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back to list Kim Sielbeck Kim Sielbeck is an illustrator, painter, and surface designer. Her colorful, fun illustrations can be found on packaging, clothing, magazines, and murals throughout the world. Kim was greatly influenced by her few years living in Hawai’i as a child, and moved back in 2017 after eleven years in New York City. Kim recently got married to her best friend Bryce (mid-Pandemic!), and now spends most of her time in southern California in the Mojave Desert. When not drawing, Kim travels to new places far and wide, enjoys long walks, likes making friends (except when beating them at Catan), plays guitar (check out her old band Puppies ), reads, and tries new recipes.

Up Empty Vessel Excerpts Amir Zaki Amir Zaki is a photographer interested in the rhetoric of authenticity. Although Zaki’s use of hybridized photography tows the line between reality and the abstract, his documentary style ensures the viewer’s trust in the piece remains intact. His subject matter revolves around the architectural and organic California landscape, mainly the idea that California is symbolic of a metaphorical collage of styles and ideas. Empty Vessels explores the vacant landscapes of California skateparks and juxtaposes these images with still lifes of broken, ceramic containers. Using a DSLR and a motorized GigaPan tripod, each photo taken is a composite of a dozen or several dozen photos that he combines. The result is a hyper-realistic rendering of the space which seeks to explore the stillness and isolation of these places, inviting the viewer to contemplate their existence within these spaces. The visual comparison seeks to highlight the malleability of these structures with the undulating rigidity of the barren, concrete landscapes. What was once seen as static, cold and banal transforms into a magnificent display of movement and meditative contemplation. Amir Zaki received his Master of Fine Arts at the University of California, Los Angeles in 1999. Zaki has been featured in over 30 solo exhibitions at institutions and galleries including the Mak Center Schindler House, the Doyle Arts Pavilion, the Dalian Modern Museum in China, ACME Gallery, Perry Rubenstein Gallery, James Harris Gallery, Edward Cella Art & Architecture, and Roberts Projects. He has been included in over 50 group exhibitions in significant venues including The California Biennial: 2006 at the Orange County Museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Flag Art Foundation in New York, Western Bridge in Seattle, Shane Campbell Gallery in Chicago, the California Museum of Photography, Museum of Photographic Arts in San Diego, the San Jose Museum of Art, and the Nevada Museum of Art. He is currently a professor at the University of California, Riverside. https://www.youtube.com/watch?v=OCKJ8VwScGY January 23 – May 9, 2021 Back to list

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

One Exhibit. Nine Unique Artists. Up Structure Various Artists One Exhibit. Nine Unique Artists. In every hero’s journey there comes a point of no return, a single moment in time and space where a decision must be made: to move from the familiarity and comfort of their home or take their first steps into a larger, increasingly perilous and complex world. This human experience is a culmination of the physical and metaphysical structures that are constructed by their interactions across time. Each of the artists featured in Structure, explore the dimensions in which humans organize inner and outer spaces, presenting their unique interpretation and understanding of transformational architectures - and the permeable boundaries that exist between them. The artwork featured in Structure is presented in a wide array of media, from physical sculpture to small-scale collage, illustrating mental spaces and blurring the line between the tangible and intangible elements of life. HK Zamani, Kimberly Brooks, Coleen Sterritt, and Cinta Vidal create work that visualizes time, space, and structure through the lens of human experience. Time plays a key role in the artwork of Matjames Metson, Chelsea Dean, Stevie Love, and Jim Richard, all of whom source their material almost entirely from past eras. Mela M, also influenced heavily by the concept of time, instead looks to future architecture and social structures. Ultimately, these artists hone in on the present social systems, their origins, and the futures they hold. The art presented in Structure provides visual commentary on the spaces where immaterial framework meets concrete structure, calling attention to the system failures of the past. Present issues such as climate change, political corruption, and social inequity are all the result of these archaic constructions. Through lived experiences, the interactions of the interior and exterior resonate beyond any one individual, transforming the communities and environments that so many call home, for, as author Kamal Ravikant writes, “Once you cross the threshold, you will never be the same." HK Zamani HK Zamani is an Iranian-American multidisciplinary artist and founder of PØST, an alternative exhibition space in Los Angeles. Teetering between the obscure and the objective, his work examines the synthesis of artistic medium, conception, and interaction. Interplay between structural materiality and metaphysical interpretation are prominent in Zamani’s work. He uses this exchange of the indefinite to comment on the current social structures and expectations of society. The physical use of artistic media is put into conversation with the representation of cultural overlap. Body and Immaterial: A Conversation of Sculpture and Painting, A 20 year Survey of Works by HK Zamani comments on the relationship between two prominent art mediums. The exhibition includes works such as Fashion of the Veil (2008), Prague Dome (2004), the Inadvertent Protagonists series, and many more. Works vary in medium. Sculptural and material elements showcase the skeletal and structural aspect of the work. Rigid frameworks such as the metal geodesic support on Prague Dome (2004) are juxtaposed with softer, more gentle textiles that make up the walls of the same work, calling to ideas of duality. Paintings provide preliminary and complimentary concepts