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The museum is a landmark on Lancaster, California's The BLVD. MOAH was opened in 2012 and changes its exhibit every three months. Visit MOAH 665 W. Lancaster Blvd, Lancaster, CA 93534 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 Visit MOAH:CEDAR 44857 Cedar Avenue, Lancaster, CA 93534 Open Thursday - Sunday | 2 PM - 6 PM Closed Mondays, Tuesdays, Wednesdays, Holidays, and during periods of install ation Visit Western Hotel Museum 557 W Lancaster Blvd, Lancaster, CA 93534 Open Friday and Saturday | 11 AM - 4 PM Closed Mondays, Tuesdays, Wednesdays, Thursdays, Sundays, and Holidays Visit Elyze Clifford Interpretive Center 43201 35th St W, Lancaster, CA 93536 Open Saturday and Sunday | 10 AM - 4 PM Closed Mondays, Tuesdays, Wednesdays, Thursdays, Fridays, and Holidays **Prime Desert Woodland Preserve Open Daily | Sunrise - Sunset Visit The Studio at Cedar 606 Cedar Avenue, Lancaster, CA 93534 Open by appointment

2021 < View Public Art Projects Crosswalk Mural by Kim Sielbeck 2021 Temporary Art Project This mural is no longer on view.

back to list Andrew Hem Raised as the child of Cambodian immigrants in Los Angeles, Andrew Hem’s illustrative paintings bridge disparate aesthetic influences as well as cultural touchstones and sensibilities. Hem’s paintings typically highlight an individual within a group of figures, homing in on the one person who is often somberly staring out from the canvas. Using a cool palette in which the colors do not quite match up with the real world, the artist creates somber moods in illusionistic spaces set at a remove from reality. Although his color scheme—with its supernatural rendering of the natural world—elicits comparisons to impressionism, Hem also echoes graffiti art based on his straightforward and illustrative rendering of figures and space, as well as allusions to street culture, art, and fashion.

CrossWINDS focuses on the local phenomenon of wind including the history and prevalence of wind power in the region and kinetic artists who put wind at the center of their practice. The project is designed to teach young people to become knowledgeable about the powerful local resource in order to create kinetic works of art. Student artist teams will co-create models of kinetic sculpture based on a curriculum co-written by the project partners. The curriculum is replicable and adaptable in schools across the High Desert and beyond. The works of art designed and generated by the students is a collaborative effort among numerous departments: Math, Science, English, Performing Arts, Foreign Language, Special Education, Physical Education, Social Science and Visual Art. The students in each department will be guided to gather data regarding wind and its impact on the environment. They will create models/small functioning kinetic sculptures inspired by the data and the designs of windmills, wind chimes, turbines and other kinetic art. In accordance with the multi-disciplinary mission of the Green MOAH Initiative, numerous departments are joining the project. The works of art are created by students through a collaborative effort among core departments such as Visual and Performing Arts, Math and Science. Additional departments including English, Foreign Language, Special Education, Physical Education, Social Science and more have been encouraged to get involved in complementary projects. The students in the core departments are guided to gather data regarding wind and its impact on the environment and the diverse array of turbine designs that harness wind for renewable energy. Students are creating functioning kinetic sculptures inspired by the data and the designs of windmills, wind chimes, turbines and other kinetic art. The projects teach students to innovate, communicate and collaborate, problem solve, think outside of the box, engage in an immersive multi-disciplinary creative process and learn how to work with new and recycled materials. Ultimately, the sculptures will generate power from the wind to illuminate LED strips incorporated into the work. The sculptures were tested for power levels by physics students and are used to raise public awareness about wind as an artful renewable resource. The sculptures will be exhibited at each partnering high school, MOAH and other locations and events in the community. Photography and film students are collaborating on a documentary of the creative process and creating posters to further educate the community about the project. Show More Project Photo Documentation Provided By : Edwin R. Vasquez

back to list Lori Antoinette Lori Antoinette's earliest memories are drawing with her Mom, who was a wonderful painter. Art classes were a major part of her upbringing. Antoinette earned a degree in fine Art from the University of Maryland and also has a certification in textile design from Otis Parsons in Los Angeles. Antoinette loved painting people and architecture, a contrast to her degree in abstraction. After college, she returned to figurative work. For a time, she had a wearable art business and was a co-owner of a downtown LA art gallery. She recently started a social group showcasing her chalk family called Chalk Mafia. Antoinette has been creating street art (chalk) for almost 30 years now, beginning in Pasadena, CA. Since retiring from a 30-year airline career, she able to focus on her art career to include wall murals, public art, paint parties, and portraiture as well as developing partnerships with other talented artists.

