lives in Venice, California. Selections from the Permanent Collection Selected highlights from Lancaster Museum of Art and History’s (MOAH) permanent collection are on display throughout LA Painting. The mission of the permanent collection is to celebrate the rich creative culture and history of southern California. As the Lancaster Museum of Art and History, we place great importance on being good stewards of the art of its collection by preserving and displaying artworks for the enjoyment and education of the public. MOAH emphasizes the support of emerging and established local artists that are significant to our region’s unique cultural perspective. Highlights from the permanent collection include works by: Craig “Skibs” Barker Billy Al Bengston Gary Brewer The Clayton Brothers Rebecca Campbell Alex Couwenberg Julius Eastman Renee Fox Dion Johnson Michael Jones Christine Kline Gary Lang Scott Listfield Stevie Love Bradford Salamon Andrew Schoultz Roni Stretch Tim Youd Eric Zammitt August 10 - October 20, 2019 Back to list

Up Celebrate the Lunar New Year Lorraine Bubar Back to list

Elyse PignoletHystericalPrimarily working in ceramics, artist Elyse Pignolet has been inspired by and dealt with various themes including political and social issues, the dialectic between feminism and misogyny, and cultural stereotypes. Often projects reflect the urban environment from where she lives and works. < Back Elyse Pignolet, No Gods, No Masters, Installation (wall) Elyse Pignolet, No Gods, No Masters, Mural Elyse Pignolet, No Gods, No Masters, Installation (wall) 1/2 Elyse Pignolet Hysterical Primarily working in ceramics, artist Elyse Pignolet has been inspired by and dealt with various themes including political and social issues, the dialectic between feminism and misogyny, and cultural stereotypes. Often projects reflect the urban environment from where she lives and works. Pignolet relates the traditions and permanence of ceramics to the turbulent and dynamic nature of the contemporary world. Her works span from individual sculptures to more intricate installations and public murals. While rooted in traditional aesthetics, Pignolet’s ceramic works subvert the typical expectations of the medium. Blue and white pottery typically associated with the events and narratives of a bygone era tell the stories of a more current time. The decorative floral and vine motifs that are accustomed to adorning these vessels mingle with text and images that are politically confrontational and unapologetic. Pignolet fuses ornamentation with declaration, calling attention to the many social issues that society faces today. Previous Next

2017 < View Public Art Projects #ArtOutDoorAV 2017 Temporary Art Project The Lancaster Museum of Art and History (MOAH) is thrilled to launch the #ARTOUTDOORAV Billboard Project from Monday, October 16, 2017, to Sunday, November 12, 2017. The #ARTOUTDOORAV Billboard Project is a joint campaign between Lamar Advertising, MOAH, and the Lancaster Museum and Public Art Foundation (LMPAF). The Museum invites local artists, and those who reside in the 5th Supervisorial District of Los Angeles County, to submit their work for consideration for a special outdoor exhibition. A panel of jurors will review the work. Selected artists will have the opportunity to exhibit their artwork on two billboards at selected locations in and around the City of Lancaster and the greater Antelope Valley region. This special outdoor exhibition will include 10 artists on a total of 20 billboards as part of MOAH’s fall programming.

Tahlia Campbell < Back This Was the End By Tahlia Campbell As I pushed my head up from beneath the soil, I felt the sun beating upon me, sun I was shocked to feel, my first question was where am I? The ground upon which I was living in was solid, it was dry and brittle, it was not what I was expecting. As time goes on I find myself making many friends, insects of all types, however, I seem to attract the bees the most. I could not smell anything but myself, I have a strong scent, a strong heavenly scent at that. As time goes by I find parts of myself being picked and taken back into the house that sits across from me. I see the large animals I hear are called humans through the house. They seem to take a delight in smelling me, and then using my scent, which is also my flavour, to cook with. I hope I bring them joy. When the humans take parts of me I do not mind, I have a thick trunk, it’s long and gnarly, and from that I have hundreds upon thousands of flowers and thick leaves growing from arms all along. I find myself sprouting and spreading increasingly each day. When the wind blows my flowers fall and as they fall I sprinkle my seeds allowing my offspring to grow in the other beds in the vicinity. I can grow to be broad and large-scale, however, I myself am not quite at that point yet. From where I sprout in my bed, I have a clear view of all that ascends around me, the chaos of the small humans, the fluffball I hear called dog seems to take delight in sniffing me and rolling around in my extensive branches, he sometimes leaves me bent and broken, but when the water sprinkles at nightfall I am able to repair myself. It is rather peculiar you see, sometimes I am only gifted water at dawn and nightfall, but on the rarest of occasions I find myself drowning in pools of water all around, I think this is what they call rain; we do not get it often but when we do I bask and flourish in the droplets. One day I awoke to the sound of something I had never heard before, I did not know what was happening but the world I knew had descended into chaos around me. The trees larger than me were dropping to the ground. The delicate flower bushes around me were dropping to the floor, I could see everything dying around me. I felt my flowers and saporous leaves being pulled from my arms, I could not fathom what was happening to me, I thought my qualities too valuable to be taken away from my home, evidently I was wrong. These are my final moments, I know it. Just as this thought occurred to me I felt my bed being disrupted, the desiccated soil around me flying up. My roots were removed, as they were taken from the earth I felt my last breathes being taken. This was the end. Previous Next