that coincide with the sculptural work. Abstracted forms presented in his paintings also mimic the figures that can be seen in works such as Inadvertent Protagonists and Fashion Erasure I-18 (2021), noting the multiplicity of possibility and interpretation discussed in the work. HK Zamani received his Bachelor of Arts in Studio Art from California State University, Dominguez Hills and his Master of Fine Arts in Painting from Claremont Graduate University. He is the recipient of City of Los Angeles Getty Trust and California Community Foundation grants. In 1995, Zamani founded POST, in 2009 it became PØST. His work is included in the collections at Berkeley Museum of Art and the Los Angeles County Museum of Art. He currently works and resides in Los Angeles. Jim Richard 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. Kimberly Brooks Contemporary American artist Kimberly Brooks examines identity, history, and memory by utilizing a combination of landscape, abstraction, and figuration in her work. Stemming from a long tradition of American painting, her scenes depict subject matter that meets the edges of realism and abstraction. Examination of feminine identity is also present in a majority of her work. Projects such as The Stylist Project (2010), Fever Dreams (2019), I Have a King Who Does Not Speak (2015), as well as many others include the depiction of women in relation to their surroundings. Their identities and histories are depicted in loose brushstrokes, hinting to ambiguity and fleeting memories.The hand of the artist is apparent; the painterly quality of her work stands out in her varying compositions. Painting Architecture (2021) showcases the use of the built environment as landscape and subject matter. Both interior and exterior scenes are depicted: Rococo walls adorned with paintings hung salon style, arches and tilework of a mosque, an outdoor gate and pathway flanked by foliage. While these spaces may seem innocuous and arbitrary, these environments carry strong associations that are informed by their architectural styles. Brooks calls forth the provenance and significance of these spaces. The line between contemporary and antiquity is blurred. Instead of deviation, similarities are shown. A quiet, more meditated atmosphere is harmonious between the works. The play of light provides a still and almost objective showcase of these environments. There is a formal rigidity that is present between all of the works that is made apparent by the strong perspective lines that indicate the boundaries of these spaces. Juxtaposed to this is again, the use of loose brushstrokes and painterly techniques that are a mainstay of her practice. Kimberly Brooks was born in New York City, New York and raised in Mill Valley, California. She obtained her Bachelor of Arts in Literature from the University of California, Berkeley and studied painting at the University of California, Los Angeles and Otis College of Art & Design. Brooks hosts monthly artists talks on her discourse platform First Person Artist and is also the author of The New Oil Painting. Her works have been showcased internationally. She currently lives and works in Los Angeles. Matjames Metson Employing skillful assemblage and woodworking techniques, Matjames Metson incorporates found antique objects into elaborate mixed-media sculptures using only paint, glue, and matchsticks from the present era. The re-purposing of discarded and forgotten objects is essential to Metson's work; he spends a great deal of time seeking out items from abandoned buildings, estate sales, and friends' garages, among other places where one might find momentos and personal items. For Metson, each object has an assumed history — a resonance of an unknown past — which triggers an inherent emotional response in the viewer. As a survivor of 2005’s Hurricane Katrina disaster, which displaced more than a million people from the Gulf Coast, Metson is driven by the concept of survival in addition to his obsession with hoarding forgotten objects. The hurricane destroyed his artwork, community, possessions, and livelihood, forcing him to relocate to Los Angeles with only his two dogs and the clothes on his back. The relics used in his artwork are assembled together in a way that reflects Metson's existential need to pick up the pieces of his life and create a new structure for his future while remembering and honoring the past. In Tower, Metson utilizes and modifies myriad antique objects including time-worn rulers, pocket knives, keys, fountain pen nibs, printed ephemera, and children's toys. The wooden materials used to construct the architectural elements of the piece were sourced from vintage furniture, doors, and cigar boxes. Incorporated into the assemblage are Metson's signature motifs (wasps, eyes, skulls, rabbits) and phrases (such as "HARD WORK" and "HEAT KING"). At the top of the structure is a hand-carved golden wasp, a sample of the symbolism used by Metson, and an exemplification of his explorations in craftsmanship. The sculpture also features a crank-operated kaleidoscope displaying an array of vintage photographs. Matjames Metson is a self-taught artist, carpenter, and architect known for his assemblage sculptures and his illustrative work. He has completed several graphic novels including Survivor's Guild, an autobiographical account of the Hurricane Katrina disaster. His work has been shown at Coagula Curatorial gallery, the Fowler Museum, and the Orange County Center for Contemporary Art, among others. He was born in Charlotteville, New York and currently lives and creates in Los Angeles, California. Mela M MANIFEST STRUCTURES FROM THE IMAGINAL is a new body of work from Mela that captures the artist's concept of "a provocative stream of consciousness as the past informs the present… to imagine multiple future possibilities." For Mela, these works bear witness to species-driven archetypes that result in how humans structure their lives on a physical and emotional level. The acceleration of science and technology have made these cultural systems increasingly complex, and these intricacies are reflected in Mela's structural representations. Mela strives to create visualizations of the different layers of human consciousness as imagined through multiple dimensions and