Events ALL EVENTS

Up Woodland Creatures Robin Raznick Join us for an extraordinary artist residency at the Prime Desert Woodland Preserve, featuring renowned artist and naturalist, Robin Raznick. With her captivating Woodland Creatures Workshop series, you'll embark on a creative journey through the heart of nature. Mark your calendars for these engaging sessions: 1. October 7th, 10:00 AM - 1:30 PM Woodland Desert Tortoise Education and Portraits: Sketchbooks and More! Explore the fascinating world of desert tortoises while capturing their essence in your sketchbook. Dive into the enchanting details of these remarkable creatures. 2. November 4th, 9:00 AM - 1:00 PM Woodland Birdwalk: Bring Your Sketchbook from Workshop I and Create Watercolor and Mixed Media Bird Portraits Immerse yourself in the world of avian wonders during a guided birdwalk. Use your sketches from the first workshop as a foundation to create vibrant watercolor and mixed media bird portraits. 3. December 2nd (Times to be Announced) Woodland Insects and Creepy Crawlies: Bring Your Sketchbooks and Create Some 3D/ Sculptural Paintings Delve into the microcosm of woodland insects and creepy crawlies as you transform your sketches into three-dimensional, sculptural paintings. Stay tuned for exact session times. 4. New Date January 27th, 10:00 AM - 2:00 PM Desert Creatures Soft Sculpture: Mixed Material Beanbag Sculptures Discover the art of crafting mixed-material beanbag sculptures inspired by the desert's unique creatures. Let your creativity take shape in this hands-on, soft sculpture workshop. These workshops offer a rare opportunity to blend artistry and nature, enhancing your connection to the environment. Embrace the chance to learn, create, and be inspired by the diverse creatures of the Prime Desert Woodland Preserve. October 7, 2023 - January 27, 2024 Back to list

Up Made in America Various Artists https://www.youtube.com/watch?v=vkqbX_0seYk NASA Flight Research: Probing the Sky MOAH Collection 30th Anniversary: Recent Acquisitions Exhibition Astronaut Karen Nyberg's Star Quilt The New Vanguard : Scott Listfield Gerald Clarke The New Vanguard : Group Exhibition Curated by Thinkspace Albrigo Examines Pettibon and Baseball Jae Young Kim: Blah, Blah, Blah The Wired Presidents The New Vanguard Murals: Bumblebeelovesyou and MEGGS The New Vanguard : Alex Yanes Installation NASA Flight Research: Probing the Sky In late 1946, 13 engineers from the Langley Memorial Aeronautical Laboratory in Virginia arrived at Edwards Air Force Base to establish what is now known as NASA’s Armstrong Flight Research Center, participating in the first supersonic research flights by the Bell X-1 rocket plane. Just a year later, on October 14, 1947, Chuck Yeager flew his Bell X-1 over Rogers Dry Lake at Edwards, reaching an altitude of 40,000 feet and exceeding speeds of 662 mph, breaking the sound barrier for the first time in aviation history. Today, NASA’s Armstrong Flight Research Center is the primary hub of atmospheric flight research and operations in the United States, housing some of the most advanced aircraft in the world. Critical in carrying out missions of space exploration and aeronautical research and development, the Center continues to accelerate advances and make important discoveries in the fields of science, technology, operations and testing. The Center also houses a fleet of manned and un-manned environmental science aircraft which support new developments in the fields of Astrophysics and Earth Science, fulfilling NASA’s goals of enhancing education, knowledge, innovation, economic vitality and stewardship of the Earth. Probing the Sky features over 50 pieces borrowed from the Flight Research Center’s collection, detailing the illustrious history of aviation innovation in Southern California. Featured works include “The Apollo Story” by the late aerospace artist Dr. Robert T. McCall, Robert Schaar’s painted portraits of the NACA/NASA pilots inducted into the Aerospace Walk of Honor on The BLVD and various paintings, drawings and sculptures by artists known for their work in and about the aerospace industry. Dr. Robert T. McCall’s “The Apollo Story” is a suite of five original cold stone lithographs depicting the legacy of the Apollo moon-landing program. Cold stone lithography is a printing process in which artists use greasy drawing materials to make original images on limestone, which is then chemically etched. Exhibiting artist Robert Schaar is a highly regarded portrait painter who is one of an elite group of artists comprising the NASA Art Program; his work was included in NASA’s Visions of Flight program, viewed in museums worldwide. Schaar’s “Walk of Honor” portraits feature test pilots whose aviation careers were marked by significant achievements beyond one accomplishment. Shown together, these works comprise a vivid retelling of some of the most significant figures and achievements in aeronautics. MOAH Collection: Recent Acquisitions As an institution, MOAH is dedicated to strengthening awareness, enhancing accessibility and igniting the appreciation of art, history and culture through an ever-growing collection of both artifacts and art. One of a museum’s primary functions is stewardship—the responsible planning and management of resources. At MOAH, this objective is implemented is through a focus on preserving Southern California’s unique history via the Museum’s extensive collection. As such, the art in this retrospective includes contributions by both local and internationally known artists, featuring pieces that represent our region both literally, with the inclusion of early California landscapes, and conceptually, with a nod to community involvement in the aerospace industry and artists’ use of new materials, resin and plastics. Beginning in 2012, the Museum developed its Juried Collection, which features the work of local artists who took top awards at MOAH’s annual All-Media Juried Exhibition. Through its dynamic collection, MOAH celebrates the richness of the region and the unique qualities that encompass the Antelope Valley. Karen Nyberg: Star Quilt When astronaut Karen Nyberg launched for her mission aboard the International Space Station, she brought with her some