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Presents What's in a Landscape? What’s in a Landscape? is a project undertaken by Art in Residence, in partnership with the Museum of Art and History, to uncover the diverse and multivalent relationships Antelope Valley residents have to the landscape they call home. The goals of the project focused on documenting the people of the Antelope Valley and their relation to its landscape and history. Using the work of Rackstraw Downes as a jumping off point, Art In Residence organized four workshops at Quartz Hill High School, each building on the next, giving students the opportunity to explore plant-centered narratives, documentary filmmaking, landscape painting and mural design, and oral histories. What’s in a Landscape? is generously supported by the California Arts Council’s Artists in Communities grant program and the Lancaster Museum and Public Art Foundation. Plant-centered Narratives Landscape Painting & Mural Design Art Talk Series Oral History Interview Documentary Filmmaking Made possible by A Workshop on Plant-centered Narratives In this workshop, Jenny Yurshansky took Richard Rosenblatt’s 11th grade English class through a guided writing exercise. Students collected a clipping from a plant, and then wrote a narrative embodying that plant’s point of view. Some students went personal, some went speculative. Writing took various forms, from prose, to poetry, to diary entries. In writing this way, students gained empathy for the landscape as a living companion to its human inhabitants. Adriana Orozco Diary of Letitia Read Now Brandon Kim October 18th, 2020 Read Now Edward Lee Desertion Read Now Lara Cruz Roses Read Now Patrick Park My Name is Winky Read Now Tanisha Alam Spring Festival Read Now Kendall Segale Ripped from the Ground Read Now Alayna Boyd The Fiddleneck in Me Read Now Brooke Jurgenson ROSE Read Now Eric Chen The Siren Read Now Tahlia Campbell This Was the End Read Now Martin Bozikovic Untitled Read Now Om Baboolall Taking It All In Read Now Jillian Stebbins A Pine Tree Doesn’t Know English Read Now Alex Kim Untitled Read Now Camille Murray From an Oleanders View Read Now Emily Schneider The White Rose and I Read Now Sarah Valdez Ocampo Fighting Against Weakness (A slightly dying) Zebra Haworthia Read Now Samantha Martinez Rosemary Read Now Sophia Rocha The Periwinkle Read Now Riley Briones Yellow Rose Read Now Ashna Pradhan Green Is a Color as Well Read Now Destiny Solis Stuck Read Now Gabriela Valiente Reborn, Here Read Now Renee Chowdhry Diary Entry Read Now Valeria Munoz The Alien Read Now Renee Odoi The Fern Plant Read Now Joanna Vazquez A Plant’s Life Read Now As an extension of this workshop and as a warm up exercise to the Documentary Filmmaking workshop, Richard Rosenblatt shared the writings with the students in Chris Hall’s class. Each of the four groups took one of the written works, recorded a voice over, and gathered footage to accompany the text. Play Video Play Video 02:55 Untitled by Alex Kim Play Video Play Video 02:46 The Siren by Eric Chen Play Video Play Video 04:25 A Pine Tree Doesn’t Know English by Jillian Stebbins Play Video Play Video 02:02 Green is a Color as Well by Ashna Pradham Plant Centered Narratives A Workshop on Landscape Painting & Mural Design Muralist Nuri Amanatullah led students in Deepak Dhillon’s art class through lecture and discussion on the landscape as a subject in drawing and painting, with an emphasis on symbolism and expressing identity through natural elements. Students created landscape sketches, and used those sketches as the basis for proposed mural design. Amanatullah then combined the work done by the students into a single mural to be executed on the campus of Quartz Hill High School. Hover over the s on the mural below to learn more about this collaboration. In this sketch by Makalya Ojeda we see the inspiration for the sky – your classic AV sunset – as well as the more profile pose of the pronghorn. This initial sketch by Diego Vargas incorporates abstract wavy lines, as well as a suggestion of architectural elements which inspired the map seen inside the pronghorn's form. From Erin Segovia's digital rendering we receive the overall palette and look of the mural. Her detailed renderings of the flora were important to capture in the final image. Landscape Painting and Mural Design A Workshop on Documentary Filmmaking Robin Rosenthal and Dave Martin partnered with Chris Hall’s Intermediate Production class to create short documentary videos. Students were tasked with creating a piece about a particular landscape they have a personal connection with, or interviewing a person or group with a particular relationship to the landscape in some way. Play Video Play Video 05:47 The Isolated Community of Green Valley Play Video Play Video 01:59 Rough Beauty Play Video Play Video 05:18 Littering In The Landscape Play Video Play Video 05:02 The Mojave Desert Documentary Filmmaking Public Art and Monuments An Oral History Interview with Margaret Rhyne In her interview for What’s in a Landscape? Margaret Rhyne focuses on the role of conservation and stewardship in preserving land. She offers unique insights into how the Antelope Valley landscape has been changed by the hands of people who, like herself, have dedicated their lives to maintaining and preserving the local land and its wildlife. An Interview with Margaret Rhyne 00:00 / 46:34 Art Talk Series In this art talk series Art in Residence invited 4 artists to discuss their work in relation to the theme of landscapes. They explored how this theme plays a role in each of their art practices. Art Talk Series: Whats In a Landscape? Play Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Now Playing Art Talk Series: Whats In a Landscape? | Mood & Meaning 58:50 Play Video Now Playing Art Talk Series: Whats In a Landscape? | Monuments Now: Joel Garcia 01:15:33 Play Video Now Playing Art Talk Series: Whats In a Landscape? | Jenny Yurshansky 01:06:45 Play Video Art Talk