timelines, and hopes her work challenges upcoming artists to draw inspiration from this not-so-common era. There are five distinct but related components from throughout the museum that make up MANIFEST STRUCTURES FROM THE IMAGINAL: a set of four acrylic paintings titled THE EVOLUTION OF THE OMEGATROPOLIS THROUGH FOUR SEASONS OF ARCHITECTONIC METAMORPHOSIS (lobby atrium), the hand-drawn CITYSCAPES OF ARCHITECTONIC METAMORPHOSIS FOR THE COMMON ERA (wall leading to the Jewel Box), a symbolic monument titled THE TOTEM OF THE MOON CASTLE (Jewel Box), and two architectural wooden sculptures titled THE ENTIRE UNIVERSE MOVES THROUGH IRREGULAR ANGLES IN A RISING WALL FROM AN ARCHITECTONIC CITY WITHOUT NAME OR PLACE OR TIME and THE WALL TEMPLE AT THE VANISHING POINT (Ralph and Virginia Bozigian Family Gallery). Mela M has an MFA from Claremont Graduate University in Claremont, California and an MFA from the Technological Institute of Art and Textile Design in Belarus. Her work has garnered national and international recognition with over twenty solo exhibitions, twenty-seven museum group exhibitions, and dozens of group shows in colleges and universities. She has been honored with numerous prizes and awards internationally, and her work can be found in the permanent collections of the Long Beach Museum of Art in California, the Southwestern Oregon College at Coos Bay in Oregon, and the Museum of Contemporary Art in Belarus. Stevie Love Challenging herself to explore and adopt new art forms, contemporary artist Stevie Love has expanded her creative practice by taking on the role of adobe builder. In 2001, after attending a four-day workshop at Southwest Solar Adobe School in Bosque, New Mexico, Love and her husband Dr. Bruce Love decided to build their very own adobe house in Juniper Hills, California overlooking the Mojave Desert. Architecturally, the concept of an adobe house is an ancient building technique common amongst historic civilizations in the Americas and the Middle East. The term “adobe” is Spanish for mudbrick or Arabic for brick. Honoring the traditional techniques of adobe building, Love and a small crew hand-sculpted each brick and structural element of her adobe home. Throughout the seven years Love constructed her adobe home, she photo-documented the turbulent yet immersive experience constructing the home, as photographs displayed in this exhibition. From laying the foundation to picking tiles, the Loves put in a great amount of research and effort in building an authentic yet personalized adobe house. When building the foundation, walls and overall base structure of their adobe dream home, Love committed to only using materials within walking distance from the building site. Love also made sure to align the structural orientations of the house with the Earth and sky axis, taking the seasons into account just as the first adobe builders once did. Furthermore, throughout the Love house, one finds design components from a diverse and international pool of influences. For instance, the threshold to enter the structure is fashioned with ancient wooden doors from India. As visitors cross the entryway, they are met with an alcove (a small nook or cut-out in the wall), the Loves decorated with saints and angels to protect all who enter the home. In the master and guest bath one finds Japanese and coin tiles, fossils, and Chinese half-boulder sinks. In the Loves adobe residence, the list of obscure decor goes on — every cranny, cabinet, and doorway in-between tells a unique story. Outside of hand-building her own adobe home, Stevie Love is well known for her self-declared addiction to acrylic paint and its ability to create autonomous forms. She is widely recognized for her paint-sculpture hybrids, inspired by intense energy, nature, visual culture, and open experimentation. Love earned her Bachelor of Fine Art degree from California State University, San Bernardino and her Master of Fine Art degree from Claremont Graduate University. Her work has been featured in private and public spaces across the United States, Asia, and Europe and can be found in the permanent collections of the Lancaster Museum of Art and History, Lancaster, CA, and the Riverside Art Museum, Riverside, CA. October 2 - December 26, 2021 Back to list

Walk of Honor The Aerospace Walk of Honor program pays tribute to the outstanding accomplishments of distinguished test pilots. Sidewalk monuments along West Lancaster Boulevard continue to honor the contributions of these brave men and women. As the first project in the United States to honor test pilots, the Lancaster's Aerospace Walk of Honor program acknowledges the City of Lancaster's seventy-five year tradition as the nation's Host City and aerospace center. The program's purpose is to honor a distinguished group of internationally known experimental test pilots who flew at Edwards Air Force Base during their careers. The Aerospace Walk of Honor was established by the Lancaster City Council in 1990. The project awards recognition to test pilots whose aviation careers are marked by significant achievements beyond one specific accomplishment. In a profession where extraordinary achievement is the norm, honorees selected for the Aerospace Walk of Honor were those who soared above the rest. The Aerospace Walk of Honor program was completed in 2009 when the 100th honoree was inducted. California artist Robert Schaar has painted a series of portraits of the Center’s NACA/NASA pilots inducted into the Aerospace Walk of Honor. These Include: A. Scott Crossfield Walk of Honor 1990 Joseph A. Walker Walk of Honor 1991 Fitzhugh L. Fulton Jr. Walk of Honor 1991 Neil A. Armstrong Walk of Honor 1991 William H. Dana Walk of Honor 1993 Milton O. Thompson Walk of Honor 1993 Fred W. Haise Walk of Honor 1995 John B. McKay Walk of Honor 1996 John A. Manke Walk of Honor 1997 Thomas C. McMurtry Walk of Honor 1998 Stanley P. Butchart Walk of Honor 1999 Donald L. Mallick Walk of Honor 2000 C. Gordon Fullerton Walk of Honor 2000 Rogers E. Smith Walk of Honor 2003 Bruce A. Peterson Walk of Honor 2003 Edward T. Schneider Walk of Honor 2005 John H. Griffith Walk of Honor 2006 View or Download the Official Walk of Honor Map by clicking on the cover image or here . Visiting one of our museums? Let us help you plan your trip!