unusual items, including: a spool of ivory thread, five needles, and three “fat quarters” of fabric. During the five month stint that she spent living aboard the Space Station as a flight engineer, Nyberg became the first person to quilt while in orbit. As one might imagine, the astronaut and artist ran into some unique difficulties while striving to complete her zero-gravity project, including figuring out how to best store her sewing supplies (Velcro and Ziploc bags kept needles and strips of fabric from floating away) and how to cut floating fabric. Of the latter, Nyberg states, “Imagine if you take a piece of fabric and hold it out in front of you. Now, take your scissors and try to cut it and that is exactly what it is like. Because you can’t lie it down on the floor, and you can’t use a rotary cutter, you just have to cut.” Despite these difficulties, Nyberg successfully completed a nine-by-nine inch, red, white and blue quilt square. Upon returning to Earth, Nyberg expanded upon her “Astronomical Quilt,” calling for quilters from all over the world to submit star themed fabric blocks to be included in the final product. Nyberg received over 2,200 submissions, which were sewn together to create 28 quilt panels, with the original star at the center. “With a project like this, what I think is really cool, is that you can take somebody from every part of this world and find something that you have in common with them. And we really do have something in common with people from everywhere,” Nyberg said. Born in Vining, Minnesota, Karen Nyberg graduated summa cum laude from the University of North Dakota where she received a Bachelor’s degree in Mechanical Engineering. She then earned a Doctorate from the University of Texas at Austin, for her work researching human thermoregulation and metabolic testing at the Austin Bioheat Transfer Laboratory, with special focus on thermo neutrality in space suits. Nyberg is currently an American mechanical engineer and NASA astronaut. Scott Listfield: Once an Astronaut Scott Listfield is a contemporary artist known for his paintings featuring a lone exploratory astronaut lost in a landscape cluttered with pop culture icons, corporate logos and tongue-in-cheek science fiction references. Inspired by Stanley Kubrick’s 2001: A Space Odyssey, a vision of the future which never quite came to pass, Listfield combines images of modern day landscapes with his signature astronaut, fully clad in space garb. Having grown up with the space-age perception of the future depicted in popular media, Listfield finds our present to be strange and unusual, worth exploring in its own right. He approaches modern existence in a way that makes it seem estranged and alien, allowing audiences the rare chance to interpret the contemporary society we live in from an outsider’s viewpoint. Scott Listfield was born in Boston and studied art at Dartmouth College in New Hampshire. In 2000, after some time spent abroad, Scott returned to America where, he began painting astronauts and, sometimes, dinosaurs. Listfield has been profiled in Wired Magazine, Juxtapoz, the Boston Globe, New American Paintings and on WBZ-TV Boston. He has exhibited his work in Los Angeles, Chicago, London, New York, San Francisco, Miami and Boston. Gerald Clarke: Manifest Destiny Gerald Clarke is a Native American artist from Southern California whose artwork focuses on drawing attention to the contemporary existence of indigenous peoples. With views of Native American culture being driven by popular stereotypes, Clarke aims to give back the essence of humanity to these groups. He searches for unconventional beauty in the world, often found through exploring his reality as a contemporary Native man. Clarke’s craftsmanship conveys pride, respect and authority, both celebrating and mourning what is revealed in his search for newfound appreciation of the world. The artist seeks to teach through his work, attempting to express the passion, pain and reverence of contemporary Native life, invoking a greater understanding of these marginalized groups through an emotional response from his audience. A self-proclaimed “kitchen-sink” artist, Clarke has no definitive visual genre, utilizing whichever format, tools or techniques most effectively express his desired message. He often explores aspects of installation, mixed media, video and performance, while incorporating Native American craft techniques such as traditional basket-weaving. Gerald Clarke is a member of the Cahuilla Band of Indians located about 40 miles southwest of Palm Springs, California. He is an artist, educator, cattle rancher and small business owner, taking an active role in preserving Native languages and culture. Clarke teaches sculpture and new media at Idyllwild Arts Academy, where he is the Visual Arts Department Chair, and will begin teaching Ethnic Studies at the University of California, Riverside. In the past, he has served as an Assistant Professor of Art at East Central University in Ada, Oklahoma. In addition to teaching, Clarke has been part of a variety of exhibitions featured both nationally and abroad. In 2007, he was awarded the Eiteljorg Museum Fellowship for Native American Fine Art. Clarke resides in Anza, California, tending to his family’s ranch on the Native reservation where he served as Vice-Chairman on the Tribal Council from 2006-2012. Learn More The New Vanguard The Lancaster Museum of Art and History, in collaboration with Los Angeles' Thinkspace Gallery, is pleased to present The New Vanguard, featuring works by over 55 artists from the New Contemporary Movement. The exhibition will present one of the largest cross-sections of artists working within the movement's diverse vernaculars, ever shown within a museological context in California to date. An ambitious compilation, The New Vanguard will bring together some of the most relevant and dynamic artists currently practicing from all over the world. The exhibition, opening August 13, will take place in tandem with this year's installment of POW! WOW! Antelope Valley. The exhibition will feature site-specific murals and installations within the museum by Alex Yanes, Bumblebeelovesyou, Meggs, and Yoskay Yamamoto, a solo presentation of works