Structure Artists Chelsea Dean Featured Structure Artist Lee mas Cinta Vidal Featured Structure Artist Lee mas Coleen Sterritt Featured Structure Artist Lee mas HK Zamani Featured Structure Artist Lee mas Jim Richard Featured Structure Artist Lee mas Kimberly Brooks Featured Structure Artist Lee mas Matjames Metson Featured Structure Artist Lee mas Mela M Featured Structure Artist Lee mas Stevie Love Featured Structure Artist Lee mas

2020 < View Public Art Projects Little Giant by Ann Weber 2020 Permanent Art Project Ann Weber is an American artist who transforms the ordinary medium of cardboard into impressive large-scale sculptures reminiscent of pods, gourds, and organic spires. She views the psychological component of her artwork as one of the most important aspects; between representational and abstract, Weber invites the viewers to bring their own associations to her artwork. Composed with a palette of simple circles and cylinder forms, Weber’s work represents the symbolic male and female forms in the natural world while tying in architecture and historical references to evoke memories, relationships and morality in her sculptures. By casting ordinary cardboard into bronze or fiberglass for public art projects, Weber illustrates that things are not always what they appear to be and the humble origin of the materials are part of the innovation, charm and humor of artwork like Little Giant . Weber states that, “when you put a seed in the ground, the first thing that happens is a sprout. I felt what my content was, or what I was saying, had to do with these very primal kinds of forms...Ultimately my interest is in expanding the possibilities of making beauty from a common and mundane material.”

2012 < View Public Art Projects Pete Knight Mural 2012 Permanent Art Project The William “Pete” Knight mural was created by local artist Geo-May and commissioned by the City of Lancaster as part of the Aerospace Walk on Lancaster Blvd. It commemorates the accomplishments of Edwards Air Force Base stationed aeronautical engineer, test pilot, combat pilot, and astronaut whom holds the world’s speed record for flight in a winged aircraft. He was one of four Air Force pilots selected to pilot the Dyna Soar (X-20) aircraft in the first Air Force space program. He was also one of eight X-15 pilots to earn his astronaut wings by flying an airplane in space 280,000 feet. Knight later became Palmdale’s first elected mayor and served on the State Senate.

< Back Cinta Vidal Featured Structure Artist Multidisciplinary artist Cinta Vidal illustrates new perceptions of city landscapes by detaching and reimaging the architectural formations that function as the backdrops of life. For Vidal, depicting macro and micro levels of inverted apartment buildings and city structures illustrate the various ways the world is experienced by a mass population. Having grown up with an affinity for drawing, Vidal became an apprentice at Taller de’Escenografia Castells Planas, one of the most prestigious scenography ateliers in Spain and across Europe. There, she learned the trades of scenography, painting large-scale scenes and settings for theatre and opera backdrops. Utilizing this experience, Vidal uses acrylic paint on canvas to create what she describes as her “un-gravity constructions.” She paints each artwork with close attention to detail, fully realizing each structure and the unfolding scenes within. Vidal’s combination of saturation, detail, and balance work together to allow the viewer’s gaze to absorb these various and often intersecting viewpoints. Cinta Vidal’s architecturally-inspired paintings encapsulate the concrete formations that enclose the day-to-day turbulence experienced at the personal and community level. Too often people are focused on individuality instead of commonality, leaving little room to observe the surrounding hustle and bustle of city-life. Vidal challenges viewers to look beyond the self and broaden their perceptions of the physical and divided structures humans frequently occupy. By depicting individuality within an arrangement of occupied spaces, she captures the conflict between the multifaceted nature in which society experiences the world, internal perceptions of reality, and the inflexible architecture people inhabit. Vidal’s unrelenting yet inverted constructions symbolize the “mental structures” of the individual. Thus, Vidal’s unconventional portrayal of metropolitan architecture elevates these self-revolving structures, reminding viewers that they are not alone and to pay closer attention to the many pathways of life existing amidst the masses. Cinta Vidal went to art school at Escola Massana, Barcelona, Spain. She currently lives and works in a studio located above her family’s toy store in Cardedeu, a small town near Barcelona, Spain. Vidal has collaborated on large format backdrops for European and international operas and theater companies. Today, Vidal continues to paint large-scale backdrops in her art practice, while experimenting on new art projects ranging from public murals to made-to-color illustration. Vidal has exhibited paintings in Barcelona, Los Angeles, Hong Kong, and Melbourne and currently has murals installed in Long Beach, Hong Kong, Barcelona, Honolulu, and San Francisco. Previous Next