For sale collaborative literary works between the museum and artists. MOAH Publications SPACE A Collection of Essays and Images Curated by Shana Mabari and Andi Campognone An intimate meditation on an almost infinite subject, Space aims to explode an ordinary everyday word into a dazzling prism via an exploration of some of the many interpretations of the term. Artist Shana Mabari asked more than a dozen individuals from dramatically different walks of life—from an astronaut and a filmmaker to an art critic and a musician—what they think about when they think about space. Their answers, which alternate with exceptional work from contemporary Southern California artists selected by curator Andi Campognone, invigorate and inspire, and in turn become fodder for reflection upon our relationship to ourselves, to others, and to the universe at large. BUY NOW Melanie Pullen With essay by Shana Nys Dambrot Photographer Melanie Pullen collects old police blotters and forensic crime scene photos, organized in starkly poetic black and white archives whose narratives she often mines for inspiration in her own more colorful tableaux. “At one point I started to notice,” she says, “that, whether they were suicides or electric chair executions, women would dress up in their finest clothes in preparation for death.” Slips and new shoes, hats and jewels, suits or twin sets, lipstick and plucked eyebrows. Bruises, blood pools, snapped necks, burned fingers, broken legs. This book is available at MOAH, for more information and for purchasing please call (661) 723-6250. Laura Hipke and Shane Guffogg Circle of Truth Exhibition catalog for the Circle of Truth traveling art exhibition. Curated by Laura Hipke & Shane Guffogg Foreword by: Randy Hipke Preface by: Paul Ruscha The Circle of Truth project is a visual game of Telephone, sometimes called a Rumor Game. 49 artists, including Ed Ruscha, Shane Guffogg, Billy Al Bengston, Lita Albuquerque, Jim Morphesis, Charles Arnoldi, Robert Williams, and Ruth Weisberg, created works especially for the Circle of Truth exhibition, in absolute secrecy over a period of nine years. The catalog dedicates a full spread to each of the 49 artists with color images of the art they received and responded to, the art they created, as well as an essay they wrote about their experience. The catalog provides a rare look at the thought processes and studio practices of these unique and private people. This book is available at MOAH, for more information and for purchasing please call (661) 723-6250. David Allan Peters Catalog A catalogue of artwork by David Allan Peters Curated by Andi Campognone Essay by Shana Nys Dambrot A lot is happening in the Effusive Paintings of Favid Allan Peters -- and a lot more than that has happened in them already. In many of these chromatically activated compositions, it's been happening for years. Applying paint to wood panels using every tool but a brush, Peters buils up an incomprehensible number of skin-think layers of bright acrylic pigment in a geological accumulation akin to sedimentary drifts, stalagmite deposits, or the rings of a growing tree. BUY NOW Sant Khalsa Prana: Life with Trees 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. BUY NOW Coleen Sterritt It showcases her work over a forty year period and includes an interview with artist Rochelle Botello and essays by Cooper Johnson, Carole Ann Klonarides, and Sue Spaid. Sterritt’s hybrid sculpture evokes the interplay between nature, culture, and lived experience. Her source materials are pulled from everyday objects and elements. Plaster, tar, pinecones, fishing line, found furniture, and studio refuse are just some of the components she uses to construct and express her richly evocative formal language. Questioning the diverse possibilities of sculpture in both scale and form, her eccentric, abstract structures present strong polarities possessing a resonance at once familiar and obscure. BUY NOW Dave Pressler Idea to Object Covering Emmy Nominated Artist Dave Pressler's four distinct areas of expression--drawing, painting, sculpture, animation--Idea to Object is the companion book to the comprehensive exhibition at the Lancaster Museum of Art and History. With a forward by Artist Anthony Ausgang and essay by Shana Nys Dambrot. Hardcover This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250. Greg Rose 77 Trees 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. Softcover This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250. Memory and Identity: The Marvelous Art of Betye, Lezley, and Alison Saar Betye, Lezley and Alison Saar have created some of the most powerful, important and deeply moving art in our contemporary world. Their compelling works forge idiosyncratic constructions of social memory and personal identity, as well as the cultural histories underlying them. All three Saars assemble two- and three-dimensional works based on unexpected juxtapositions of form and content. They deploy the flotsam of material culture, from discarded architectural components (old windows, ceiling tiles, wall paper) to domestic detritus (washboards, buckets, shelves) to historic photographs and printed fabrics. With essays by Betty Ann Brown and Sola Saar. Hardcover. BUY NOW Dark Progressivism: The Built Environment The roots of Dark Progressivism run deep in Southern California, grown from seeds planted over a century ago. Here the sunlight hides shadowy dreams, and the hot Santa Ana winds blow away all pretense. Nourished by cement and asphalt, nurtured by flashes of streetlights and spotlights, Dark Progressivism: The Built Environment reveals a bold and modern transmutation through our region's influence on its artists, and the other artists' impact on the world. With essays by Rodrigo Ribera d'Ebre and Lisa Derek. Softcover This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250. Estate Italiana Catalog For Estate Italiana (Italian Summer), guest curator Cynthia Penna showcases six contemporary Italian artists as part of a cultural exchange between the Museum of Art and History in