Elana MannBellows and QuakesThrough sculpture, sound, and community engagement, the artwork of artist Elana Mann explores the power of the collective voice and the politics of listening. Mann’s sculptures, resembling the horns and rattles prominent in musical instruments, serve to create, amplify, and embody sound. < Back Elana Mann, Unidentified Bright Objects Elana Mann, Bans Off Our Bodies Elana Mann, Bans Off Our Bodies Elana Mann, Unidentified Bright Objects 1/4 Elana Mann Bellows and Quakes Through sculpture, sound, and community engagement, the artwork of artist Elana Mann explores the power of the collective voice and the politics of listening. Mann’s sculptures, resembling the horns and rattles prominent in musical instruments, serve to create, amplify, and embody sound. The physical creation of sound and of hearing itself is an intangible discourse that is visualized through her artworks. For Mann, the act of listening can be a catalyst for social change. Her sonic sculptures, street protests and performances in galleries and museums produce a collective voice to enable social activism. These works generate a sonic link between art practice and civic action, providing visible symbology to connect the ephemeral and material power of sound. Previous Next

The Exhibition Census Block Map #countmein Blog photo gallery Artists in Residence Videos About the Census Every 10 years, the U.S. Census counts every resident in the nation. A complete and accurate count of California’s population is essential to the state. The Lancaster Museum of Art and History and the neighborhoods which immediately surround the Museum, historically, have had high Low Response Scores (LRS). Neighborhoods with Low Response Scores typically go undercounted and remain underrepresented and underfunded. For the first time, the Census participation will be conducted primarily through online self-responses instead of hard copy mailing efforts. This change has the potential to drastically impact state and county funding. Many critical factors can be barriers to participation in the Census including education, race, languages spoken, poverty level, homelessness, immigration status and level of trust. The Lancaster Museum of Art and History believes that change happens at the speed of trust. The Museum has found the best way to build trust between an organization and its community, breaking down these barriers, is by embedding artists who reflect the communities in which they live and work, who look the same and speak the same language. Through a series of workshops, community gatherings, candid photography, and a public exhibition, the artists-in-residence will increase the self-enumerated responses of these identified Low Response Score (LRS) neighborhoods in the 2020 Census. This is especially important for areas like the Antelope Valley. In the Antelope Valley, approximately 101,320 people are living in Hard to Survey (HTS) Block Groups. The Museum of Art and History and the neighborhoods that immediately surround the Museum are designated as Very High or High Low Response Score (LRS) neighborhoods. The Lancaster Museum and Public Art Foundation (LMPAF), the Museum of Art and History and the City of Lancaster believe that organizations and community leaders must be proactive, educating, encouraging and empowering residents to participate in the Census! Generously sponsored by Housing Corporation of America #CountMeIn Photo Videos #CountMeIn Videos Share Facebook Twitter Pinterest Tumblr Copy Link Link Copied #CountMeIn Photo Gallery Spotlight Cafe Book Making Workshop Tote bag Screen Printing Workshop Chalk Drawing Engagement Artists’ Bookmaking On The BLVD Gallery Video #CountMeIn Census Block Map Below you will find a map of each neighborhood block group located in downtown Lancaster. Block groups can vary in size and population typically from 1,000 to over 3,000 people in any one block group. Block groups with “Very High” Low Response Scores (LRS) are seen in red; block groups with “High” Low Response Scores are seen in orange; and block groups with “Medium” Low Response Scores are seen in yellow. Block groups seen in green are regarded as having a “Low” Low Response Score. Do you live in one of these block groups? If so, what is level is your Low Response Score? #CountMeIn is working towards having each block group decrease their Low Response Scores by 10% or from “Very High” to “High,” “High” to “Medium” and “Medium” to “Low.” #CountMeIn Artist in Residence Robin Rosenthal has been developing creative place-keeping projects in the Antelope Valley since 2015, when she was commissioned Artist-in-Residence by the LA County Arts Commission for their NEA Our Town funded AV Art Outpost initiative (on which LMPAF was a partner). She is the Founder and Artistic Director of Real93543, an emerging local arts organization whose programming engages Littlerock and Southeast Antelope Valley residents in an arts-based process of strengthening local ownership and social connection—highlighting community-specific narratives through documentary media, educational programs, and public art. (See Real93543’s projects at www.real93543.org .) With a BA from the University of Pennsylvania and an MFA from Queens College, CUNY, Rosenthal taught studio art at San Antonio College and the San Antonio Art Institute, and exhibited her experimental videos nationally before coming to Los Angeles to work