by Scott Listfield in the Vault Gallery, and a diverse group exhibition of works in the South Gallery, including pieces by Aaron Li-Hill, Adam Caldwell, Alex Garant, Amandalynn, Amy Sol, Brett Amory, Brian Viveros, C215, Carl Cashman, Casey Weldon, Chie Yoshii, Cinta Vidal, Craig ‘Skibs’ Barker, Cryptik, Dan Lydersen, Dan-ah Kim, Derek Gores, Dulk, Erik Siador, Felipe Pantone, Fernando Chamarelli, Glennray Tutor, Henrik Aa. Uldalen, Icy and Sot, Jacub Gagnon, Jaime Molina, James Bullough, James Reka, Jana & JS, Jean Labourdette (aka Turf One), Jeremy Hush, Joel Daniel Phillips, Josie Morway, Juan Travieso, Kyle Stewart, Linnea Strid, Lisa Ericson, Low Bros, Lunar New Year, Mando Marie, Marco Mazzoni, Mark Dean Veca, Mark Warren Jacques, Martin Whatson, Mary Iverson, Matt Linares, Matthew Grabelsky, Meggs, Mike Egan, Nosego, Pam Glew, Ricky Lee Gordon, Scott Radke, Sean Norvet, Tony Philipppou, Wiley Wallace, X-O, and Yosuke Ueno. The POW! WOW! Antelope Valley project will include public works by Amandalynn, Andrew Schoultz, Bumblebeelovesyou, David Flores, Julius Eastman, Kris Holladay, Mando Marie, Mark Dean Veca, Meggs, Michael Jones and Yoskay Yamamoto. All the works will be centered around the area of the museum, with David Flores actually adorning the backside of the museum with a massive new mural. Historically, the New Contemporary movement has largely been relegated to spaces outside of art institutions and other arbiters of the "high," whether it be urban spaces or subcultural haunts. The movement, having had to create contexts for the reception of its work and support of its community, has never had the fixity of a singular genre - or its limitations for that matter - but rather has prospered under a fluidity, expanding into all manner of techniques, expressions, media, and spaces. This exhibition is significant in that it marks a period of transition in the vetted visibility of this movement and its artists, as it has become increasingly celebrated and acknowledged, not only within the context of popular culture but the institutional framework of museum spaces. No single art movement in recent memory has grown as exponentially in acceptance, visibility, and popularity in as relatively short a period, a phenomenon that attests to the power and sway of its cultural presence. Perhaps most unified by its lack of stylistic exclusion, the New Contemporary movement, long helmed by its simultaneous embrace of multiple elements, incorporates narrative, the surreal, the gestural, the abstract, the figurative, and the illustrative. With no single defining formal or conceptual armature, the work produced by this new generation of artist is responsive, reactive, emotive, and grounded in the social. The New Vanguard highlights the imaginative breadth of these New Contemporary artists, showcasing the limitless potential of an art movement that began without walls and has now infiltrated galleries and museums the world over. Daniel Albrigo: Albrigo Examines Pettibon and Baseball Daniel Albrigo is a Southern California based artist, drawing influence from aspects of modern American culture. Albrigo predominately works with the medium of painting, but also includes photography, drawing and various printing methods in his work practice. Mostly self-taught, he explores classical and contemporary themes of realism, touching on American culture both appropriated and observed. Instead of the more traditional use of photography as reference for his paintings, he began taking portraits of artists in their studio spaces as part of an ongoing project of new American imagery. Beginning in April 2015, Albrigo focused on artist Raymond Pettibon, photographing him in his New York City studio. Over the course of a few visits, Albrigo captured Pettibon with various pieces of sporting equipment and was guided through the vast collection of sports memorabilia he had, filling up almost every corner of his studio. In this series of photos, the audience will be privy to the raw passion for the great American sport of baseball in the working space of an iconic American artist. Baseball with Pettibon is the beginning of an ongoing series of Raymond Pettibon and his collection of diverse equipment, highlighting sports through revealing its longstanding influence on American culture. Daniel Albrigo was born in Pomona, California in 1982. Albrigo has had solo exhibitions at the Guerrero Gallery in San Francisco, Muddguts Gallery in New York City, and a split show at Western Exhibitions in Chicago with Genesis Breyer P-Orridge. The collaborative work he created with P-Orridge has been shown at Utah Museum of Contemporary Art in Salt Lake City, The Andy Warhol Museum in Pittsburgh and The Rubin Museum of Art in New York City. Albrigo currently resides and works in Long Beach, California. Jae Yong Kim: Blah Blah Blah Jae Yong Kim is a Korean native who has spent the majority of his life traveling, observing and developing the themes of his art. His work greatly reflects the turmoil of a highly mobile existence, with the question of “home” appearing as a recurring theme as he explores what this concept means to him. On the subject of his art, Kim states, “We live in an incredibly fast paced culture that encourages and requires people to have confidence and strength, and there is seldom any room for failure and doubt, even though these are essential elements in life and absolutely necessary for growth.” Kim primarily works with ceramics and installation, displaying a consistent, quirky and eccentric style that accurately reflects the artist’s own personality, making his work truly recognizable. Donuts first appeared in Kim’s work as a symbol of greed and gluttony, representative of his somewhat negative experiences while endeavoring to understand the financial world of New York City. “The donuts I see as a possibility of working out problem situations in my life and addressing how money is handled and treated in America,” said Kim. Rather than focusing on how to make money and learning a business-based jargon that the artist didn’t particularly care to understand, Kim decided to instead create his own language to say what he thought was important. “I started making more donuts because this