Lancaster, California, and Naples, Italy-based ART1307. Southern California has always had an enduring love for all things Italian. From food and wine, to architecture and automobiles, furniture, product and clothing design, and the expert skill and fine materials of timelessly cosmopolitan, jauntily chic Italian style. Italy, for its part, is equally fascinated by California. The passion for Old Hollywood, new surf culture and futuristic materials, such as plastics and resins that originated here, have influenced Italian visual culture in myriad aspects of modern living. All of these cultural signifiers are represented in one way or another by the six Italian artists featured in Estate Italiana--Max Coppeta, Nicola Evangelisti, Carlo Marcucci, Antonella Masetti Lucarella, Alex Pinna, and Carla Viparelli. Softcover This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250. Samantha Fields Ten years This book, a collaboration between Griffith Moon and Lancaster Museum of Art and History, will showcases Fields’ painting work, along with an essay by Eve Wood. In her work, Fields explores the experiential nature of light through painting – immersing the viewer in the ever-shifting mood of a specific time and place. Her subject matter includes landscapes consumed by disaster both natural and manmade. Her work has been featured in the Los Angeles Times, ArtWeek, Art in America, Artillery, Art ltd., The Detroit News, The Detroit Free Press and the Cleveland Plain Dealer. Hardcover BUY NOW Charles Hollis Jones Mr. Lucite Throughout the art world, Charles Hollis Jones is known as the “King of Lucite”, and for good reason—he has continued to redefine the use of acrylic in furniture for over fifty years. Words such as innovative, craftsmanship, luxury and transformation populate descriptions of Jones’ work, beloved by classic Hollywood icons such as Lucille Ball and Frank Sinatra, in addition to several prominent architects, designers and collectors. This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250. Rebecca Campbell The Potato Eaters The Potato Eaters celebrates Rebecca Campbell’s 2016 exhibition at the Lancaster Museum of Art and History. Campbell’s new work examines aspects of familiar and cultural history, memory, documentation and nostalgia. The title is taken from Vincent van Gogh’s 1885 masterpiece that portrays Dutch peasants gathered at a meager meal. With essay by Betty Ann Brown. Hardcover BUY NOW Chie Hitotsuyama To Hear Your Footsteps A collaboration between Lancaster Museum of Art and History and MOAH:CEDAR and Japanese artist Chie Hitotsuyama, Griffith Moon introduces Chie Hitotsuyama: To Hear Your Footsteps is comprised of an introduction by Shana Nys Dambrot and Hitotsuyama’s animal sculptures and is made entirely from recycled newspaper. Hardcover BUY NOW Justin Bower Thresholds Born in San Francisco in 1975, Bower earned a degree in Studio Art and Philosophy from the University of Arizona in 1998 and a Master of Fine Arts from Claremont Graduate University in 2010. The artist has won and been nominated for several grants and awards, among them The Feitelson Fellowship Grant (2010) and The Joan Mitchell award (2010). With essays by G. James Daichendt, Shana Nys Dambrot, Cooper Johnson and David Pagel. Hardcover This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250. Eric Johnson Legacy A 126 page monograph celebrating 30+ years of the acclaimed California artist Eric Johnson. Published in conjunction with Johnson's retrospective, Legacy, at the Lancaster Museum of Art & History (MOAH), in Lancaster, California. With essays by Jay Belloli and Jan Butterfield. Appreciations by Tony Delap, DeWain Valentine and Tom Jenkins. Hardcover BUY NOW Being Here and There Published in conjunction with the exhibition of the same name at Lancaster Museum of Art & History (MOAH), Being Here and There features the work of 26 photographic artists exploring issues of "place" in Southern California. Curated by artist, educator and activist Sant Khalsa, the book and exhibition features works by Laurie Brown, Stephen Callis, Cristopher Cichocki, scott b davis, Lewis deSoto, John Divola, J. Bennett Fitts, Robbert Flick, Corina Gamma, Alexander Heilner, Steve King, Meg Madison, Tony Maher, Douglas McCulloh, Thomas McGovern, Catherine Opie, Naida Osline, Christopher Russell, Mark Ruwedel, Julie Shafer, Nicolas Shake, Kim Stringfellow, David Taylor, Andrew K. Thompson, Tom Turner, and Amir Zaki. With essay by Sant Khalsa. Softcover BUY NOW Gary Lang Circles and Words A retrospective catalog, published in conjunction with Gary Lang's exhibition Whim Wham at Lancaster Museum of Art & History (MOAH). Introduction by Andi Campognone, with essays by Donald Kuspit, Janet Koplos, and David Pagel, and appreciations by Eric Fischl and James Turrell. Hardcover. BUY NOW Ruth Pastine Attraction Ruth Pastine Attraction is published on occasion of her first survey exhibition: Attraction 1993-2013 at the Lancaster Museum of Art and History (MOAH), in Lancaster, California. The 84-page color monograph comprehensively documents the work of renowned painter and internationally exhibiting artist Ruth Pastine, and catalogs Pastine’s paintings and pastel works on paper spanning the last two decades. With essays by Donald Kuspit and Peter Frank. Softcover BUY NOW Hats Off Sally Egan and Amy Bystedt In this series, Bystedt and Egan give reverence to icons of photography that have influenced and inspired them throughout the years, playing the role of both photographer and subject in these emulations. The attention to detail in these recognizable photos was just as significant as choosing which photographer and image to replicate. Hats Off is a salute in the highest form to those who have come before them, whose trail blazing in the arts have paved the way for some of the most progressive images in photography. Bystedt and Egan literally tip their hats to artists such as Diane Arbus, Richard Avedon, John Baldasarri, Nan Goldin and more. Softcover This book is only available at MOAH, for more information and for purchasing please call (661) 723-6250.

