Search Results

back to list Amandalynn Amandalynn is a muralist and fine artist based in Northern California. Inspired by the feminine in all things, Amandalynn depicts the subtle beauty of the natural world and humankind, through illustrated line work and decorative patterning. Her works can be found in galleries and streets all over the world. She began developing her distinct Street Art style mural work in 2001, painting alongside the graffiti community of San Francisco. Amandalynn is very passionate about her outdoor mural work and still enjoys collaborating with a variety of different artists, as well as creating large solo works. Fine Art also plays a key role in Amandalynn's life, as she continues to develop her career as a professional gallery artist. She has a bachelor’s degree of Fine Art from the San Francisco Academy of Art, and recently has started teaching mural classes to middle and high school students. Amandalynn believes that sharing the creative process with others is the key to living an inspired life.

back to list Yolanda Glass Yolanda Glass creates visual fingerprints, giving a space it’s own unique DNA. A Decoded Narrative in Art, of sorts, that tells a story of something intrinsic, aesthetic and often thematic. A graphic artist by trade, Glass went to school at Howard University and graduated from the Art Institute with a BFA focus in Graphic Design. Glass created Y0GRAPHICART INC. for environmental graphics and large scale art installations and murals in 2020. The website launch is 2023.

Myths & Legends < Return to Exhibitions September 29 - November 15, 2015 Hearsay Curated by Wendy Sherman Main Gallery Michael Aschenbrenner Damaged Bone Series: Interior Landscape 2nd Floor Atrium Judy Csotsits: Three Ovals Entry Atrium Marissa Quinn: Cyclical Paradoxology Education Gallery & Top of Stairs Jeremie D. Riggleman: Assimilation East Gallery Jonas N.T. Becker: Utopia Project Wells Fargo Gallery & Jewel Box Tina Dille: Ravens Vault Gallery Seamus Conley: Ragged Promised Land South Gallery Chris Farling Seamus Conley Jonas N. T. Becker Marissa Quinn Tina Dille Hearsay This exhibition includes approximately 35 artists who have each created a specific work based on an urban legend with special significance to them. Each work is accompanied by text explaining the artist’s personal connection to their chosen urban legend. Urban legends serve as our modern day mythology. Based on cultural traditions and morality tales, these stories prey upon our collective fears and provoke a strong, emotional response. Traditionally, in order for these legends to survive, a mix of text and imagery was used in storytelling, heightening the power of the legend as it passed down through generations. More recently, the Internet has encouraged the rapid dissemination of these modern legends, many of which can be traced back to the original folklore that inspired them. The purpose of the exhibition is not to illustrate urban legends, but to analyze them in conjunction with each artist’s own subjective viewpoint resulting in a shared experience between artist and audience. — Lauren Haisch and Wendy Sherman Artists: Dmitry Astakhov, Clayton Bailey, Rex Barron, Stephen Berkman, Joe Biel, Kevin Bradley, Sarina Brewer, Hugh Brown, Mike Cockrill, Michael Criley, Lew Delport, Chris Farling, Llyn Foulkes, Gregg Gibbs, Jeff Gillette, Mark Gleason, Laurie Hassold, Tony Huynh, Hellen Jo, Laurie Lipton, Matjames Metson, Lauren Morrison, Adam Oehlers, Naida Osline, Burt Payne 3 & Stephen Hillenburg, Ransom & Mitchell, Victoria Reynolds, Jim Shaw, Christopher Ulrich, Jeffrey Vallance, Nicola Verlato, Marnie Weber, Chris Wilder, Robert Williams, Scott D. Wilson Michael Aschenbrenner: Damaged Bone Series: Interior Landscape Southern California native Michael Aschenbrenner creates sculptures of glass bones wound together by found materials as a way to express the events of his lifetime. Aschenbrenner began studying ceramics upon his return from the Vietnam War and eventually moved into the technique of glassblowing to create the fine linear forms he imagined. During his early artistic development, images appeared and reappeared with enough frequency, so as to form a language of symbols. Aschenbrenner seeks to convey the fragility of human life through his work, in which delicate and coarse materials wrap around each other. His affinity for the process of glassmaking is evident in the time it takes him to create a piece. He refers to the process as a “spiritual dance in which there is nothing more than the artist and the furnace”. Working with a puddle of molten glass, Aschenbrenner acts quickly in his abstract formations, intuitively creating a fluid movement between his hands, the tools and sculpture. This allows him to create multiple bone-like shapes, which he joins together through an orthopedic practice of splint-like arrangements using found sticks and metals. Michael Aschenbrenner received a Master of Fine Arts degree from the University of Minnesota, Minneapolis. He has been exhibited across the United States and internationally. His work is part of permanent museum collections across the United States as well as in Germany. He received the Pollock Krasner Foundation Grant in 1989 and 1996, as well as the National Endowment for the Arts Fellowship Grant in 1992. His artwork has been featured in Forbes, New York Times, Art Week, Glass Magazine and Newsweek. Judy Csotsits: The Fates Judy Csotsits was raised in Debrecen, Hungary, where she spent her childhood creating and designing. In her drawings she uses a combination of pen, ink, acrylic and colored pencil on Mylar. The Mylar creates a deep, milky, smooth, white space, in which each form levitates and alludes to three-dimensional space. Her drawings are created intuitively, using only simple symmetrical structures that blend unknown alien and ancient forms together with familiar hybrid plant, animal and human forms. Using repetitive movements, the drawings evoke fractal-like structures that exist abundantly in nature. Evolution is alluded to in her work as each form is an organic hybrid of various forms of life, depicted in a state of transformation and metamorphosis. The insect-like bodies appear to be evolving braids resulting in an overall human shape, thereby dissolving the distinction between plant, animal and human categories and fusing abstract and figurative elements into one. The ultimate result reflects the evolutionary process of a simple one-celled organism evolving into the multiple complex expressions of life. Judy Csotsits received her Master of Fine Arts degree from Otis college of Art and Design and her Bachelor of Arts degree from University of California, Los Angeles. Her artwork has been exhibited across the United States and Europe. She taught 2D design at Mt. San Jacinto College in California,, as well as a painting class through the Pierce College Project Match. She is a featured Saatchi artist and has been published in the Los Angeles Times . Marissa Quinn: Cyclical Paradoxology Marissa Quinn grew up on the salty shores of San Diego. With the sea as her home, she was taught how to view the ocean and its surrounding marine life as a symbolic narrative. In her artwork, she explores the concept of “trophic cascades”; these are defined as powerful indirect interactions that control entire ecosystems and