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

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

< Back Coleen Sterritt Featured Structure Artist For more than 40 years, Los Angeles artist Coleen Sterritt has produced riveting sculptures that focus on the interactions between nature, culture, and lived experience. She pulls from a variety of materials of everyday life; plaster, tar, pinecones, fishing line, found furniture, and studio waste are just some of the components she uses to question the diverse possibilities of sculpture in both scale and form. She fashions a visual language both formal and evocative, while her eccentric, abstract structures present strong polarities, focusing on the interactions between organic and geometric, balance and imbalance, intimate and remote. They play with movement and chance; doubt, discomfort and desire. As a process of re-creation, the material rehabilitates and reinvents itself to become rediscovered by the viewer and interacts with them in a new way. While exploring the many possibilities the sculpture itself can hold, all these elements combined act as a barometer for lived experiences. Sterritt hopes the viewer will find the imagery of her work both new and familiar as they interact with the pieces. Completed in 2017, and recently added to MOAH’s permanent collection, NatureNurtureNucleus was constructed in Sterritt’s signature mix of organic and inorganic materials. When approaching the sculpture from an engineering standpoint, one starts to see the structure within. Dried cactus and an agave stump, combined with the use of plastic and expanding foam, call to mind industrial architecture. The cactus at the base of the sculpture, which appears birdlike in form, is combined with industrial materials to mimic the look of a concrete support beam. As the eye moves upward, the sculpture becomes reminiscent of a tree; a natural structure. This illustrates the ways that support and structure are present both in manmade structures, as well as organic bodies. All the materials combined create a truly striking figure. This sculpture serves as a lens, through which viewers can see the ways that nature and the artificial (nurture) are not always in opposition. At once natural, yet constructed, NatureNurtureNucleus invites the viewer to explore the way that nature and manufactured objects can come together into something new. Coleen Sterritt was born in Morris, Illinois. She holds a Bachelor of Fine Art from the University of Illinois, Urbana-Champaign and a Master of Fine Art from Otis Art Institute, Los Angeles. She began her teaching career in 1983, taking positions at Otis College of Art and Design, University of Southern California and Claremont Graduate University. She has been a professor and the faculty coordinator of the sculpture program at Long Beach City College since 1998. Sterritt was named a John Simon Guggenheim Fellow in 2016, Sterritt has received other awards and fellowships including: the National Endowment for the Arts (1986), the Roswell Artist-in-Residence Program (1994), Art Matters, Inc. (1994), the J.Paul Getty Trust Fund for the Visual Arts /California Community Foundation (1996) and the COLA (City of Los Angeles) Individual Artist Fellowship in 2007. In 2019 she received the Outstanding Educator Award from the International Sculpture Center. Previous Next

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

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

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

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

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

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

Accessibility The Museum of Art and History (MOAH) is compliant with American Disabilities Act (ADA) standards. MOAH is committed to making its facility, collections, exhibitions, programs, and services accessible to all visitors. Physical access to MOAH is compliant with Americans with Disabilities Act (ADA) standards. Wheelchair Accessibility All galleries and facilities are wheelchair accessible. Visitors with wheelchairs can access MOAH through its front-facing doors and utilize the elevator to access the 2nd and rooftop floors. All restrooms on each floor are wheelchair accessible. Service Animals MOAH is committed to providing its programs to a broad and diverse audience that includes those assisted by trained service animals. MOAH is compliant with the Americans with Disabilities Act (ADA), which defines service animals as a dog that is trained to do work or perform tasks for an individual with a disability. According to the ADA, the dog must be trained to take a specific action when needed to assist the person with a disability. For example, a person with diabetes may have a dog that is trained to alert him when his blood sugar reaches high or low levels. ⓘ Certified service animals are welcomed and allowed in MOAH’s public areas. However, the following questions may be asked of each guest with a service dog: - Is the service dog required because of a disability? - What work or task has the dog been trained to perform? Accessible Parking Accessible parking spaces are located in the parking lot behind the museum. Accessible Facilities All public restrooms in the museum are ADA accessible. Two gender-neutral single-stall bathrooms are located on the first floor. Elevators Elevators are available for all three levels of the building, with locations at the Moore Family Trust Gallery, near the top of stairs on the second floor, and on the third rooftop floor. Sensory Accommodation Noise-canceling headphones and sensory-friendly fidgets are available for checkout at the front desk. Quiet Time to Visit The museum is quietest between 11 AM to 1:30 PM Tuesday and Wednesday. The busiest days are Thursday and Friday.

< Back Purple Sunset Atrium Alexis Mata Alexis Mata is a Mexico City based multimedia artist, whose digitally altered landscapes explore the complexities of reality, perception, and beauty. His work investigates the ways in which technology distorts and enhances our understanding of the natural world, creating imagery that is both familiar and surreal. Purple Suns et portrays the desert flora surrounding Mexico City, evoking narratives of place and personal identity. Blending traditional oil painting with digital editing techniques and the use of artificial intelligence, Mata’s work explores the tensions between classical modes of representation and contemporary technology. This juxtaposition of realism and digital abstraction challenges viewers perception of authenticity and illusion. Through his hallucinatory compositions, Mata highlights the evolving relationship between technology and the environment. Previous Next

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.