in film and television. Her award-winning documentary filmmaking practice, as half of the Littlerock-based Pony Highway Productions, draws from her background as an artist, educator, and motion picture industry professional, and informs her work in creative place-keeping. Short link to Positively Littlerock Story Map Tour: https://arcg.is/18X4D1 YouTube link to Real93543 In a Day video: https://youtu.be/ZzcDyJgwAsM Edwin Vasquez is a self-taught artist. Vasquez has studied with other notable Antelope Valley Artists and Teachers such as Glen Knowles, David Babb, Rich Sims and Warren Scherich. Over the years, Vasquez has been featured in several group exhibitions including the State Latin American Visual Arts in Rhode Island (where his work was recognized by Governor Lincoln D. Chafee), Communication at Casa 0101 in Los Angeles, Don’t Sleep! at the Latino Art Museum in Pomona and is a regularly selected artist in Lancaster’s Museum of Art & History’s annual All-Media Juried Art Exhibition. Vasquez has participated, as both an Artist and Curator, in numerous local exhibitions. Vasquez was born in Quetzaltenango, Guatemala in 1964. Jane Szabo is a Los Angeles based fine art photographer with a Master of Fine Arts from Art Center College of Design in Pasadena, CA. Her work investigates issues of self and identity. Using self-portraiture and still life as a vehicle to share stories from her life, her work merges her love for fabrication and materials, with conceptual photography. Szabo brings many facets of visual art into her photographic projects, incorporating sculptural, performance and installation elements into her work, and her imagery is often infused with humor and wonder. Szabo's background in the film industry, creating props and miniatures for theme parks, and overseeing set construction for film and television, undoubtedly informs her creative process. #CountMeIn Events Calendar #CountMeIn: A Census 2020 Project Friday, July 19 , 2020, 6 - 9PM 44857 Cedar Ave, Lancaster, CA 93534 Join the #CountMeIn team for its first official project workshop happening this Friday during Spotlight Cafe Open Mic Night beginning at 6 pm. The #CountMeIn team will be onsite asking participants to generate poetry/prose using the words "count," "me," and "in." These works can then be shared with an audience, letting them and your community know that our community matters and that you deserve to be counted on the upcoming Census. This project is generously supported in part by the California Art Council, City of Lancaster and the Lancaster Museum and Public Art Foundation. #CountMeIn: Census 2020 Book-Making Workshop Saturday, August 3, 2020, 3 - 6 PM 742 W Lancaster Blvd, Lancaster, CA 93534 Join the #CountMeIn team at Li'l Book Bug on the BLVD for a fun bookmaking workshop. This workshop will utilize Census 2020 as inspiration to create a collaborative art book. The #CountMeIn team will be onsite leading participants through the creative process. All materials will be provided. These works can then be shared with an audience, letting them and your community know that our community matters and that you deserve to be counted on the upcoming Census. Artist-in-Residence, Jane Szabo, will be onsite photographing interested participants while they create the books. This project is generously supported in part by the California Art Council, City of Lancaster and the Lancaster Museum and Public Art Foundation. #CountMeIn: Tote Bag Screen Printing Workshop Thursday, October 24, 2020 4 - 9 PM 665 W Lancaster Blvd, Lancaster, CA 93534 Join the #CountMeIn Team for its next #CountMeIn, A Census 2020 Project, Screen Printing Workshop! Taking place in the Fran and Hernando Marroquin Family Classroom, participants can grab a tote bag, or bandana, and impress upon them Census-minded artwork. Take the tote bag with you as peruse the great, organic food at The BLVD Farmer's Market! This project is generously supported in part by the California Art Council, City of Lancaster and the Lancaster Museum and Public Art Foundation. #CountMeIn: Chalk Drawing Engagement Saturday, December 7, 2020 2:30 PM Sacred Heart Church - 565 W. Kettering Street The #CountMeIn team invites the Families of Sacred Heart Catholic Church to participate in an afternoon of chalk drawing. Chalks and other materials will be provided for families to create their own colorful drawings on the asphalt, in honor of Our Lady of Guadalupe. During the event, the #CountMeIn team will share information about the upcoming 2020 Census and the value of being counted. #CountMeIn: Artists’ Bookmaking Saturday, January 25, 2020 11 AM - 3 PM 44857 Cedar Ave, Lancaster, CA 93534 On Saturday, January 25th the #CountMeIn Team invites a group of Antelope Valley artists to the Andrew Frieder Creative Space at MOAH:Cedar to make pages for a collaborative, accordion-fold art book, using the letters of the words #CountMeIn, and referencing inclusion, being counted, community, etc. The resulting artists’ book will be shown as part of MOAH’s #CountMeIn exhibit. Artists will have access to materials in the well-stocked Andrew Frieder Creative Space, and can bring materials and mediums from their own practice as well. #CountMeIn #CountMeIn2020 #CountMeInAV #Census2020 #LancasterMOAH Map Artist in Residence Calendar #CountMeIn Resources The Exhibition www.census.gov www.advancementprojectca.org www.avph.org www.cityoflancasterca.org Resources