< Back Coleen Sterritt Featured Structure Artist For more than 40 years, Los Angeles artist Coleen Sterritt has produced riveting sculptures that focus on the interactions between nature, culture, and lived experience. She pulls from a variety of materials of everyday life; plaster, tar, pinecones, fishing line, found furniture, and studio waste are just some of the components she uses to question the diverse possibilities of sculpture in both scale and form. She fashions a visual language both formal and evocative, while her eccentric, abstract structures present strong polarities, focusing on the interactions between organic and geometric, balance and imbalance, intimate and remote. They play with movement and chance; doubt, discomfort and desire. As a process of re-creation, the material rehabilitates and reinvents itself to become rediscovered by the viewer and interacts with them in a new way. 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 the imagery of her work both new and familiar as they interact with the pieces. Completed in 2017, and recently added to MOAH’s permanent collection, NatureNurtureNucleus was constructed in Sterritt’s signature mix of organic and inorganic materials. When approaching the sculpture from an engineering standpoint, one starts to see the structure within. Dried cactus and an agave stump, combined with the use of plastic and expanding foam, call to mind industrial architecture. The cactus at the base of the sculpture, which appears birdlike in form, is combined with industrial materials to mimic the look of a concrete support beam. As the eye moves upward, the sculpture becomes reminiscent of a tree; a natural structure. This illustrates the ways that support and structure are present both in manmade structures, as well as organic bodies. All the materials combined create a truly striking figure. This sculpture serves as a lens, through which viewers can see the ways that nature and the artificial (nurture) are not always in opposition. At once natural, yet constructed, NatureNurtureNucleus invites the viewer to explore the way that nature and manufactured objects can come together into something new. 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 her teaching career in 1983, taking 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 was named a John Simon Guggenheim Fellow in 2016, Sterritt has received other awards and fellowships including: the National Endowment for the Arts (1986), the Roswell Artist-in-Residence Program (1994), Art Matters, Inc. (1994), the J.Paul Getty Trust Fund for the Visual Arts /California Community Foundation (1996) and the COLA (City of Los Angeles) Individual Artist Fellowship in 2007. In 2019 she received the Outstanding Educator Award from the International Sculpture Center. Previous Next

Gorgeous Venue & Great Staff "I booked the rooftop terrace and Lantern Room for my dad's 90th birthday. The setting was stunning. It would be perfect for a wedding or any other special event...The MOAH staff was professional, helpful, and communicative throughout the 9 months of planning and also during the party." -R Oberdorf, Weddingwir e "I booked the "Lantern Room" atop the roof of the Lancaster Museum of Art & History. The space is very modern and clean; metal beams cross in front of floor-to-ceiling windows and the space is filled with natural light." -Katherine, Weddingwir e View or Download the Facility Rental Application by clicking here. Rental FAQs Rental Fees Photo: Pixels&Prints Photo: Pixels&Prints Photo: Danielle Bacon Photography Photo: Candace Benjamin Photography Photo: Pixels&Prints Photo: Pixels&Prints

< Back Sonja Schenk Light for the Sun II The intersection of the natural world and humankind is key to Sonja Schenk’s artistic practice, which explores this convergence through a variety of forms: painting, sculpture, installation, and time-based media. She is interested in geography, anthropology, the future of humanity and how these elements reflect on modern life. Much of Schenk’s work is site specific, utilizing research of the area to create individualized projects that in her words, “fit[s] a place.” Schenk’s practice operates on several levels: historical referents, conceptual underpinnings, technological innovation, and tangible, physical works that often invoke transformation. These elements are reflected in the multilayered concepts that are present in her artworks. 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 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!

back to list Christopher Konecki and Carley Ealey Konecki is self-taught artist and constantly experimenting. He is known for completing large scale aerosol murals, fine artwork including paintings and miniature sculptures, as well as various public and private site specific installations. Konecki's work is explorative of social consciousness, generally irreverent, and focused on subjects that are both serious and absurd. His use of found and 'repurposed' objects in his work advocates the reassessment of typical ideals of function and beauty. Elements of nature often collide with harsh urban landscapes and elements of street art and graffiti, symbolizing the ongoing struggle between the harmonious coexistence of these two competing monumental forces. Fine artist, muralist, photographer, and writer with a few hundred other secret talents, Carly Ealey has a knack for all things creative. With a natural inclination to painting the familiar figures of women in her work, Ealey prefers acrylic ink on wood panels when painting small, and spray paint when working on murals. However, she also incorporates her photography from time to time on a larger scale via wheatpaste.