occur when predators limit the density and/or behavior of their prey, thereby enhancing survival of the next lower trophic level. By combining zoomorphic elements of endangered flora and fauna, she creates surreal, monochromatic compositions of trophic cascades in states of transformation and/or adaptation to biospheric changes in our Earth. Each drawing contains an endangered species or invasive species (sometimes both), federally listed as endangered or threatened, specifically in California. Her work blurs the lines between growth and decay through stages of the life cycle, conjuring multifaceted emotional responses to the journey of nature, both literally and within an individual. There is a secondary spiritual thematic undercurrent to her work, harkening to indigenous storytelling and ancient mythology. In each piece, it is the connection of the cycle, the circle and the ouroboros (an emblem of wholeness or infinity), that serve as an ancient source of hope for humanity. Her work reminds us that everything is connected. Trophic cascades are both literal and symbolic sources of insight into the well being of our earth, collective self and individual lives. Marissa Quinn received Master of Fine Arts as well as Bachelor in Fine Arts degrees at Azusa Pacific University. Her pieces have been exhibited throughout Southern California. Jeremie D. Riggleman: Assimilation Jeremie D. Riggleman is a Los Angeles-based artist who uses staged photography, one-off sculpture and industrial manufacturing methods to capture mysterious images laden with open narratives. Riggleman’s ongoing series of works utilizing lawn art objects are greatly influenced by Donald Featherstone, a Massachusetts resident most widely known for his 1957 creation of the plastic pink flamingo lawn décor. In Riggleman’s work, the kitsch becomes a humorous surrogate for exploring the artist’s longing for the past, a place to call home and desire for people to call friends. His photographs capture seemingly candid moments, speaking more of the environments than the figures that actually reside within them. Riggleman states, “In all the places I’ve lived, I sense myself floating between alienation and assimilation, while balancing the complex polarities both around and within”. Jeremie D. Riggleman has exhibited at Westmont College in Santa Barbara; Forsinone, Italy; the Oceanside Museum of Art and Riverside Art Museum. Riggleman holds a Masters in Fine Arts degree in visual art from Azusa Pacific University and Bachelor of Arts degree in studio art from Bethel College in Mishawaka, Indiana. His work can be found in the permanent collection at Azusa Pacific University. Jonas N.T. Becker: Westward Bound Jonas N.T. Becker’s photography and video installations explore the formation of cultural mythology around specific sites and geography, collapsing what we see with what we hope, fear or believe. He is particularly interested in utopian manifestos, scientific hypotheses, religious beliefs and other expressions of collective desire. He uses camera editing and projection to destabilize these myths, disrupting normative signifiers of linear time and perspectival space. Exposing the contingent nature of our social structure, Becker’s work creates the possibility, not only of disenchantment, but also of queer reordering and reconstruction. Jonas N.T. Becker has exhibited internationally, recently at the Craft & Folk Art Museum, LAXART, and Shulamit Gallery. His work has been featured in the Los Angeles Times, LA Weekly, Art Ltd. and others. Grants and fellowships include Saas-Fee Summer Institute of Art, Heart of Los Angeles residency, Center for Global Peace Studies grant, Nazarian Foundation grant, Berman Foundation grant, and the Six Points Fellowship. Becker also founded the Mobile Pinhole Project and teaches across LA. He holds a Master of Fine Arts degree from University of California, Irvine and a Bachelor of the Arts degree from Smith College. Becker was born in Morgantown, WV, and lives in Los Angeles. Tina Dille: Ravens Tina Dille began her artistic career at a young age; early on she was drawn to the livestock and ranchers in her hometown of Jerome, Idaho and the backyard creatures she discovered when her family moved to Southern California. As an adult, Dille operated a small ceramics business that created and sold hand painted ceramics nationwide working with companies such as Nordstrom, Disneyland and Knott’s Berry Farm. In her spare time she continued making artwork, taking college art courses and painting in oils. Dille left the hectic city life for the countryside; she went back to living amid nature and a diverse range of animals to sketch and paint. After studying studio art at California State University Bakersfield, she transitioned to watercolors, a more fluid medium than oil paints, in order to convey the true freedom of nature through her art. Dille believes each one of her animal portraits has a message, but she allows the viewer to figure out exactly what that is. With watercolors and fluid acrylics, Dille drips, flows and splatters paint using the animals' eyes as the focal point. For her, the painting process is part skill, part intuition and part serendipitous accidents. Allowing the painting itself to reveal personality, she then develops it, which provides some surprising end results. Tina Dille earned her Bachelor of Arts degree in studio art from California State University Bakersfield in 2008. Her artwork has been exhibited across Southern California. She has been featured in multiple juried exhibitions at MOAH, most recently being awarded the 2015 Best of Show for Challenge Yourself . Seamus Conley: Rugged Promised Land Seamus Conley is a Los Angeles native now living and working in San Francisco. Conley aims to mirror human experiences through aesthetic combinations of slick, professional, fantasy imagery with that of low budget, amateur, documentary style imagery. He often portrays a lone figure standing on a precipice or threshold, glowing under a soft, magical light created through the use of glowing blue and violet hues. This creates a sense of the sublime, inviting viewers to embrace the incredible, yet sometimes somber sights also manifest alongside the figures presented. As an artist, Conley loves to play with the idea of opposites and embraces the dissonance of the dream-like environments he creates. His subjects always appear in a kind of otherworldly hinterland, facing away from the viewer, showing an engagement in private contemplation. Youth is a sub-theme Conley has been drawn to in his recent paintings. The children in these paintings are not from one model, but are combinations of different images juxtaposed in order to create a symbol of a child that does not truly exist. These illustrations represent patched together memories of being young that may or may not be true. In 2007, Conley received the Pollock Krasner Award. Conley’s paintings have been exhibited in solo and group exhibitions across the United States as well as internationally. His artwork has been shown in publications such as Hi Fructose Magazine, Art Ltd Magazine and San Francisco Weekly. Marissa Quinn Hearsay Michael Aschenbrenner Judy Csotsits Jonas N.T. Becker Jeremie D. Riggleman Seamus Conley Tina Dille View or Download the Myths and Legends Catalog by clicking on the cover image or here.

