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Founded in Hawaii, POW!WOW! is a series of global events that celebrates culture, music and art. Antelope Valley has joined in with its set of murals. Official 2018 Map Here 2018 MEET THE ARTISTS aaron De La Cruz Amir Fallah Amy Sol Andrew Hem Carly Ealey Christopher Konecki dan witz Darcy Yates Ekundayo Emily Ding Hot tea Hueman Isaac cordal Jeff Soto julius eastman laurence Vallieres Lauren YS Mikey Kelly MOUF Nuri Amanatullah Scott listfield slinkachu Spencer little Super A Tina Dille Tran Nguyen Jaune

Camilla TaylorThe KnotCamilla Taylor’s monochromatic sculptures often cite figurative and architectural forms through references of the human body and home. Her work features a subtle and limited palette of blacks, greys, and graphite. For Taylor, certain colors feel too “loud,” opting for a color palette that feels more intimate and introspective. < Back Camilla Taylor, The Eye of God, Detail Camilla Taylor, The Eye of God, Detail Camilla Taylor, The Eye of God, Detail Camilla Taylor, The Eye of God, Detail 1/4 Camilla Taylor The Knot Camilla Taylor’s monochromatic sculptures often cite figurative and architectural forms through references of the human body and home. Her work features a subtle and limited palette of blacks, greys, and graphite. For Taylor, certain colors feel too “loud,” opting for a color palette that feels more intimate and introspective. Through darkness, Taylor builds imaginative worlds, beings, works on paper, and sculpture that visually pull from human emotions like isolation, loss, and fragility. Taylor’s work often shares a consistent thread focusing on the interior experience of the individual. Her haunting creations play between the space of the perceived self and the physical body calling into the question the idea of identity. Previous Next

Kiel JohnsonNotes on a Morning WalkThe idea of “work as play” is central to Kiel Johnson’s art practice bringing a sense of curiosity and exploration through his whimsical creations. His primary focus is on drawings and sculpture that speak to the travels and adventures of his everyday life. Johnson’s sculptures and drawings serve as a visual diary that captures his animated and vast stream of consciousness. < Back Kiel Johnson, Notes on a Morning Walk Kiel Johnson, Notes on a Morning Walk 1/1 Kiel Johnson Notes on a Morning Walk The idea of “work as play” is central to Kiel Johnson’s art practice bringing a sense of curiosity and exploration through his whimsical creations. His primary focus is on drawings and sculpture that speak to the travels and adventures of his everyday life. Johnson’s sculptures and drawings serve as a visual diary that captures his animated and vast stream of consciousness. Inspired by odd discoveries, coincidence and chance, Johnson seeks to personify inanimate subjects. Johnson brings a sense of curiosity and exploration to the viewer, utilizing the world and its curiosities as his palette and canvas. His creations are inspired by robots, Greek sculpture, Egyptian gods, boats, and spaceships, among others, are a visual language that is an embodiment of Johnson’s humorous and energetic mind and eye. Through his heightened level of inquisitiveness and playfulness, Johnson continues to explore places, objects, and spaces that exist within his imagination. Previous Next

Tanisha Alam < Back Spring Festival By Tanisha Alam It is always a certain time of the year that you return to us. With your beauty and personality, your color and vibrance, you bring everyone prosperity and good fortune. For one month you are regarded with happiness. Like a symbol of hope, the troubles we faced in the last year will disappear at the sight of you. For one month you are displayed to showcase your beauty and your charm. Invited into the homes of all, you give us luck with your presence. For one month, you are the most regarded of any. In such festive times, there would be no tradition without you. You are essential and you are easy. The activities associated with you bring joy to the community, but you do not require much maintenance. Most importantly you are familiar. Since the beginning you have been there. Every year this time approaches, you are the most anticipated guest. When we have to venture from home, we look for you as a sense of belonging and as a sense of family. When we see you, we are reminded of all the good moments in our lives. A joyous time, that one month. But what happens after? What happens when the weather changes and new flowers bloom? All of a sudden your face drops and your color fades and you emit a certain stench. But why? Are you jealous that others arrive after you? But, you had your grand entrance. You were praised till you were worn out. People toss you aside, some even holding on till the last petal. Because, now that your time has passed, you are out of luck and out of style. The festivities that happen before you bless us for the following year, but they must come to an end eventually. Now we have to get on with our lives. Time does not stop, so we cannot allow you to linger, and that you know. So, you accept it. You make your departure, taking your festivities with you. You understand. That time of year is over, your regard is over. Oh well. This happens every season. No hard feelings. It is rather bittersweet. You know when you will come and you know when you will leave. Mourning you like the dead seems pointless. You will be back, so, instead of crying, let us continue to celebrate. Celebrate our new found luck, prosperity, and joy. Let it resonate for the next year, and once the weather turns cold and that luck seems to run out again, no worries, only a couple more months before you return. You come bearing gifts when we need you most, and once that joy is fulfilled, you depart till your time returns. You have a motive and as long as time continues to move forward, you will continue to fulfill it. That is the beauty of you. Previous Next

< Back HK Zamani Featured Structure Artist 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. Previous Next

Launched in 2013, the Green MOAH Initiative utilizes art and environmental education as a creative catalyst for leading greener, more sustainable lives. Project topics include recycled art, urban farming and gardening, sustainable design, water harvesting, and renewable energy, such as wind and solar power. To date, the Green MOAH Initiative has reached more than 15,000 underserved youth in the Antelope Valley. The Initiative showcases how art functions as a stimulant in communities for living cleaner lives in the Antelope Valley. This is MOAH’s first annual public outreach and community engagement initiative to welcome the schools, community groups, families and individuals in our unique community to join us in co-creating a greener, brighter future. MOAH will develop and launch this exciting program on a quarterly basis with community based “green art” workshops and corresponding exhibitions that are formulated to increase environmental awareness through creativity and art making. Wasteland: Turning Illegally Dumped Waste Into Art The Lancaster Museum of Art and History (MOAH) and the Eastside High School Art Department teamed up to launch a month-long project called Wasteland: Turning Illegally Dumped Waste into Art, the first project of the Green MOAH Initiative. Learn More CrossWINDS: The Intersection of Art and Sustainability Creatively teaching through hands-on art and environmental education—as many students and community members as possible about the benefit of wind and its impact on a number of aspects of our lives and our beautiful desert ecosystem. Learn More Green Revolution Trunk Lancaster’s Museum of Art & History (MOAH) Trunk Program is now offering a brand new discovery trunk entitled Green Revolution, as part of the award-winning Green MOAH Initiative. Learn More

< Back Relic Bozigian Gallery Stephanie Buer Combining the clarity of realism with the delicate qualities of oil painting and charcoal, artist Stephanie Buer creates instances of documentation and expression that create quiet and contemplative landscapes. Her practice is tedious and labor-intensive, a testament to the photorealistic accuracy of her scenes. Relic showcases Buer’s interest in these dilapidated spaces. Her immersive mark-making brings viewers closer to these environments and allows for an intimate view. The deterioration of infrastructure and its adornment with overgrowth and graffiti are on full display, demonstrating the clash of human-made processes and the natural world. Buer shows that these structures are products of the passage of time yet are frozen in their current ephemeral state. IMAGE CREDIT: Stephanie Buer, Relic , Oil on Canvas, 2025 Courtesy of Thinkspace Projects Previous Next

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