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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.

< Back Terry Arena Natural Capital Once considered a “ghost lake” in California, the torrential downpour of rain experienced in 2023 has resurrected bodies of water like Tulare Lake. It was considered one of the largest freshwater bodies west of the Mississippi before it would be depleted of its water in the 19th century through the creation of canals, dams, and ditches that would divert water from the region for agriculture. Lucrative crops like pistachios are planted on thousands of acres of the lakebed. The land that provides three quarters of our country’s fruits and nuts and one-third of our vegetables has been quietly overtaken by nature multiple times in the last hundred years. At the crux of artist Terry Arena’s work is her environmental curiosity and the robust food economy of California’s Central Valley. Fundamental to her art inquiry is the notion of collapse and rebirth as seen in phenomena like the disappearance and resurgence of Lake Tulare. Her latest body of work, Natural Capital , explores society’s race toward the eventual depletion of our environmental resources. She investigates how humanity commodifies the natural world through its water, land, and aquifers. UPCOMING COMMUNITY ENGAGEMENT: Weaving: Stories of our Past, Present, and Future with Terry Arena Saturday, July 20 at 3 PM | Located at the Lancaster Museum of Art and History Join us for a creative workshop where we explore the timeless art of weaving. Participants will create woven self-portraits using a variety of materials, reflecting their past, present, or future! Bring any meaningful paper (photos, recipes, etc.) to incorporate into your piece. Previous Next