The Frostig Collection < Return to Exhibitions October 29, 2013 - January 5, 2014 Frostig at Large: The Artists of The Frostig Collection Main Gallery & South Gallery Second Floor Lou Swenson: Moving West Wells Fargo Gallery Bradford J. Salamon: Objectified East Gallery Legacy: The Artists of the Open Studio Vault Gallery Christoff Van Kooning: Invertibles Third Floor Galleries Guy Dill From The Frostig Collection Lou Swenson Moving West Bradford J. Salamon Crosley Radio Renato De Guia Timothy Christoff Van Kooning Invertibles Collection Frostig at Large: The Artists of The Frostig Collection The Frostig Collection is comprised of an expansive array of artwork by many of today's most compelling and well-known artists. The artists represented in the exhibition live and work in Los Angeles and have substantially contributed to the international reputation of arts in the region through their innovative use of concepts and materials, some of which were developed by the aerospace industry here in the Antelope Valley. The Frostig Collection was created as a fundraising enterprise to support the Frostig Center and School, both global leaders in research and education of students with learning disabilities. Located in Pasadena, California, The Frostig Center is one of the few privately-funded non-profit organizations in the United States which is exclusively dedicated to investigating the causes and treatments of learning disabilities such as dyslexia, dysgraphia and dyscalculia along with ADHD, ADD, Asperger’s and high-functioning autism. Founded in 1951 by Marianne Frostig, Ph.D., a leader in education for children with learning disabilities, The Center has significantly changed the way children with learning disabilities are taught, which has resulted in helping them achieve satisfying and productive lives. Frostig School parents created The Frostig Collection to expand the work of The Center and bring a much-needed social skills program to fruition, thereby further supporting the emotional health of the students. By donating their work, the distinguished artists of The Frostig Collection have significantly contributed to the development and advancement of specialized resources for children with learning disabilities, improving the lives of the students, their teachers and their families. These pioneering artists include: Lita Albuquerque, Charles Arnoldi, Gary Baseman, Larry Bell, Lynda Benglis, David Buckingham, Chris Burden, Guy Dill, Robert Graham, Frank Gehry, Brad Howe, Eric Johnson, Matt Johnson, Michael Kalish, Michael C. McMillen, Ed Moses, Gwynn Murrill, R. Kenton Nelson, Chris Piazza, Sarah Perry, Ken Price, Nancy Rubins, Alison Saar and Ray Turner. Lou Swenson: Moving West Lou Swenson has been making art for 50 years. His passion for photography began when his mother presented him with a Kodak Pony 135 camera the day he was deployed to serve on the frontlines of the Korean War. At every opportunity when not engaged in battle, he used this gift to capture images of his comrades and to calm the effects of active duty in a foreign land. A great loss to the art world and the visual history of the time, this transparency collection was lost during an overseas shipment, making images from this time impossible to reproduce and share with the world. His early creative inspiration came from Depression Era Life Magazine and war photographers such as Walker Evans, Dorothea Lange, Eugene Smith and Henri Cartier-Bresson. As Swenson moved west, he was taken with the groundbreaking work of Ansel Adams and the pioneering California coastal photographers of the time. After completing his military career, Swenson became a commercial photographer and studio owner in San Antonio, Texas. During that time, he earned a Master of Photography degree, built an extensive list of clients and won many awards at print competitions. Mastering the technical aspects of his craft and enjoying eleven years of successful commercial photography, Swenson shifted gears and returned to his roots in Colorado, where he established himself in the fine art of black and white photography. Drawn to the geographical and cultural diversity of the Four Corners region, he settled in Dolores, Colorado where he currently resides. The region has been his creative home for the past 29 years: traversing the back roads of the west, documenting treasures of open spaces, remnants of rural life and the marks of time on a rapidly changing society. Swenson’s expertise in maximizing tonal variations, textures and shadow patterns across the landscapes and architecture of the west lies in photographing and printing black and white silver halide negatives in his home darkroom, a practice he continues as long as film, paper and chemicals are available. Like the landscape painters and photographers who traveled west with the tenets of Manifest Destiny and on the trails blazed by Lewis and Clark, Swenson utilized large format cameras to capture the inherent qualities of light, form and drama in the region. He began shooting with a 5 x 7 inch camera body then weaned himself down to a medium format 6 x 9 cm in order to reduce the cumbersome weight of these models while maintaining perspective control and maximizing tonal values, all of which are germane to representing the light and essence of the west. Swenson is a master in the art of composition, utilizing the basic principles of design and the rule of thirds to position his subjects within the frame. Swenson’s ability is apparent in how he captures the shift of a cloud in an expansive landscape, the depth of a shadow wrapping around a hand built pueblo or the intangible interior light of a dusty room in a forgotten ghost town. He is particularly fascinated with the change of seasons, when leaves begin to drop and reveal the underlying structure of trees and the inherent mood of a landscape. He notes: “when the snow begins to fall it creates a new and dynamic relationship between light and dark, texture and form, horizon and sky.” His works are sensuous and striking homages to the beauty of the region, where artists are still drawn to study and experience the dramatic landscapes and cultural heritage found in this quiet part of the world. Bradford J. Salamon: Objectified Objectify: verb (objectifies, objectifying, objectified) 1.To express (something abstract) in a concrete form: good poetry objectifies feeling. 