Kevin KowalskiSculptural LandscapesInspired by the natural word, artist Kevin Kowalski creates ceramic works that call to the visual landscapes around him. His travels and experience in clay provide the foundation for his creative process, allowing him to develop his skills in techniques such as mocha diffusion and many other decorative processes. < Back Kevin Kowalski, Sculptural Landscapes Kevin Kowalski, Sculptural Landscapes Kevin Kowalski, Sculptural Landscapes Kevin Kowalski, Sculptural Landscapes 1/3 Kevin Kowalski Sculptural Landscapes Inspired by the natural word, artist Kevin Kowalski creates ceramic works that call to the visual landscapes around him. His travels and experience in clay provide the foundation for his creative process, allowing him to develop his skills in techniques such as mocha diffusion and many other decorative processes. Kowalski’s series, Sculptural Landscapes , captures the beauty and chaos of industrial and natural processes. The surfaces of each vessel are texturally dense and entropic. Shards and outcroppings of clay appear from a smooth surface that itself is coated in a colorful and runny glaze, culminating into an abstract sculptural landscape. Utilizing a variety of different clays, glazes, found rocks, and the use of multiple flashing slips, the works are a visual amalgamation of a built landscape and organic environmental elements. Previous Next

MOAH 665 W. Lancaster Blvd., Lancaster, CA 93534 ALWAYS FREE Spring/Summer (April - October): Tuesday and Wednesday | 11 AM - 4 PM Thursday | 11 AM - 8 PM Friday, Saturday, and Sunday | 11 AM - 4 PM Closed Mondays, Holidays, and during periods of installation Winter Schedule (November - March): Tuesday - Sunday | 11 AM - 4 PM Closed Mondays, Holidays, and during periods of installation (661) 72 3-6250 Closed Holiday Dates Thursday, November 27, 2025 - Friday, November 28, 2025 In observance of the Thanksgiving holiday Saturday, November 29, 2025 Regular museum operations will not occur this day but the facility will be open for the second annual Holiday Market by the Lancaster Museum & Public Art Foundation Saturday, December 13, 2025 The museum will be closed for the Magical BLVD Wednesday, December 24, 2025 - Thursday, December 25, 2025 In observance of Christmas Eve and Christmas Day Wednesday, December 31, 2025 - Thursday, January 1, 2026 I n observance of New Year's Eve and New Year's Day Need a hotel? Admission Info The Lancaster Museum of Art & History does not charge admission however, we appreciate donations that help support our exhibits and educational programming. SUGGESTED DONATION General: $5 Senior/Student: $3 Welcome to the Lancaster Museum of Art and History The Lancaster Museum of Art and History (MOAH) dedicates its operations to celebrating diversity, inclusion, accessibility, and engagement within the immediate community. MOAH aims to reflect the rich history, culture, and people of the Antelope Valley. MOAH is committed to collecting and exhibiting multiple perspectives through contemporary art and history, bringing forth thought-provoking and engaging programming. Our collaborations and partnerships with organizations like the Los Angeles County Museum of Art (LACMA), AV Seed and Grow, Art-In-Residence, and Art Bridges, among others, echo our efforts to provide an innovative curriculum to patrons of the museum. History Founded as the Lancaster Museum Art Gallery (LMAG) in 1986, the museum's first location is where the Antelope Valley Union District Office now sits. In 2012, the museum was completely revamped as MOAH with a new site, branding, and building. Since then, the museum has continued its expansion. There are now over 10,000 art pieces and artifacts in MOAH’s permanent collection, diverse and interactive art programs, hundreds of exhibitions, and four immersive locations with the City of Lancaster, including MOAH, the Elyze Clifford Interpretive Center, the Western Hotel Museum, and MOAH: CEDAR. Sponsors The Museum of Art and History (MOAH) takes pride in being one of the few museums local to the Antelope Valley region. MOAH appreciates and thrives off the generous support from our wonderful Sponsors and Cultural Partners. We invite you to align your brand with an extraordinary cultural space committed to its community. Sponsors provide vital support to the museum's exhibitions, conservation projects, and education initiatives while enjoying various benefits tailored to meet key business objectives. For more information and to discuss opportunities, contact the Lancaster Museum and Public Art Foundation at 661-723-5903 or email lmpaf@cityoflancasterca.org . Visiting one of our museums? Let us help you plan your trip!