is what made me happy,” said Kim. “Donuts are a treat but they aren’t all good,” he said, “Donuts, sweets and junk food are typical fare for those living in poverty or just above it. Cheap and yummy, donuts also give a quick burst of energy which lets you keep going. They can also provide a satisfying balm when life and trying to get by is difficult.” Created from clay fired with three different types of glaze, these sculptures come in several shapes and finishes, representing the varieties of the actual treat as well as the artist’s interest in paying homage to the works of relevant art-historical figures such as Yayoi Kusama and Jackson Pollock. A self-proclaimed perfectionist, Kim has stated that each donut is unique and carries the mark of the artist’s hand. Jae Yong Kim spent a significant portion of his early childhood traveling, having lived in Kuwait and Saudi Arabia before moving back to South Korea. After high school, he moved to the United States by himself in order to pursue a Bachelor of Arts degree in Fine Arts from the University of Hartford. From there, he went on to earn a Master’s Degree in Fine Arts for Ceramics from Cranbrook Academy of Art in Michigan. Kim has participated in both group and solo exhibitions and shown internationally in settings such as the Mashiko Museum of Ceramic Art in Japan, the Korean Craft Promotion Foundation Gallery in Seoul, the Art and Industry Gallery in San Diego, the Lyons Wier Gallery, Marshall M. Frederick’s Sculpture Museum, The Dennos Museum Center, Hunterdon Art Museum, Kate Shin Gallery at Waterfall Mansion and Philadelphia Art Alliance, as well as numerous group exhibitions worldwide. Kim lives and works in both Seoul, South Korea and the New York City area; he is currently a professor at Seoul National University of Science and Technology. The Wired Presidents The artists that have produced this work are an unnamed collective of local creators that seek to promote inquiry-based interactions in art. These questions are explored in the collection of works from this group of artists, who come from diverse backgrounds and specialties. Their experiences range from blockbuster films to special effects, props, puppetry, video games, toys and technology. What does the effect of technology have on the electoral process or the office of the presidency? How does information and technology craft our narrative of what constitutes a perfect candidate? Why is it that Abraham Lincoln is considered one of America’s favorite leaders? What qualities did he have that warranted that categorization? How did the technology of Lincoln’s time impact the public conversation? Do we design our own ideal leader within an information-based society? How does that affect our expectations? Bumblebeelovesyou Born and raised in southeastern Los Angeles County, Bumblebee takes the largely ignored parts of the city and uses it as his personal canvas by remodeling urban furniture, such as newspaper boxes and telephone booths, to tell stories of everyday life and comment on the collapse of the bee population through the rise of cell phone usage. He also utilizes the technique of stenciling and mixed media to create images of children on the unloved, deserted walls of his hometown in Downey. Considerate and thoughtful, Bumblebee’s work also deals with issues such as child homelessness and the impact modernity has on nature. Despite the seriousness of his subject matter, his works are not heavy for the viewer. Instead, they are whimsical, playful and exude a sense of childish innocence, freedom and joy. Bumblebee has participated in numerous group exhibitions at various institutions, including: Carmichael Gallery, Thinkspace Gallery, Barnsdall Art Park, Street A.K.A. Museum in conjunction with the Portsmouth Museum of Art, and Outside/In, a partnership with the Art Center College of Design. His art has been covered by numerous media outlets including LA Weekly, TedX Illinois, Complex Magazine, Unurth, Arrested Motion, and Downey Beat. In 2015, he was awarded the Readers’ Choice award for Best Street Artist in LA Weekly MEGGS David “MEGGS” Hooke is one of Australia’s most progressive street and fine artists recognized for his unique, expressive and energetic style with references to pop culture, the natural world and socio-cultural issues. His technical use of color and movement combines clean, bold, illustrative elements with intuitive, textural and free flowing design. By constantly searching for the harmony between form, abstraction, order and chaos, MEGGS pours his all-or-nothing personality into every inch of his work. His life manifesto is that the “journey is the reward” and his work reflects this eternal search for balance. MEGGS’ emphasis on constant growth and passion for travel is demonstrated by his continual exploration of artistic techniques and mediums. Adapting his street art and graffiti to fine art has granted MEGGS extensive opportunities to travel, professionally exhibit his work and participate in mural festivals around the globe. His street art and gallery works are recognized nationally and internationally in cities such as Melbourne, Sydney, London, San Francisco, Paris, Tokyo, Hawaii, Mexico, Los Angeles and Hong Kong. MEGGS’ art works are included in the permanent paper collections of the National Gallery of Australia and the Victoria and Albert Museum (V&A) of London. MEGGS has traveled and contributed his art to support the ambitions of numerous not-for-profit organizations, including Fareshare, Pangeaseed, and POW! WOW! HAWAII. His cooperative practices have led to collaborations with various artists and brands from cultures worldwide. His commercial work with companies such as Nike, Stussy, Addict, New Balance, Burton and Endeavor Snowboards has contributed to the constant evolution of his talent and furthering his range of designs and ideas. MEGGS was born and raised in the eastern suburbs of Melbourne, Australia and completed his Bachelor’s degree in Design from Swinburne University School of Design in 2000. He is a founding member of the Everfresh crew, a unique collective of street art pioneers who opened the world renowned Everfresh Studio in 2004. MEGGS’ adoration of comic book art, sci-fi