Elyze Clifford Interpretive Center (ECIC) 43201 35th St W, Lancaster, CA 93536 Open Saturday and Sunday | 10 AM - 4 PM Closed Mondays, Tuesdays, Wednesdays, Thursdays, Fridays, and Holidays *Closed April 18 & 19, 2026 as we celebrate the California Poppy Festival! **Prime Desert Woodland Preserve Open Daily | Sunrise - Sunset primedesert@cityoflancasterca.gov (661) 723-6230 The Elyze Clifford Interpretive Center was first established in 1992 through efforts from the community, Lancaster City Council, and Elizabeth “Elyze” Clifford, an environmentalist that rallied to preserve the unique desert landscape. MOAH redesigned the space and now manages all the outreach and programming for Elyze Clifford Interpretive Center. The Center is nestled within the Prime Desert Woodland Preserve, which spans more than 120 acres with over three miles of trails. This center allows patrons to connect with plants and animals living in the Mojave Desert region. The Elyze Clifford Interpretive Center also provides educational opportunities through its immersive location that includes special nature presentations and tours, free kid’s crafts, and community events. Crafts at ECIC Request a Tour View The Self Guided Tour Read the self-guided tour and enjoy the Elyz e Clifford Interpretive Center, with a tour guide at your finger tips. Learn More > View the Trail Map See PDWP's trails and geography from a bird's eye perspective. Learn More > ECIC + PDWP Exhibitions Prime Desert Woodland Kestrel Nest Box Re ad more about this project with American Kestrel Partnership. Learn More > Visiting one of our museums? Let us help you plan your trip!

< Return to Exhibitions Spring 2013 Gary Lang: Whim Wham Jorg Dubin: My Facebook Friends Guillermo Bert: The Bar Code Series Susan Sironi: Altered Books Gary Lang Shepard Fairey These Sunsets Are To Die For Thomas McGovern Jorg Dubin Guillermo Bert The Barcode Series Danial Nord Youtopia Susan Sironi Altered Books Learn More March 16 - May 5, 2013 Thomas McGovern: Sign Language, Notes from the High Desert Danial Nord: Youtopia March 16 - April 29, 2013 March 16 - May 11, 2013 Signs and Symbols: From Street Art to High Art Dubin Signs Bert Nord McGovern Lang Signs and Symbols: From Street Art to High Art Signs and Symbols: From Street Art to High Art showcases internationally renowned and groundbreaking works by: Keith Haring, Banksy, Barry McGee, Heretic, Cryptik, David P. Flores, Shepard Fairey, Robbie Conal and MearOne. Now a global practice, the artists in this exhibition span a geographic range from Los Angeles to New York and London and pioneered the street art movement by using the urban matrix as their canvas. They continue to create guerilla works of art using stickers, murals, paint, templates, wheat paste, and video projections to transform the dialogue about where art may or may not be placed and sanctioned. Collectively, the artists are master editors, using only the most relevant signs, symbols and materials to achieve the greatest visual impact in a short period of time. They question the commercialization of art by changing the materials they employ and selecting alternative places in which their works appear. The term street art is used to distinguish between two opposites: government and corporate sponsored public art works and the unsanctioned tagging of territorial graffiti. The practice is a form of visual activism by artists who often feel disenfranchised by the codification and standards of art-making in the public realm. Disenfranchisement is a strong motivator and the street artists represented here have revolutionized the way public space is utilized to convey socio-political messages to everyday people who may not frequent museums and galleries. The artwork is eventually taken out of its local context by commercial galleries and museums, the very institutions many artists intend to avoid. Other street artists welcome the influx of their work in the commercial realm, embracing it as an opportunity for their messages to reach larger audiences. Over the last decade, the street art movement gained considerable notoriety with the public through widespread acclaim for the element of surprise. As a new work of art appeared on the street overnight, neighbors and communities either relished or fought against the phenomena, generating a vibrant social currency that fuels the artists. Most street artists are working for the people and are driven by the effect of mobilizing the community into action. Gary Lang: Whim Wham The Lancaster Museum of Art and History presents Gary Lang: Whim Wham an intimate selection of Lang’s acclaimed circle paintings accompanied by his never before seen word paintings. The two bodies of work may at first appear unrelated, yet they are inextricably linked by a union of opposites and similarities—both through the process in which they are created and in Lang’s quest for reconciling the space between beauty and pain in contemporary times. Lang began working on his minimalist circle paintings in the 1980’s and quickly became internationally renowned for his ability to engender a physical connection to the sublime through his radiating color combinations. When viewed from a distance, his paintings propel the viewer into an unrelenting optical experience that transcends everyday concerns. The colors blend and shift, deepen and soften, and awaken and pulsate in conversation with one another, taking the viewer on a phenomenological joy ride. As one moves closer to the work, the artist’s hand—and his remarkable affection for the materiality of paint—is revealed. In the 1970’s, prior to the birth of his circle paintings, Lang had sustained a quiet practice of writing text on paper and painting words in books that he positioned on his paint mixing tables. He eventually began making word paintings in concert with his large canvasses. On the surface, the word paintings function as an immediate repository for the excess pigment left over from his monumental canvasses: he simply moves from the canvas to the paper to “clean” the brush. Lang’s improvisational cleansing process ultimately yields words and phrases that expose his deeply poetic response to the concepts of truth, religion, power and tragedy. Lang has methodically practiced this private ritual since the bombing of the World Trade Center on