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

Diane SilverStones ThrowFor Diane Silver, working with her hands is a transformative act taking inspiration from the natural world. Silver utilizes ceramic, wax, and textiles like hemp and thread to create organic forms that resemble those in nature. Silver allows for the material to speak for itself with a raw and organic feel. < Back Diane Silver, Stones Throw Diane Silver, Stones Throw Diane Silver, Stones Throw 1/2 Diane Silver Stones Throw For Diane Silver, working with her hands is a transformative act taking inspiration from the natural world. Silver utilizes ceramic, wax, and textiles like hemp and thread to create organic forms that resemble those in nature. Silver allows for the material to speak for itself with a raw and organic feel. Her work is minimalist, characterized by its simplicity through her use of clean lines and natural materials. Her works have spoken to the gendered division of labor or touched upon themes of religion through abstraction. Stones Throw explores an alternative way of measuring the passage of time, marked by the menstrual cycle. Previous Next

Rent Our Space for Your Next Photo Shoot Please review our policy and fill out the request form. Read the Policy PLEASE NOTE: We are pausing photo shoot requests until January 5, 2026. We appreciate your patience and look forward to working with you in the new year! Photo: Candace Benjamin Photography Photo: Danielle Bacon Photography Photo: Eric Minh Swenson Photo: Eric Minh Swenson Photo: Candace Benjamin Photography Photo: Eric Minh Swenson Photo: Candace Benjamin Photography Photo: Candace Benjamin Photography Show More Photo Shoot Policy Please Read Due to an increased interest in the usage of our facility for photoshoot services, we have implemented a series of guidelines to better ensure that all of our guests have the best museum experience possible. We ask that you please adhere to these guidelines, or you may be asked to vacate the premises. For Personal Usage For groups of three or fewer guests, you are welcome to take photos for personal use (E.g. Wedding, graduation, formal photos) for a donation of $5.00, per person. For groups of four or more guests, we require a scheduled appointment, and you will be charged a mandatory staffing fee of $44.00, per hour. Photoshoot appointments must be scheduled through the request form listed on the Museum website at least 72 hours in advance. You may NOT be in any one gallery for a period exceeding 30 minutes. Use of camera flash is NOT permitted at any time, within the museum. You may NOT lie or sit on the floor, or in any way be obstructive to walkways or the views of other guests. You may NOT ask any other guests to move or to vacate any part of the facility. You must store any bags or bulky equipment at the Front Desk. (If your shoot requires a change of clothes, you must still leave baggage with staff. Personal belongings may be retrieved at the end of your visit) For Commercial Usage For any photos or video taken for commercial purposes (E.g. Brand promotion or music videos), you must obtain a filming permit from the AV Film Liaison. Permits can be obtained at AVFilm.com and this process takes approximately three days. We must also receive written permission from any artists whose work may be featured in your production. Once the permit has been obtained and artists have granted their permission, you will need to schedule a facility rental to use the indicated space. Normal rental fees will apply. All other guidelines listed for personal photos will also apply to photos taken for commercial purposes.