fantasy, skateboarding, graffiti culture, heavy metal and punk rock music are at the core of what inspired him to pursue his career in fine art. He currently resides in Los Angeles, California. Alex Yanes Alex Yanes is a Miami artist drawing influence from his family’s Cuban roots through his exploration of local Miami culture. It was there that he was exposed to the gritty, fast-paced and ever-evolving nature of art. Much of his work closely relates to his exposure to the skateboard, tattoo, hip-hop and rock culture present in Miami during the 1980s and ‘90s, creating his own form of reality through combinations of materials like wood, acrylic, resin and enamel in three-dimensional installation pieces that seek to reveal elements of Yanes’ own personal history and the impacts of fast-paced city life. In this sense, his art serves as an autobiography, directly associated with Yanes’ individual experiences through his lifetime. Through the innovative use of color and his whimsical and imaginative style, Yanes’ art takes on a form that is widely relatable, speaking volumes to both collectors and new art lovers alike. Alex Yanes was born and raised in Miami, Florida. He has been interested in art since childhood, having won his first award at the age of six. Yanes began pursuing art full-time in 2006. Since then, he has worked with Adidas, Red Bull, Sony, The Learning Channel, Vans, Kidrobot, Neiman Marcus, St. Jude’s Hospital, The Dan Morino Foundation, Miami Children’s Museum, NBA Cares and The Children’s Trust, spreading his art to as many corners of the world as possible. Yanes’ work is now a staple in Wynwood, Miami’s art district, and he awaits upcoming exhibitions to showcase his art worldwide in locations such as New York, Illinois, California, Germany, The United Kingdom, Australia and Brazil. August 13 - October 30, 2016 Back to list

Spring 2014 March 27 - May 4, 2014 29th All Media High School Art Exhibition Main Gallery March 29 - June 8, 2014 YiKai: Paintings & Drawings South Gallery, Staircase Atrium, Wells Fargo Gallery Brad Howe: Celebrating MACC Artist Rooftop & Jewel Box Andrew Frieder: A Life in Stitches Education Gallery May 10 - June 8, 2014 Natural Treasure: The California Poppy Vault Gallery Selections from the Permanent Collection Main Gallery < Return to Exhibitions Yi Kai Brad Howe Andrew Frieder 29th All Media High School Art Exhibition The 29th Annual AVUHSD Exhibition is an all-media exhibit of nearly 150 pieces created by burgeoning Antelope Valley students who attend schools in the Antelope Valley Union High School District: Academies of the Antelope Valley (AAV), Antelope Valley, Desert Winds, Eastside, Highland, Lancaster, Littlerock, Palmdale, Pete Knight, Quartz Hill and R. Rex Parris High Schools. Exhibited work includes a wide variety of media including: painting, drawing, sculpture, video, scratchboard, computer art, photography, mixed media and much more. Awards were presented from the High School District, community groups and the City to the students for their artwork. In addition to the students’ work, there is also an accompanying AVUHSD Teachers’ show in the Vault Gallery. The first of its kind for the Museum, the exhibit presents an opportunity for the student pieces to be displayed in reference to their mentoring instructors’ artwork. The Teacher’s Exhibit celebrates the educators who teach this next generation of young artists and will be on display through April 27. Yi Kai: Paintings and Drawings In celebration of Asian Pacific American Heritage Month, MOAH brings internationally renowned painter Yi Kai to the Antelope Valley. Yi Kai came from China to begin a new life with his wife and son in America. He soon became a U.S. citizen, immersing himself in American culture while reserving time for trips back to his native lands. Occupying four galleries on the second floor of the Museum, Yi Kai’s richly textured and brightly colored paintings and drawings bridge these two cultures, layering Western symbols of freedom, materialism and the pursuit of individuality with the Eastern philosophical and spiritual qualities he grew up with and witnessed while traveling and drawing in Tibet. Yi Kai’s art offers the viewer a visual dialectic that promotes unity, harmony and peace in the world, making him a perfect representative of Asian Pacific American Heritage Month. Each gallery is filled with a unique series of work from his prolific repertoire. Located at the top of the stairs, Map in Transition welcomes viewers to the second floor. Map In Transition reads right to left as a chronology of America’s pioneering spirit, starting with the settlement of the first colonies onward to westward expansion. Like each of his series, Map in Transition is laden with symbols of individuality, freedom, and prosperity—imagery that speaks to the American desire for material wealth and the clash that often occurs between spirituality and consumerism in America and China. His deeply hued gauche painting Monk with Pilgrims , 1989 is exhibited with Map In Transition to highlight the global reach of Yi Kai’s practice and the symbolic bridging of nations and ideologies. In the East Gallery Yi Kai’s abstracted landscapes depict the textural aesthetics of waste and decay while offering a sense of humor in the toy cars that punctuate his canvases. The Wells Fargo Gallery plays host to the Tibet Series , an intimate selection of drawings and collage that chronicle Yi Kai’s visits to Tibet and his skillful and sensitive renderings of the people and cultures of the Himalayas. In the South Gallery, Yi Kai shifts his focus by immersing the viewer in a critique of globalization and the mixing of cultural values from West to East. Yi Kai’s visual investigations of materialism and greed take shape in his deconstructed robotic figures and disfigured men in business suits that appear oblivious to the world around them, while his stark critique of China’s disregard for the environment reaches a climax in his large-scale oil on canvas Gas Mask Series . These paintings speak to the cause and effect of China’s industrial pollution and the separation that occurs as cultures and languages are lost in pursuit of contemporary comforts and high society. On one hand, Yi Kai’s richly