2. To degrade to the status of a mere object: a deeply sexist attitude that objectifies women. Bradford J. Salamon is widely regarded for his portraits of artists, writers and musicians who he invites into his studio to sit in his iconic orange chair, often for hours, as he observes and documents the intricacy of their humanity. His approach allows the artistic process to unfold as an unpredictable journey into the subject’s personality, where the painting unlocks a visual narrative unique to the time of the sitter’s life. The person becomes part of the art making process: as they bring to the chair their life stories of professional achievements and personal hardships, their bodies begin to sink into the chair, and over time their faces often collapse into fatigue. The pain of sitting for hours unoccupied by a task other than being there for the artist becomes apparent. For Salamon, this process captures the entire evolving narrative of the person and activates the canvas with the human condition. His process counteracts the tendency to objectify the model—as many portrait artists have done throughout the history of art—while also representing an abstraction of his model. Salamon sees portraiture as an opening into life experiences he may never otherwise have had the opportunity to observe and notes that the process of painting people for extended periods of time provides a way of communicating and interacting with them on an entirely different level. He brings this humanizing approach to painting objects as well; objects such as rotary dial phones, vintage machinery, and toys. These portraits serve as a reminder of the power of invention and the purpose and aesthetic considerations that initially guided the object’s design. He notes: “I will paint people forever, as they are always important to me. But my fascination with inanimate objects and the stories they tell bring me back to a different time when it makes me move into the mindset of a designer or inventor who thought with 1920 references. Old glass bottles, iconography, out-of-date sewing machines, their shapes and how they work stimulate me to see the world with fresh perceptions.” Exploring the poetics of these vintage objects is a welcome challenge for the artist. Representing multiple surfaces as they interface with one another is no simple task for a painter: capturing the luminosity of glass against metal; the texture of time-worn wood overlaid with fading chrome; and the contrast of fabric and mesh with plastics all have their own character and qualities. The artist has plentiful objects from which to choose, especially due to the speed at which objects become obsolete, a phenomenon that intrigues the artist and keeps him inspired to paint on a daily basis. Bradford J. Salamon has recreated his private studio at MOAH with the orange chair at the center of the installation. His studio—itself a series of objects from the artist’s life—is situated here as a place in which you may interact with him and become familiar with his process; a process that is unfolding in real time, as an unpredictable journey into the artist’s mind and method. While Mr. Salamon is not painting in the Museum, he consistently works in Los Angeles on painting commissions. He studied at The Art Institute of Southern California, Laguna Beach and trained extensively in Europe. His work has been shown and collected internationally. Legacy: The Artists of the Open Studio The Open Studio class began in January 2013 at the Museum of Art & History (MOAH) as a forum for the art community to draw and paint from a live model. The practice of life drawing provides a greater challenge in comparison to drawing from photographs. With the presence of a live model, often draped in multi-colored fabric and placed under focused lighting, artists are offered a variety of shapes and forms from which to sharpen their observation skills and articulate details of the human figure. Open Studio takes place in the Hernando and Fran Marroquin Family Classroom and is led by local artist Renato de Guia. The success of Open Studio is found in Mr. de Guia’s accessible approach to cultivating the existing skill set of his students. He provides a safe place for experimentation as he looks for clues in the students’ work, then suggests practicing techniques in rendering, line quality and creating the illusion of volume. His students range in age from 17 to 74 with beginning to advanced skills. Novice students have the opportunity to observe and practice the techniques of some of the Antelope Valley’s finest and most established artists, providing a place for camaraderie and artistic growth among like-minded citizens. Born in Manila, Philippines, Mr. de Guia’s early interest in drawing was ignited by the comic books that his aunt would send him as a child. He was taken by the style and technique of the comic artists, particularly Neil Adams, whose articulation of human anatomy was accurate and dynamic due to his training in life drawing. As a youngster, Mr. de Guia was constantly drawing, even during hospitalizations for a rare bone disease. He went on to earn his B.S. in Architecture from Kent State University, Ohio, another opportunity pursued to refine and utilize his drawing skills, all of which he applies to his teaching. Mr. de Guia has been practicing architecture and teaching art in the Antelope Valley for many years and was deeply involved with Allied Arts at Cedar Center. He is equally passionate about volunteering and contributing to the expansion of MOAH’s adult art education program. Renato de Guia’s artwork is accompanied by student work from Ulrica Bell, Betty Ermey, Geoffrey E. Levitt, Joanne McCubrey, Albert Miller, Julie Schuder, Nay Schuder and Adeline Wysong. Christoff Van Kooning: Invertibles Through his multi-dimensional sculpture series, Invertibles, Christoff Van Kooning sees his work as a poem of materials and a language of shapes and forms. With the use of many different materials, from stone and metal to Styrofoam and gold leaf, Van Kooning explores the space between positive and negative shapes and the visual interplay that is created when a series of shapes are cut from a large volume of material. His Invertibles are puzzle-like and playful compositions of interlocking and movable geometric shapes that reveal both the original source material and the skill of the sculptor. His objective is to release a lively series of shapes from the original material through a process of discovery. Although his work preserves the hard edges of his materials, his positive and negative shapes recall the minimalist sculptures of Henry Moore (1898 –1986) and Barbara Hepworth (1903 – 1975). Christoff Van Kooning lives and works in Los Angeles. He studied classical sculpting methods in Italy before returning to the United States to work with David Hickey at the University of Nevada, Las Vegas. He continues to focus on minimalist art and testing the power of juxtaposing line and mass/volume in his work. His awareness of the qualities of repetition, duality and symmetry are easily recognizable in this installation of new work. Frostig Swenson Salamon Legacy Kooning View or Download the Frostig Collection Exhibition Catalog by clicking on the cover image or here.