The Exhibition Census Block Map #countmein Blog photo gallery Artists in Residence Videos About the Census Every 10 years, the U.S. Census counts every resident in the nation. A complete and accurate count of California’s population is essential to the state. The Lancaster Museum of Art and History and the neighborhoods which immediately surround the Museum, historically, have had high Low Response Scores (LRS). Neighborhoods with Low Response Scores typically go undercounted and remain underrepresented and underfunded. For the first time, the Census participation will be conducted primarily through online self-responses instead of hard copy mailing efforts. This change has the potential to drastically impact state and county funding. Many critical factors can be barriers to participation in the Census including education, race, languages spoken, poverty level, homelessness, immigration status and level of trust. The Lancaster Museum of Art and History believes that change happens at the speed of trust. The Museum has found the best way to build trust between an organization and its community, breaking down these barriers, is by embedding artists who reflect the communities in which they live and work, who look the same and speak the same language. Through a series of workshops, community gatherings, candid photography, and a public exhibition, the artists-in-residence will increase the self-enumerated responses of these identified Low Response Score (LRS) neighborhoods in the 2020 Census. This is especially important for areas like the Antelope Valley. In the Antelope Valley, approximately 101,320 people are living in Hard to Survey (HTS) Block Groups. The Museum of Art and History and the neighborhoods that immediately surround the Museum are designated as Very High or High Low Response Score (LRS) neighborhoods. The Lancaster Museum and Public Art Foundation (LMPAF), the Museum of Art and History and the City of Lancaster believe that organizations and community leaders must be proactive, educating, encouraging and empowering residents to participate in the Census! Generously sponsored by Housing Corporation of America #CountMeIn Photo Videos #CountMeIn Videos Share Facebook Twitter Pinterest Tumblr Copy Link Link Copied #CountMeIn Photo Gallery Spotlight Cafe Book Making Workshop Tote bag Screen Printing Workshop Chalk Drawing Engagement Artists’ Bookmaking On The BLVD Gallery Video #CountMeIn Census Block Map Below you will find a map of each neighborhood block group located in downtown Lancaster. Block groups can vary in size and population typically from 1,000 to over 3,000 people in any one block group. Block groups with “Very High” Low Response Scores (LRS) are seen in red; block groups with “High” Low Response Scores are seen in orange; and block groups with “Medium” Low Response Scores are seen in yellow. Block groups seen in green are regarded as having a “Low” Low Response Score. Do you live in one of these block groups? If so, what is level is your Low Response Score? #CountMeIn is working towards having each block group decrease their Low Response Scores by 10% or from “Very High” to “High,” “High” to “Medium” and “Medium” to “Low.” #CountMeIn Artist in Residence Robin Rosenthal has been developing creative place-keeping projects in the Antelope Valley since 2015, when she was commissioned Artist-in-Residence by the LA County Arts Commission for their NEA Our Town funded AV Art Outpost initiative (on which LMPAF was a partner). She is the Founder and Artistic Director of Real93543, an emerging local arts organization whose programming engages Littlerock and Southeast Antelope Valley residents in an arts-based process of strengthening local ownership and social connection—highlighting community-specific narratives through documentary media, educational programs, and public art. (See Real93543’s projects at www.real93543.org .) With a BA from the University of Pennsylvania and an MFA from Queens College, CUNY, Rosenthal taught studio art at San Antonio College and the San Antonio Art Institute, and exhibited her experimental videos nationally before coming to Los Angeles to work in film and television. Her award-winning documentary filmmaking practice, as half of the Littlerock-based Pony Highway Productions, draws from her background as an artist, educator, and motion picture industry professional, and informs her work in creative place-keeping. Short link to Positively Littlerock Story Map Tour: https://arcg.is/18X4D1 YouTube link to Real93543 In a Day video: https://youtu.be/ZzcDyJgwAsM Edwin Vasquez is a self-taught artist. Vasquez has studied with other notable Antelope Valley Artists and Teachers such as Glen Knowles, David Babb, Rich Sims and Warren Scherich. Over the years, Vasquez has been featured in several group exhibitions including the State Latin American Visual Arts in Rhode Island (where his work was recognized by Governor Lincoln D. Chafee), Communication at Casa 0101 in Los Angeles, Don’t Sleep! at the Latino Art Museum in Pomona and is a regularly selected artist in Lancaster’s Museum of Art & History’s annual All-Media Juried Art Exhibition. Vasquez has participated, as both an Artist and Curator, in numerous local exhibitions. Vasquez was born in Quetzaltenango, Guatemala in 1964. Jane Szabo is a Los Angeles based fine art photographer with a Master of Fine Arts from Art Center College of Design in Pasadena, CA. Her work investigates issues of self and identity. Using self-portraiture and still life as a vehicle to share stories from her life, her work merges her love for fabrication and materials, with conceptual photography. Szabo brings many facets of visual art into her photographic projects, incorporating sculptural, performance and installation elements into her work, and her imagery is often infused with humor and wonder. Szabo's background in the film industry, creating props and miniatures for theme parks, and overseeing set construction for film and television, undoubtedly informs her creative process. #CountMeIn Events Calendar #CountMeIn: A Census 2020 Project Friday, July 19 , 2020, 6 - 9PM 44857 Cedar Ave, Lancaster, CA 93534 Join the #CountMeIn team for its first official project workshop happening this Friday during Spotlight Cafe Open Mic Night beginning at 6 pm. The #CountMeIn team will be onsite asking participants to generate poetry/prose using the words "count," "me," and "in." These works can then be shared with an audience, letting them and your community know that our community matters and that you deserve to be counted on the upcoming Census. This project is generously supported in part by the California Art Council, City of Lancaster and the Lancaster Museum and Public Art Foundation. #CountMeIn: Census 2020 Book-Making Workshop Saturday, August 3, 2020, 3 - 6 PM 742 W Lancaster Blvd, Lancaster, CA 93534 Join the #CountMeIn team at Li'l Book Bug on the BLVD for a fun bookmaking workshop. This workshop will utilize Census 2020 as inspiration to create a collaborative art book. The #CountMeIn team will be onsite leading participants through the creative process. All materials will be provided. These works can then be shared with an audience, letting them and your community know that our community matters and that you deserve to be counted on the upcoming Census. Artist-in-Residence, Jane Szabo, will be onsite photographing interested participants while they create the books. This project is generously supported in part by the California Art Council, City of Lancaster and the Lancaster Museum and Public Art Foundation. #CountMeIn: Tote Bag Screen Printing Workshop Thursday, October 24, 2020 4 - 9 PM 665 W Lancaster Blvd, Lancaster, CA 93534 Join the #CountMeIn Team for its next #CountMeIn, A Census 2020 Project, Screen Printing Workshop! Taking place in the Fran and Hernando Marroquin Family Classroom, participants can grab a tote bag, or bandana, and impress upon them Census-minded artwork. Take the tote bag with you as peruse the great, organic food at The BLVD Farmer's Market! This project is generously supported in part by the California Art Council, City of Lancaster and the Lancaster Museum and Public Art Foundation. #CountMeIn: Chalk Drawing Engagement Saturday, December 7, 2020 2:30 PM Sacred Heart Church - 565 W. Kettering Street The #CountMeIn team invites the Families of Sacred Heart Catholic Church to participate in an afternoon of chalk drawing. Chalks and other materials will be provided for families to create their own colorful drawings on the asphalt, in honor of Our Lady of Guadalupe. During the event, the #CountMeIn team will share information about the upcoming 2020 Census and the value of being counted. #CountMeIn: Artists’ Bookmaking Saturday, January 25, 2020 11 AM - 3 PM 44857 Cedar Ave, Lancaster, CA 93534 On Saturday, January 25th the #CountMeIn Team invites a group of Antelope Valley artists to the Andrew Frieder Creative Space at MOAH:Cedar to make pages for a collaborative, accordion-fold art book, using the letters of the words #CountMeIn, and referencing inclusion, being counted, community, etc. The resulting artists’ book will be shown as part of MOAH’s #CountMeIn exhibit. Artists will have access to materials in the well-stocked Andrew Frieder Creative Space, and can bring materials and mediums from their own practice as well. #CountMeIn #CountMeIn2020 #CountMeInAV #Census2020 #LancasterMOAH Map Artist in Residence Calendar #CountMeIn Resources The Exhibition www.census.gov www.advancementprojectca.org www.avph.org www.cityoflancasterca.org Resources

back to list Carlos Mendoza Carlos Mendoza is a local Antelope Valley artist who considers himself an art rebel, with his art style demonstrating a raw and free essence. Mendoza has been painting murals in the Antelope Valley for six years but he also works with acrylic, oils, wire, and whatever he can get his hands on. Mendoza utilizes the lack of public art in certain areas of the Antelope Valley inspiration as a driving force for his murals, often as a part of transformation projects for schools around the AV. For Mendoza, public art is an essential part of providing citizens a sense of pride in their community and giving youth a sense of hope for their future. Mendoza aspires to venture outside the Antelope Valley and paint murals in Mexico.

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

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