textured and colorful work offers a celebration of the unique freedoms he immediately embraced upon arrival to the United States of America. On the other hand, he presents a sobering critique of consumerist values that have reached around the globe, influencing a new generation of consumers in China. Yi Kai is an artist who sees the world through the shifting edges of cultural values and the boundaries of tradition, bringing them together in a spectrum of visual manifestations that ask the viewer to see the relationships between nations through his art. Brad Howe: High Desert Regional Health Center Installation In anticipation of the installation of his monumental kinetic artwork at the new Los Angeles County High Desert Regional Health Center in Lancaster, the artwork of internationally distinguished artist Brad Howe is presented on every floor of the Museum: the Roof Terrace, in the Jewel Box Gallery and the Entrance Lobby. The Entrance Lobby installation is an interpretation of the Los Angeles County High Desert Regional Health Center project that is currently underway and is intended to give the community a glimpse in anticipation of its unveiling on May 30, 2014. The name of the installation will be selected by the artist from suggestions by the community. As you view the blue icons and notice connections between them, consider Mr. Howe’s invitation to name the work. What comes to mind when you view the artwork and drawings? Do you recognize elements and symbols from your own experiences in the High Desert? Are they familiar to you and how do you relate to them? Perhaps you enjoy skateboarding or walking or the plants and animals of the desert. Perhaps you have a grandparent or are caring for an elderly family member. Perhaps you shop till you drop, and look great doing it? Go ahead, enjoy finding yourself in the work! By submitting a name and perhaps leaving a message for the artist, you become an active participant in the process of making civic art. Mr. Howe will select a name from the suggestion box and announce the winner at the Grand Opening on May 30! By inviting the community to take part in naming the artwork, Howe continues the strong public engagement component that shaped the initial design of the installation. Brad Howe, born and raised in the High Desert, was selected for the High Desert Regional Health Center project by a committee comprised of County and local stakeholders including MOAH. In response to the site and soul of the community, Howe designed a suite of three large scale suspended sculptures that reflect the stories conveyed by local residents during several community engagement events facilitated by artist Rebecca Niederlander. Neiderlander’s process of creating an environment of listening and storytelling resulted in stories rich in a sense of place and community identity. Howe converted the residents’ stories into icons and symbols that the viewer’s eye will string together as the icons move and intersect with one another. Cascading into free form passive kinetic sculptures, the artwork represents a transformation of the verbal into the physical, reflecting the collective voice of Antelope Valley. As a student of International Relations at Stanford University, Howe attended the University of São Paulo to specialize in Brazilian Literature and Economic History. It was there that he discovered the passion for art and architecture that would eventually lead to his first exhibitions. Since then, he has exhibited in over 18 countries worldwide, and his works have been placed in collections throughout 32 countries. His studio is actively completing site-specific commissions for cities, universities, museums and private corporations worldwide, with his own light and playful flair enlivening the Museum and soon to be open Los Angeles County High Desert Regional Health Center. Andrew Frieder: A Life in Stitches (1959-2014) The Lancaster Museum of Art and History is honored to highlight selected work by Lancaster artist Andrew Frieder. Andrew Frieder: A Life in Stitches showcases the artist’s unique and compelling visual language through a collection of works on paper, stitched collages and paper quilts made during the last decade of his life. With a focus on his personal mythology, Frieder’s works on paper welcome the viewer into his visual world through his playful articulation of human and animal figures while layering scriptural references and ancient Greek mythology into a distinctive narrative. The stitched collages feature Frieder’s signature style of revealing and concealing his creative process: white washing acrylic paint over graphite sketches and machine-stitching the paper together in a variety of textures and compositions. Additionally, Frieder expanded the language of traditional patch quilting into the realm of collage, where his use of hand-made aluminum staples together with grommets, embroidery thread and machine-stitched prints reference his family’s background in industrial fabrics and medicine. His father was a noted surgeon and his grandfather made quilted moving blankets and canvas goods. On his mother’s side, the family worked primarily in the garment industry. Preferring to work in multiples, Frieder’s process included designing and making his own printing presses and tools from recycled materials, which allowed him to toy with the spectrum between freedom of expression, mass production and precision. Andrew Frieder: A Life in Stitches pays tribute to one of Antelope Valley’s most prolific artists. Largely self-taught, he studied art and writing for a time at UCLA and Bennington College in Vermont and immersed himself in his work producing thousands of prints, drawings, collages, quilted works, hand-made tools, printing presses, hats and furniture throughout his lifetime. Three of Frieder’s works of art are housed in MOAH’s permanent collection. The Museum is curating a major retrospective of the artist’s life’s work to open in 2016. Natural Treasure: The California Poppy This season weather conditions have brought an explosion of orange, gold, and purple across the foothills and grasslands of the Antelope Valley. In celebration of this spring’s proliferation of wildflowers, Lancaster Museum of Art and