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

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

Desert Forest: Life with Joshua Trees September 7 - December 29, 2024 The Lancaster Museum of Art and History (MOAH) has partnered with the Getty, and 70+ other organizations, for PST ART: Art & Science Collide . On Saturday, September 7, the Lancaster Museum of Art and History will open Desert Forest: Life with Joshua Trees , as part of the Getty PST ART: Art & Science Collide initiative. The exhibition sheds light on the threatened Joshua tree and the fragile Mojave Desert ecosystem that sustains it. The project integrates natural history, indigenous knowledge, public policy, scientific research, and artistic expressions to emphasize the challenges facing the Joshua tree and conservation efforts. With a focus on the impact of climate change, development, wildfires, and other threats, the exhibition explores the symbiotic relationships between Joshua trees, soil fungi, and moth pollinators, engaging a diverse audience interested in arts and environmental issues. Desert Forest features more than 50 historical and contemporary artists who have produced artworks that exemplify a range of ideas across myriad practices. The exhibition will remain on view from Saturday, September 7, 2024 to Sunday, December 29, 2024. Southern California’s landmark arts event, PST ART, returns in September 2024 with more than 70 exhibitions from museums and other institutions across the region, all exploring the intersections of art and science, both past and present. Dozens of cultural, scientific, and community organizations will join the latest edition, PST ART: Art & Science Collide , with exhibitions on subjects ranging from ancient cosmologies to Indigenous sci-fi, and from environmental justice to artificial intelligence. Art & Science Collide will share groundbreaking research, create indelible experiences for the public, and generate new ways of understanding our complex world. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide , please visit pst.art Sant Khalsa, Curator and Juniper Harrower, Associate Curator Featuring contemporary artworks by Linda Alterwitz, Marthe Aponte, Madena Asbell, Nancy Baker Cahill, Diane Best, Darin Boville, Matthew Brandt, Fred Brashear Jr, Bill Leigh Brewer, Claudia Bucher, Bureau of Linguistical Reality, Gerald Clarke, Maryrose Crook, Torreya Cummings, James M Dailey, Scott B. Davis, Department of Floristic Welfare, Dani Dodge, Edgar Fabián Frías, Rob Grad, Jennifer Gunlock, Juniper Harrower, Jessie Homer French, Christine Huhn, Monroe Isenberg, Adriene Jenik, Jetsonorama (Chip Thomas), Jenny Kane, Yulia Kazakova, Sant Khalsa, Casey Kiernan, Stevie Love, Rebecca Lowry, Meg Madison, Aline Mare, Chris McCaw, Paloma Menéndez, Eric Merrell, Chelsea Mosher, Daisuke Okamoto, Michelle Robinson, Cara Romero, Catherine Ruane, Ed Ruscha, Hiroyuki Seo, Kim Stringfellow, Ruth Wallen, Jennifer Valenzuela, and Danielle Giudici Wallis; and historical artworks by Sarah E. Blanchard, Ralph D. Cornell, E.O. Hoppé, Olive Jackson, Gerald D. Jeffers, Charles Koppel, Jane Pinheiro, Betty Warner and Carleton Watkins. COMMUNITY HUB Learn about the upcoming engagement events for Desert Forest: Life of Joshua Trees Learn more View our Digital Program Click the button to view our digital program and learn more about the exhibition and upcoming community hub events! View Digital Program Desert Forest Book Front Cover Mock Up Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. Desert Forest Book Mock-Up Inside Pages Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. Desert Forest Book Mock-Up Backside Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. Desert Forest Book Front Cover Mock Up Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. 1/3 NEW BOOK: Desert Forest: Life with Joshua Trees Explore the deeply entangled relationships between humans and Joshua trees in Desert Forest: Life with Joshua Trees —a captivating collection of essays and imagery that reveals how we can protect this iconic species from the threats of climate change and development. Shop Now Thank you to our sponsors! CREATIVE RESEARCH FUND REAL93543

Colorimetry < Return to Exhibitions January 18 - March 16 Ruth Pastine: Attraction 1993 - 2013 Main Gallery Gisela Colon: Glo-Pod Jewel Box John Eden: Roundel Series Second Floor - Staircase Atrium Johannes Girardoni: Chromasonic Field Blue/Green, 2013 Second Floor East Gallery Phillip K Smith III: Lucid Stead: Four Windows and the Doorway Vault Gallery Karl Benjamin Entry Atrium Dion Johnson: Light Sequence - Aquarium' 2013 Education Gallery January 23 - March 13 Innovations 29th Annual All-Media Juried Art Exhibition South Gallery Ruth Pastine Gisela Colon John Eden Karl Benjamin Dion Johnson Phillip K Smith Johannes Girardoni Anita Ray Innovations 29th Annual All-Media Curator's Award Eden Pastine Girardoni Johnson Benjamin Innovations Colon Ruth Pastine: Attraction 1993-2013 In the world of human perception, perhaps no single stimulus evokes a more complex cascade of responses than that of the phenomenon of color. Our perception of the color spectrum is completely dependent upon light and is encountered thousands of times a day in seemingly infinite combinations. Whether in our homes, workplaces, neighborhoods, cities, in film, in art, even in our dreams, these encounters have the ability to trigger emotional, physiological, intellectual, aesthetic and spiritual responses. Creating this phenomenological interplay between color, light and perception is where renowned painter and color theorist Ruth Pastine thrives. Pastine’s oil paintings and pastel works on paper provide a contemplative field in which we may dwell and absorb the intimate relationships she presents between warm colors and cool colors, between light and dark tones, between two-dimensions and the illusion of three-dimensional space. Pastine’s life’s work is dedicated to evolving the visual experience of color and redefining the perceptual field by combining contrasting color systems that challenge our preconceptions and ask us to move beyond the immediate attraction into the optical realm. The work is best experienced in person, which reveals the optical and visceral resonance of the hand painted surfaces. Through her work, color and light are reduced to their most elemental form. Thousands of tiny brush strokes appear visually seamless, producing an image that is both objective and pure and filled with nuance and subtlety that engages the viewer in the present tense of discovery. This journey parallels her painting process of being in the moment, in the here-and-now as she transforms a neutral canvas into a rich field of color. The square, vertical, and