< Back Jim Richard Featured Structure Artist Through a myriad of paintings, drawings, and collages, contemporary artist Jim Richard construes interior and exterior depictions of Modern architecture. Since the late 1970s, Richard has created a profusion of modernist interiors loaded with art and kitsch objects that settle into multi-hued graphic fields. Richard manipulates interior aesthetics from the 1960s and 70s warping the display of art influenced by the modernist idea of a utopian society. The adornment of objects within Richard’s collages is strategically curated from a selection of 1960s and 70s home decor magazines and furniture advertisements. Visually, his work fuses elements of photorealism, hard-edge painting, and collage, resulting in a 2-D abstract style imbued with an array of rich colors and patterns. Richard’s body of work has a persistent focus on the recontextualization of Modernist art and design. Absent occupants, the clash of decorative objects and imagery against the busy patterns of Jim Richard’s collages evoke the presence of an art collector. The claustrophobic slew of sleek furniture and ornamental ephemera is Richard’s satirical yet humorous commentary on the ambitious goals of Modernism and Modernist art. At this point in time, many artists were striving for pure originality, seeking to advance their art practice beyond acceptable forms of "high art.” By structuring the composition of his collages around curated art-objects Richard’s architectural frameworks act and feel like a mausoleum putting outdated aesthetics and politics to rest. Originally born in Port Arthur, Texas, Richard currently lives and works in New Orleans, Louisiana. He is represented by the Arthur Roger Gallery in New Orleans and Inman Gallery in Houston. Richard received his Bachelor of Science from Lamar State College of Technology and his Master of Fine Art from the University of Colorado. Richard's work has been exhibited in New York at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Drawing Center, Oliver Kamm Gallery, and Jeff Bailey Gallery. For several years, he taught painting, served as a Graduate Coordinator, and was in charge of the Visiting Artists Program at the University of New Orleans served as Graduate Coordinator. Richard's paintings can be found in the collections of the Guggenheim Museum, The New Orleans Museum of Art, and the Houston Museum of Fine Art. Previous Next

Inclusion The Museum of Art and History (MOAH) is compliant with American Disabilities Act (ADA) standards. MOAH is committed to making its facility, collections, exhibitions, programs, and services accessible to all visitors. Physical access to MOAH is compliant with Americans with Disabilities Act (ADA) standards. Sensory Friendly Programming Community members experiencing autism and/or other hyper- and hypo-sensitivities are invited to participate in the Lancaster Museum of Art and History's Sensory Friendly Programming (SFP). This programming is multi-faceted, with open hours every first Saturday of the month (during exhibition dates), Take-A-Break Space during select BLVD events, and calming tools available for check out from guest services. SFP Open Hours Every first Saturday of the month, the museum opens one hour early 10:00 am to welcome guests with hyper- and hypo-sensitivities. Lights are dimmed, sound elements are lowered, a free sensory-friendly art activity is offered, and the Take-A-Break Space is open for use. Fidgets and noise-canceling headphones are available for use throughout the museum. Take-A-Break Space Stocked with calming tools, noise-canceling headphones, kinetic sand, snacks, and water, the Take-A-Break Space is a great spot to relax during a museum visit or BLVD event. The T-A-B Space is located off of the Main Gallery. Check MOAH's scheduled events for details about T-A-B Space availability. American Sign Language Tours The Lancaster Museum of Art and History offers a American Sign Language Tour for each exhibition at MOAH’s main location. They are led by a MOAH guide, who is accompanied by a certified American Sign Language (ASL) interpreter. Please register in advance on Eventbrite; space is limited to 20 participants. Contact the Education Department at (661) 723-6085 or moaheducation@cityoflancasterca.gov for more information. Spanish Tours The Lancaster Museum of Art and History offers tours in Spanish every second Friday of the month during exhibition dates at MOAH's main location. Tours begin at 5:00 pm and last about 30-40 minutes. Please register in advance on Eventbrite – space is limited to 20 participants. Contact the Education Department at (661) 723-6085 or moaheducation@cityoflancasterca.gov for more information. Early Stage Social Engagement Program (virtual) The Lancaster Museum of Art and History partners with the Alzheimer's Association Southern California Chapter to create a two-part virtual tour for each exhibition on view at MOAH's main location. Each tour is one hour and touches on a variety of exhibited artworks, artistic processes, and artist perspectives for participants experiencing the early stages of dementia. Please visit https://www.alz.org/socal to register for this two-part program.