History has collected a gallery full of our state’s treasure, the California Poppy. Natural Treasure: The California Poppy features artwork selected from an open call to Southern California artists by MOAH’s Curator Andi Campognone to encompass a spectrum of approaches from paintings of traditional poppy-filled landscapes to contemporary conceptual imagery. The California Poppy, Eschscholzia Californica , was designated as California’s official state flower in 1903; its golden blooms a fitting symbol for the Golden State. Long before the Gold Rush, when the Spanish came, they declared California the “Golden State” because of the massive blooms of poppies adorning the coastal and desert landscape throughout California. Although endemic to California, small pockets exist in Oregon and Arizona and have traveled by way of human dispersal as far as New Zealand. The largest native poppy fields are located in the Antelope Valley and were abundant in the San Gabriel foothills now known as Pasadena, Altadena and Sierra Madre. The poppy has been called the “flame flower” and “copa de oro” (cup of gold) in reference to its bright orange to yellow petals. As an annual flower, the blooms last one season and in a good year will set hundreds of thousands of seeds, and then die. Dependent upon winter rain fall, the number of plants, their duration and intensity of color will vary from year to year and generally last from as early as mid-February through late May. Native Americans used the fresh roots to soothe toothaches and headaches and some tribes chewed the petals like chewing gum. In 1996 Governor Wilson proclaimed May 13 to 18 as Poppy Week, which coincides with MOAH’s colorful exhibit featuring a diverse array of approaches, mediums and styles. Here in the Antelope Valley, the flower is honored by the City of Lancaster’s annual California Poppy Festival, now in its twenty-third year. Additionally, in 1976 local residents teamed up to protect 1,745 acres of some of the most exquisite poppy fields in the nation. The Antelope Valley California Poppy Reserve consists of lands donated to the State of California by the Munz Family and set aside in perpetuity to celebrate this natural treasure. Each spring, the Antelope Valley California Poppy Reserve comes alive with the seasonal surprises of the western Mojave Desert Grassland habitat. Be sure to enjoy the proliferation here at MOAH and at the Poppy Reserve this spring. HS Exhibit Yi Kai Howe Frieder Poppy View or Download the Spring 2014 Exhibition Catalog by clicking on the cover image or here.

Young Artist Workshops Free Drop-in Craft Workshops for Kids Follow MOAH on Instragram and watch Reels of our upcoming YAW Workshops How it works Young Artist Workshops are free art activities for children ages 3+ (must be accompanied by an adult). The YAWs at MOAH are inspired by artworks that are currently on view, and the YAWs at Elyze Clifford Interpretive Center (ECIC) are inspired by the local, natural environment. Drop In Participants can come to a YAW anytime between 3 and 7 pm. Workshops at MOAH are every first Thursday of the month, and workshop dates for ECIC can be found here . Art activities take about 10-30 minutes to make; seating and supplies are first-come, first-serve. Create Participants create an artwork from start to finish, with all the supplies and guidance provided by MOAH staff. Each YAW is unique and introduces children to a variety of art techniques, materials, and processes. Share Tag any pictures of your finished piece with #MOAHYAW on Facebook or Instagram! YAW at MOAH 665 W Lancaster Blvd, Lancaster, CA 93534 Every 1st Thursd ay 3 PM - 7 PM Event dates can be found on our event calendar (661) 723-6250 YAW at Elyze Clifford Interpretive Center 43201 35th St. W Lancaster, CA, 93536 Every Third Sunday 12 PM - 4 PM Event dates can be found on our event calendar (661) 723-6250

< Back Reforged Identities Jewel Box Gina Herrera Driven by a deep commitment to environmental justice, artist Gina Herrera infuses her work with spiritual and aesthetic rituals that pay homage to Mother Earth. Using repurposed and salvaged materials — including military insignia and everyday domestic objects — she crafts assemblage sculptures that juxtapose organic, human-like forms, industrial materials, and mystical elements. Shaped by her Native American heritage, military service, and eco-conscious perspective, Herrera’s diverse experiences come together in a practice that is both thought-provoking and deeply connected to the world around her. Sculptures such as The Mighty Grasshopper, 2024, exemplify Herrera’s distinctive artistic practice and technique. Like many of her works, it is comprised of found objects, plasma-cut and powder coated metal, and ceramic molds taken from her own body. The piece reflects the diverse influences and her own personal exploration of identity and beliefs, encouraging contemplation, and deep social and spiritual engagement. Previous Next

Elana MannBellows and QuakesThrough sculpture, sound, and community engagement, the artwork of artist Elana Mann explores the power of the collective voice and the politics of listening. Mann’s sculptures, resembling the horns and rattles prominent in musical instruments, serve to create, amplify, and embody sound. < Back Elana Mann, Unidentified Bright Objects Elana Mann, Bans Off Our Bodies Elana Mann, Bans Off Our Bodies Elana Mann, Unidentified Bright Objects 1/4 Elana Mann Bellows and Quakes Through sculpture, sound, and community engagement, the artwork of artist Elana Mann explores the power of the collective voice and the politics of listening. Mann’s sculptures, resembling the horns and rattles prominent in musical instruments, serve to create, amplify, and embody sound. The physical creation of sound and of hearing itself is an intangible discourse that is visualized through her artworks. For Mann, the act of listening can be a catalyst for social change. Her sonic sculptures, street protests and performances in galleries and museums produce a collective voice to enable social activism. These works generate a sonic link between art practice and civic action, providing visible symbology to connect the ephemeral and material power of sound. Previous Next