horizontal-rectangular framework of the canvas provides a gateway for departure, a means to access the future work, beyond that which seems finite. Ruth Pastine was born and raised in New York City. She received her B.F.A. from The Cooper Union for the Advancement of Science and Art, New York, NY in painting and art history, and her M.F.A. from Hunter College of the City University of New York in painting, color theory, and critical theory. She received the Elizabeth Foundation for the Arts Grant in 1999, and in 2000 in conjunction with The Shifting Foundation matching grant. In 2001 she relocated to Southern California where she currently works and resides. In 2009, she received a public commission from Brookfield Properties and created a site-specific installation titled Limitless , which is comprised of eight large-scale vertical paintings permanently on view in the lobbies of Ernst & Young Plaza in Los Angeles, CA. The Museum of Art & History is pleased to present Pastine’s first museum survey show with exhibition catalog essays by Donald Kuspit and Peter Frank. She has exhibited widely in the United States and Japan, and is included in many public and corporate collections across the nation. Gisela Colon: Glo-Pods The work of Los Angeles-based Gisela Colón has been associated with California Minimalism, specifically the Light & Space and Finish-Fetish movements more broadly referred to as “Perceptualism.” Colón’s sculptures investigate the properties of light in solid form and luminescent color through the use of industrial plastic materials. The Glo-Pods body of work—meticulously created through a proprietary fabrication process of blow-molding and layering acrylic—mark Colon as part of the next generation of southern California artists using light as exploratory media. The light appearing to emanate from the objects is an illusion based on color and form. Colón's use of amorphous, organic, asymmetrical lines and light-reflecting and radiating media make her objects appear to pulsate with light and energy. They simultaneously appear to both actively materialize and dissolve into the surrounding environment, allowing the experience of pure color and form in space. Colon’s goal is to bring about intriguing perceptual contradictions between visual elements such as: mass/lightness, solidity/delicacy, opacity/ transparency, muscularity/femininity, and intensity/nuance thus allowing for the exploration of the phenomenology of light, color, materiality, and space as we experience it through the human lens of the senses. Colón was born in 1966 in Vancouver, Canada, to a German mother and Puerto Rican father. She was raised in San Juan, Puerto Rico and attended the University of Puerto Rico, graduating magna cum laude in 1987 with a BA in Economics. Colón moved to Los Angeles to pursue graduate studies, receiving a Juris Doctorate degree from Southwestern University School of Law in 1990. She was given a Congressional Scholarship Award by the Harry S. Truman Foundation in recognition of her outstanding academic excellence. She was able to turn to art full-time in 2002, quickly developing a following for her abstract paintings. Colón’s increasing interest in light and space and issues of visual perception brought her to her present series of work and her conscious association with Light-and-Space and Finish-Fetish artists such as Robert Irwin, James Turrell, Craig Kauffman, DeWain Valentine, Helen Pashgian, Larry Bell, Ronald Davis, Mary Corse, and Peter Alexander. Colón has exhibited at national and international venues. In 2014, she will be featured in the survey exhibition “Trans-Angeles” at the Museum Wilhelm-Morgner Haus in Soest, Germany. John Eden: Roundel Series In his Roundel Series , Sculptor John Eden presents multicolored disks that are interpretations of the symbols and colors used to identify military aircrafts’ country of origin. These 'Roundels' were originally inspired by the tricolored Cockade uniform ribbon of the French Revolution and repurposed again during WWI for aerial combatants. Mr. Eden further abstracts these symbols into pure shape and form. Eden started the Roundel Series in the late fall of 2012 and to date has created twenty-nine discs in various sizes, with twenty-five different Roundel designs. Like many of his contemporaries within the Southern California Finish-Fetish movement, he works solo in his studio, attending to every detail with pride and dedication to his craft. His work is grounded in his lifelong fascination with hidden or secret meanings: things that appear to be one thing, but are quite the opposite—in this case beautiful objects with lethal intent. This series explores the idea that “all that glitters is not gold” and the dark side of beauty. Eden’s Roundel Series builds upon the pioneering legacy of Southern California artists who married industrial materials and the Los Angeles car culture with political activism in the early 1960s. Eden credits the feminist artist Judy Chicago and her 1964 Topical Car Hood Series as an inspiration for his Roundel Series . Chicago sprayed acrylic lacquer on Corvair car hoods in precise, bold patterns thereby ushering in a new era of materials and content in Southern California art. John Eden received his Master of Fine Arts in painting from the University of Southern California; Master of Arts in inter-media from California State University of Northridge; and Bachelor of Fine Arts in independent filmmaking from the San Francisco Art Institute. Eden attributes his skills in handling sensitive pigments, high polish surfaces and non-traditional materials largely developed by the California aerospace engineering industry to his advanced training under Jack Brogan in his world renowned fabrication studio. Since the 1960s Jack Brogan has been an important facet of the art scene in Southern California, working closely with artists such as John Eden, De Wain Valentine, Robert Irwin, Larry Bell, Helen Pashgian and John McCracken as a conservator, fabricator, and collaborator. MOAH is proud to continue exhibiting this legacy of artists and the fabricators who have helped pioneer the Light and Space and Finish-Fetish movements, all unique to Southern California. Eden shows widely in California and has published in The Los Angeles Times, Art Review and The San Diego Union Tribune. He lives and works in Los Angeles. Johannes Girardoni: Chromasonic Field Blue/Green, 2013 Johannes Girardoni is an American-based sculptor and installation artist. Girardoni is known for work that blurs the line between virtual and material content. Dispersed throughout a gallery filled with natural light, Chromasonic Field-Blue/Green is a series of semi-translucent blue cast resin beams. White LED’s illuminate them from