September 11, 2001. Just days before 9 -11, Lang moved his family from their New York City loft—where the World Trade Center towers were visible from the kitchen window—to Southern California, where Lang was born. Lang expresses that this event turned him toward words “in an effort to understand how they are used, abused, and manipulated by agenda and temper as well as to serve the heart.” He has equally found that he associates the words "real" and "true” with the momentary quality of painting in the here and now. Exhibited together for the first time, Gary Lang: Whim Wham invites the viewer to witness the fruits of Lang’s private ritual, sparking an adventure among color-saturated objects that assist us in transcending the everyday to traversing the intellectual pursuit of words, asking of us to reconcile the beauty and mystery of life with the tragedy of the human condition. Jorg Dubin: My Facebook Friends Jorg Dubin: My Facebook Friends is a contemporary exploration of identity through the fragmented lens of social media. Dubin’s portraits are painted directly from his Facebook friends’ profile pictures, many of whom the artist has never met or whom mostly remain unknown to him. The power of the work emerges from the identity fragmentation that occurs in the virtual world, and is strengthened by the clues into the visage of social media that Dubin provides the viewer. By turning unknown virtual “friends” into his painted subjects, he delivers small treasures from which to begin questioning the motives of identity in the digital age. Dubin, a skilled painter, departed from his classical, representational training and has become well regarded for his expressive explorations of the human condition. His large figurative paintings depict the fragility of human physicality: many of his subjects have undergone physical harm through illness or misfortune or simply through the choices made in life. Dubin explores these realities by blanketing his subjects in oily, acerbic painterly color and roots them in surreal and often grotesque scenes. These larger works are generous visual narratives, whereas his small Facebook oil sketches convey only fragments such as an eye, nose or mouth. These singular sketches ask of us to fill in the gaps, prompting one to contemplate the concept of superficiality through the accumulation of friends. The installation as a whole creates an entirely new friend: one that questions our desire to be needed, to be seen, to be heard and investigates how social media has changed human interaction and communication. Dubin lives and works in Laguna Beach, California. He studied at the Art Institute of Southern California and is a lecturer at Laguna College of Art and Design. Dubin shows extensively in the region, with several solo and group shows at Robert Berman Gallery, Santa Monica, CA; Peter Blake Gallery, Laguna Beach; Guggenheim Gallery, Chapman University, Orange, CA; and Blue Gallery, Kansas City, MO among many others. His work is widely published in art journals and magazines including: ArtScene Magazine, Artillery Magazine, Orange County Register, Coast Magazine, Sacramento Bee and Riviera Magazine. Guillermo Bert: The Bar Code Series Chilean artist Guillermo Bert has long been fascinated with the concept of encrypting messages, language and ideas beneath the “skin” of his artwork. He embeds this concept by incorporating contemporary bar codes with Inca, Maya, and Mapuche religious icons, each rendered in gold, thereby creating hybrid relics and proposing a new mythology. His panels are engraved and carved, much like the stonework of ancient civilizations. This process of engraving and encoding allows Bert to question the price of core values such as democracy and justice, while blurring the lines between culture and commodities. Using the bar code—the quintessential symbol of consumerism and branding as a form of contemporary conquest—Bert provides a critical comment on the effects of globalization and the western consumerist model. Bert lives and works in Los Angeles and shows extensively in the United States and South America, including the Museum of Latin American Art in Long Beach CA, the San Diego Museum of Art in San Diego CA, the Fowler Museum at UCLA, the Museum of Tolerance and the Architectural Design Museum both in Los Angeles, and the Pasadena Museum of California Art. He is the recipient of many awards and grants and has been commissioned to create a number of public art works. Susan Sironi: Altered Books Los Angeles based artist Susan Sironi received her BFA from California State University, Long Beach and studied color still photography at Orange Coast College. Her early work in urban photography and assemblage lead to her collecting vintage materials with a focus on vintage books. Since 2003 she has used vintage books to express the inconsistencies and frustrations of a world that clings to past conventions while striving for future ideals. Her first altered books were text only and were meticulously cut page-by-page. The advent of the Internet provided Sironi with the ability to acquire multiple copies of books while scanning technology allowed for the precise cutting of entire books. This blending of old and new technologies is central to Sironi’s approach: each book promotes an alternative reading of the accepted norms and conventions of the past. By altering the information the viewer sees, Sironi transforms the books into new visual and conceptual forms while retaining clues from their former identity and history. Exhibiting primarily in Los Angeles, Sironi's work has also been shown at the Laguna Museum of Art and the Carpenter Center at Harvard University, MA. She is represented by Offramp Gallery in Pasadena. Thomas McGovern: Sign Language, Notes from the High Desert Sign Language, Notes from the High Desert showcases the distinguished work of Southern California photographer Thomas McGovern. McGovern’s new work was made specifically for and about the Antelope Valley and is part of a larger documentary project called Vital Signs. The Vital Signs series documents hand-painted signs and murals throughout the Inland Empire region of Southern California, starting with the City of San Bernardino. The great Mexican muralist tradition has an obvious influence in the region, but these signs and murals also