within, projecting artificial light as well as allowing the surrounding natural light to pass through. The installation is outfitted with sensors calibrated to measure the specific color frequency emanating from the resin as well as the ambient light. The sensors drive a tone generator, which converts the light information to sound, essentially making light audible. These sensors also register the presence of the viewer moving through the space, which further modulates the sound. The boundaries between natural and digital phenomena are blurred in a field of luminous sound. Johannes Girardoni's work has been widely shown at museums and galleries in the US, Europe and Asia. In 2011, Girardoni's light and sound installation The (Dis)appearance of Everything was included in the 54th Venice Biennale, Italy. Selected other exhibitions include Personal Structures at the Ludwig Museum, Germany, 30 Years of Contemporary Art at the California Center for Contemporary Art and Creative Migration at The Austrian Cultural Forum, New York. His works are represented in public and private collections, such as the Harvard Art Museum, The Progressive Collection and The Margulies Collection. Girardoni has been the subject of features and reviews both nationally and internationally including: The New York Times, The Wall Street Journal, ArtNews, Art in America and Sculpture. In 2013, Girardoni completed a major in-situ permanent work, Metaspace 1 (The Infinite Room) , a light and sound sculpture conceived as part of architecture in collaboration with Smithsonian/Cooper Hewitt National Design Award winner Tom Kundig of Olson Kundig Architects. Girardoni’s Metaspace V2 , a groundbreaking interactive sculpture project that brings together art, technology, and science was first presented at the exhibition Off and On at Nye+Brown in Los Angeles. Phillip K. Smith: Lucid Stead: Four Windows and the Doorway Drawing inspiration from the optic sensation of California’s Light and Space movement, Phillip K. Smith III creates deceptively simple objects that seem to breathe and move as they are observed and experienced. This exhibition showcases one aspect of Smith’s Lucid Stead, 2013 an entirely site specific installation that incorporated LED lighting with mirrored panels on a 70 year old homesteading shack in the Mojave desert. Smith’s design of Lucid Stead was deeply influenced by his relationship to the desert, where he lives and works, and the inherent qualities unique to the Mojave: the quiet, expansive space, the reduced pace of change, and the uninterrupted color fields that occur as day shifts to night over the horizon. Using these ephemeral qualities as material and medium through the reflection of light and mirrors mounted on the homestead, Smith was able to place the building in direct conversation with the surrounding landscape. The four windows and doorway were outfitted with LED panels that slowly drenched the viewer in color. The desert context disappeared as day transformed into night and the colored panels appeared to float into the black sky. Smith happily pulled these light panels away from their desert home and into the MOAH to enable him to strictly focus the eye on pure color. His usual mode of working with light is from the inside-out, meaning he imbues his objects with light from within. Now, the interaction of color occurs as colors reflect and mingle on the gallery walls, washing the gallery in shifting changing light and color. Lucid Stead: Four Windows and the Doorway provides a direct path to the human sensory system, and the installation itself takes on human physicality, as if the color is breathing light into the participant. Smith is concerned with time and the ephemeral nature of life. In the past was Lucid Stead. In the present is: Lucid Stead: Four Windows and the Doorway, a bridge to the future where Smith will take re-site a monumental installation into the landscape, where the Southern California desert and the purity of his solar powered light panels interact seamlessly. Phillip K. Smith III received his Bachelor of Fine Arts and Bachelor of Architecture at the Rhode Island School of Design. From his Indio, California studio he continues to push the boundaries and confront the ideas of modernist design. Drawing inspiration form the rigidity of the Bauhaus movement in its pure shapes, colors and forms, with the reductive geometries of minimalism and the optic sensation of light and color, Smith III attempts to resolve the complex challenge of finding a natural state of life and spirit within these ideological constrictions. Commissioned to create more than a dozen monumental public art works in the last 5 years in Kansas City, Nashville, Oklahoma City, Arlington, VA, Phoenix and several sites in California, Smith has enjoyed rapid success with a 2008 feature in the Art in America Annual Review. In addition to these larger scaled works, Smith continues to work on an ever-growing list of smaller scaled works for private collections. Karl Benjamin (December 29, 1925 – July 26, 2012) Born in Chicago, Karl Benjamin began his undergraduate studies at Northwestern University in Evanston, Illinois in 1943. Interrupted by service in the US Navy during WWII, Benjamin resumed his studies at Southern California's University of Redlands in 1946. Graduating in 1949 with a BA degree in English literature, history and philosophy, Benjamin began his career as a teacher with no intention of becoming an artist. However, his relocation to Claremont California in 1952, shortly after he had begun "playing" with paint in 1951, galvanized his career path. Though he continued to teach in public schools and, later to great acclaim, for Pomona College, the artist's work blossomed amid the lively art, design and architecture scene in Los Angeles in the mid twentieth Century. Numerous gallery showings of his work during the 1950s culminated in 1959 with his inclusion in Los Angeles County Museum of Art's ground-breaking exhibition "Four Abstract Classicists: Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin." The exhibition garnered national attention along with the creation of a moniker for Benjamin's meticulously orchestrated color and form: Hard Edge Painting. Subsequently Benjamin's work was included in the exhibit Purist Painting traveling to Walker Art Center in Minneapolis, the Everson Museum of Art in Syracuse and the Columbus Museum of Art. The Whitney Museum included his work in Geometric Abstraction in America. Museum of Modern Art (NY) also featured the artist in their watershed exhibit The Responsive Eye. Benjamin was awarded the National Endowment for the Arts Grant for Visual Arts in 1983 and 1989. His work has been featured in numerous exhibitions and is included in the public collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, Israel; Oakland Museum, Oakland, CA; San Francisco Museum of Modern Art, CA; Seattle Art Museum, WA; and the Whitney Museum of American Art, NY among others. Benjamin taught for many years at Pomona Valley institutions and was named Professor Emeritus at Pomona College. Dion Johnson: Light Sequence – Aquarium, 2013 Dion Johnson is activating the Education Gallery with an animated video projection of slowly evolving abstract fields of color, stripes and architectural forms. This is a site specific work of art that Dion has created exclusively for MOAH. Mr. Johnson imagines the projection as a moving painting that draws inspiration from how he senses and experiences the environment. From observing shadows stretching across his living room floor, watching the curvature of the freeway interchange while driving to his studio, and seeing the Southern California light filtering through urban structures, Light Sequence – Aquarium holds a full range of associations and perceptual cues that percolate as the video animation unfolds. Dion Johnson received his Bachelor of Fine Arts from Ohio State University and his Master of Fine Arts from Claremont Graduate University. He exhibits nationally with solo shows in museums and galleries across California, New York, Florida, Ohio and Texas. He lives and works in Los Angeles. Innovations 29th Annual All-Media Juried Art Exhibition Highlighted in the 29th Annual All Media Exhibit are 107 pieces created by 73 talented High Desert Artists. The entries were judged by Southern California artist Ray Turner, an American artist known primarily for his portrait and landscape painting and award winning sculptor Sarah Perry who currently resides in Tehachapi. All work in this exhibition was produced in the past three years and has not previously been shown at the Museum of Art & History. All forms of artistic media, including, but not limited to, painting, photography, and mixed-media were welcomed. The award winners were chosen by the esteemed judges with aditional awards given by community members and City leaders. Best of Exhibition • 1st (Best of) Christine Kline - Origins • 2nd (Best of) Stevie Love - Paint Thing 2 • 3rd (Best of) Antoinette de Paiva - Afterthought Series #5 Minors: • 1st Place Hanna Creech (age 13) - The Peacock • 2nd Place Elizabeth Engeda (age 10) - Northern Cardinal • 3rd Place Jack Kozlovsky (age 7) - Jack's Magic Dragon Beryl Amspoker Award • Tina Dorff - Portrait of the Young Countess Deirdra Rose Lakes and Valleys Art Guild Award • Sal Vasquez - Harris Vineyards Harvesters Dean Webb Memorial Photography Award, Presented by the Lancaster Photography Association • Betsy Batish - Unhitched Mayor’s Award • Tina Dille – E.B. City Manager’s Award • Michael Evans – Steampunk Top Hat Director’s Award • Regis R. Gagnon – Cotton Belt on the Outskirts Curator’s Award • Anita Ray – Loose Ends Honorable Mentions: • Nay Schuder – Crackin’ Up #1 • Michael Evans – Steampunk Media Player •Antoinette de Paiva - Afterthought Series #7 • Thaddeus Grzelak - Plein Air - Old Gold Mine • Frank Dixon - The Machine Age • Dennis Borak - Field of Sun Flowers • Dennis Borak - Artist Considering a Painting • Susan Cunningham - Dreaming of Zion • Nancy Scherich - Bitter Sweet • Hossen Mofarrah - Particles in the Air • Ralph Richeson - The Circus Came to Town • Christine Kline - Drowning Man • Jarnold - Meat Head • Tina Dorff - Deirdra & Jacques • Dennis Adams – Old Barn • Cynthia F. McConnell - Voids • Karyl Newman - Inter-Airspace Velvet • Stevie Love - Paint Thing 3 • Bruce McAllister - Sarah Says (As Neptune Swims) • Katherine Shannon - Kidding Around Smith View or Download the Colorimetry Exhibition Catalog by clicking on the cover image or here.

Discover Trunks Lancaster Museum of Art & History is proud to offer the Discover Trunk program: a free traveling trunk program where members of MOAH's Education Team give engaging on-site presentations about different historical topics. Currently, the museum provides the following Discover Trunk topics: Dinosaurs, Ice Age, Ancient Egypt, and Aviation & Aerospace. Discover Trunk presentations are available for education sites, libraries, youth organizations, homeschool daycare groups, community/recreation sites, senior centers, special events, and more. Each Trunk presentation is about 45-60 minutes long and features a variety of tangible objects and artifacts. For back-to-back presentations, please allow a 15-minute transition period between presentations. Please contact the Education Department at (661) 723-6085 or MOAHeducation@cityoflancasterca.gov for more information about the Discover Trunk program. Use the form below to request a traveling Discover Trunk. Please book at least 3 weeks in advance. Interested in field trips? Click Here dinotrunk_Feb20_2024_img1 1/7 Request a Discover Trunk! Primary Contact First Name Primary Contact Last Name Secondary Contact First Name (if applicable) Secondary Contact Last Name (if applicable) Organization Site Address Phone Email Select a Discover Trunk Number of Presentations Number of Participants per Presentation Age of Participants Select prefered month Choose an option Select a date. Must be booked at least THREE WEEKS in advance. (Available only Wednesdays & Fridays) * required Select a preferred time (*If you need accommodations outside of the days and times listed, please contact the Education Department.) 09:00 AM 11:00 AM 01:00 PM Choose a time Please include any further details about your location to help us find you, such as where to park, enter the building, check-in. I want to subscribe to the newsletter. Take a moment to review our Guidelines and Expectations for the Discover Trunk program, and print them for your records. Check the box to confirm you have read and understand these conditions. Guidelines and Expectations Submit

Current Exhibitions Projects This is your Project Page. It's a great opportunity to help visitors understand the context and background of your latest work. Double click on the text box to start editing your content and make sure to add all the relevant details you want to share. Project Name This is your Project description. Click on "Edit Text" or double click on the text box to start. Project Name This is your Project description. Click on "Edit Text" or double click on the text box to start.

back to list Chloe Becky From the creation of an imagined offspring, Chloe Becky explores the beautiful darkness that exists within everyone. Through dark and playful dolls, eerie yet therapeutic puppets and immersive murals, Fantastic Moron is a world balanced by duality. A world that mirrors our own.

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