suggest the economics of a recovering city where immigrants and established locals alike set up shop and try to provide for themselves and their communities. For his Sign Language, Notes from the High Desert project, McGovern expanded his range to include the Antelope Valley, a place recovering from similar economic pressures as San Bernardino and other rural communities throughout the country. With the Antelope Valley’s close proximity to Los Angeles and the proliferation of high definition billboards lining the ubiquitous eight-lane highways in our region, McGovern turned his lens toward the hand painted signs, murals and advertisements that punctuate our rural, two-lane highway landscape. McGovern provides a window into the minutia that is often taken for granted among the larger mass of “freeway culture” in the area. The photographs piece together fragments of the Antelope Valley’s vernacular style of architecture with the hand painted signs that are being replaced by homogenous strip malls and master planned communities. Many of the signs are deteriorating or were painted in a by-gone era, indicating how the valley is changing over time. Thomas McGovern is Professor of Art at California State University San Bernardino. He exhibits widely in California, New York and Germany and is represented in distinguished collections such as the Museum of Fine Arts, Houston; Brooklyn Museum of Art; Baltimore Museum of Art; Library of Congress; Museum Fur Photographie; Museum of the City of New York and The New Museum, New York among others. Danial Nord: Youtopia Danial Nord is an interdisciplinary artist who reinterprets the familiar language and trappings of mass communication. Nord’s installations draw from his accomplishments as an award winning designer-animator in the entertainment industry, as an internationally-based fashion designer, and as a scenic and prop artist for film, television and theater. Nord’s humorous new digital video Youtopia pokes fun at electronic communication and how automated search engines control the information we obtain. The video is based on an email he received with a link to a New York Times article titled: Guggenheim and YouTube Seek Budding Video Artists. Nord created virtual assistants to investigate the article. As the automated inquiries progress over time, they are eventually skewed by database hierarchies and software glitches, which produce amusing, convoluted associations and misguided conclusions. Youtopia underscores the current state of affairs in our quick-to-click culture. Nord earned his BFA from Tyler School of Art in Philadelphia and Rome, Italy. He continued with postgraduate studies in communication technologies and media at the School of Visual Arts and the NYU Center for Digital Multimedia in New York. Nord has exhibited his work in the US and abroad at World Expo 2010, Shanghai, China, Stadsmuseum Ghent, Belgium, and in New York at Freight + Volume and ISE Cultural Foundation. Nord lives, works and exhibits widely in Los Angeles including at California Museum of Photography, Fringe Exhibitions, HAUS, Pacific Design Center, and the City of L.A. Municipal Art Gallery. His work has been covered by the LA Times, LA Weekly, Artweek, Afterimage, and NPR. Sironi View or Download the Spring 2013 Exhibition Catalog by clicking on the cover image or here.

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

< Back Chelsea Dean Featured Structure Artist Chelsea Dean is an American multidisciplinary artist whose work examines and documents the relationship between the landscape, home, and time. While rooted in photographic processes, Dean’s work is ultimately an assemblage of various media. She utilizes paint, collage, print, illustration, as well as found objects to help produce a physical interpretation of the spaces she encounters. Informed by her time spent in and around decrepit and abandoned desert dwellings in southern California’s Wonder Valley, her artistic practice is defined by both structure and entropy. Physical and metaphysical structures can be examined in her work through the use of architecture and personal artifacts that link the memories of an almost forgotten, bygone era to today’s consciousness. These elements are in constant flux, left to the mercy of the natural world. Time proves to be the main subject of her work, acting as the catalyst for decay. Aspects of home life are prominent in Dean’s work. Remnants of a past life no longer act as detritus, but instead embody a sense of humanity. The use of older furniture, rugs, and other home decorations are utilized in her installation works while her mixed-media and photographic work are filled with the imagery of structures and interior spaces. This highlight of the domestic space creates a sense of familiarity within her work. Architectural elements such as wooden posts and siding are showcased in a deteriorated state. Metallic media such as silver foil and gold leaf act as a reminder of once glamorous and ambitious ideals of past homesteaders now left behind. Textures of paint, fabric, and paper inform the idea of domesticity. Her compositions tend to hold a state of tension between environmental stresses and man-made structures, capturing moments that seem to perpetually teeter towards the edge of oblivion. Dean earned her Bachelor of Arts in Studio Art from the University of Puget Sound in 2000 and then her Master of Fine Arts from Claremont Graduate University in 2005. Dean has exhibited work in numerous group and solo exhibitions worldwide at galleries such as PØST, Cirrus Gallery, Gallery Lara Tokyo, as well as many others. She currently resides and continues her art practice in Los Angeles, California. Previous Next

2016 < View Public Art Projects Eco-Quilt 2016 Temporary Art Project Created during her artist-in-residency at MOAH:CEDAR, Jane Ingram’s Eco-Quilt was formed out of twenty hand-made paper squares with wildflower seeds imbedded in the paper pulp. The quilt depicted poppies and contained different wildflower seeds corresponding to the color of the paper. It contained California poppies, California bluebells, white poppies and baby’s breath. A headboard and footboard were built from local willow branches and local participants were invited to help install the project. Eco-Quilt was located at Hull Park in Lancaster.