Search Results

Up Artist As Subject Various Artists Rebecca Campbell Andrew Frieder Kent Anderson Butler Eric Minh Swenson Jane Szabo Nataša Prosenc Stearns Rebecca Campbell: The Potato Eaters Rebecca Campbell is a figurative artist, whose work focuses on themes associated with human existence in contemporary society. Embracing both realism and abstraction, Campbell makes paintings, drawings and sculptures that frequently revolve around the day-to-day lives of average people, to whom she lends a heroic quality. Campbell’s new series of work, entitled The Potato Eaters , examine aspects of family and cultural history, memory, documentation and nostalgia. The title is taken from Vincent van Gogh's 1885 masterpiece that portrays Dutch peasants gathered at a meager meal. As in van Gogh’s celebrated work that addresses themes of noble human existence and connection to the land, Campbell references her family history and relatives who lived in Idaho during the early and mid-twentieth century. The series includes paintings that convey disappearing rural and sub-urban landscapes, as well as figurative works inspired by old black and white photographs. In addition, Campbell both honors and reflects upon oft-ignored domestic activities, such as canning and cleaning, through several sculpture installations. Campbell earned her Bachelor of Fine Arts degree in painting from the Pacific Northwest College of Art in Oregon in 1994, and Master of Fine Arts in painting and drawing from the University of California, Los Angeles in 2001. Her work has been exhibited nationally and internationally at the Phoenix Art Museum, Arizona; the Cornell Fine Arts Museum, Winter Park, Florida; the American Academy of Arts and Letters, New York; The Portland Art Museum, Oregon; the Central Utah Arts Center and Brigham Young University, Utah; the UCLA Hammer Museum, Los Angeles, and L.A. Louver, Venice, CA, among others. Campbell has taught at Art Center College of Design, Claremont Graduate University and Vermont College of Fine Art, and is currently assistant professor at California State University, Fullerton. Rebecca Campbell lives and works in Los Angeles. Andrew Frieder: Waiting for Divine Inspiration On the western edge of the Mojave Desert, Lancaster is not a town known for its art scene, but it is where Andrew Frieder spent his most productive years as an artist, working day and night for several decades to produce a vast body of work in a variety of mediums. Andrew frequently depicted scenes from classical mythology and the Old Testament scriptures with which he was so conversant: figures wrestling with serpents, communing with skulls and struggling with rocks, as well as hybrid beasts of his own design. A gentle and subtle coloration of soft pastel and muted earth tones distinguishes the work, sometimes scrawled upon with text (“Was it worth it? Vanquishing the serpent: Can it be done?”) and frequently pierced, perforated, sewn, glued and otherwise driven into aesthetic submission, resulting in a strangely harmonious combination of the visceral and meticulous. Andrew had an extraordinary sense of design all his own. He rebuilt and repaired several industrial sewing machines, some mechanically modified to be foot-treadle powered, with which he sewed intricate cotton quilts and constructed his own jaunty hats – ‘chapeaux’, as he called them. He was a licensed barber. A hobbyist cobbler, he made and repaired shoes. An incessant tinkerer who continually re-purposed every manner of objects, he would grind, weld and machine his own customized tools, and myriad objects both sculptural and practical. Andrew had found a measure of peace with whatever impression the world may have taken of him, cutting a unique figure as he rolled his customized cart to source materials such as scrap iron and lumber for his projects, discovered everywhere from alleyways to yard sales, thrift shops and scrapyards. As a teenager, Andrew spoke fluent French and was a nationally ranked tournament fencer, a sport he relinquished due to injuries and as he became more involved in art. A mental breakdown interrupted his art school education and he began to experience the schizophrenia with which he struggled for much of his adult life. Through the chaos and pain of his illness Andrew destroyed his entire body of work three times, as well as a number of finished novels. By the two decades of life preceding his demise, however, he had stabilized and experienced no episodes or hospitalizations, a healing process facilitated in no small part by deep immersion in his art, and only after his death was the full range of his output discovered. Andy admired the work of artists from Vermeer to Basquiat. The museum presented a solo show of his work in 2014. As well as a massive archive of artwork, Andy also left behind many written accounts expressing an acute awareness of his own work and mental state, as well as rigorous and compassionate essays on history and religion; he cared deeply about political injustice and ruminated on his work as painstakingly as any professional artist. Kent Anderson Butler: Drowning with Land Still in Sight Kent Anderson Butler is a Los Angeles based artist that focuses his work on the spiritual, mental and physical experiences that the body encounters. Anderson Butler works with multiple mediums including video installation, photography and performance. Drowning with Land Still in Sight is a series that communicates pain, pleasure, struggle, redemption and restoration of the body through mixed media, including installation, portrait photography, sculpture, performance and video. Inspired by the religious philosopher Teilhard De Chardin, Anderson Butler exposes his personal religious thinking in terms of life, death, and transcendence through this collection. Through his artwork, he aims to express and stress the importance of the human experience and, in turn, show how we live in our own body. Kent Anderson Butler studied video and film, receiving his Bachelor degree from Biola University and his Master of Fine Arts from California State University, Fullerton. Anderson Butler is the director of visual arts and a professor at Azusa Pacific University, teaching art at both the undergraduate and graduate level, with an emphasis on photography. He has also been involved in a range of exhibits including both solo exhibitions and group exhibitions. His pieces have been displayed both nationally and internationally, being shown at the International Biennial of Contemporary Art in Venezuela, the Cave Gallery in Brooklyn, New York, the Pasadena Museum of California Art, among many others. In 2012, the Kellogg University Art Gallery at Cal Poly Pomona presented an exhibition featuring a decade of work by Anderson Butler. In 2014, Anderson Butler was chosen to be an Artist in Residence at the Hambidge Center for Creative Arts in Rabun Gap, Georgia. Eric Minh Swenson: Art Stars Art Stars , Eric Minh Swenson's latest body of work focuses on celebrating women's influence and impact on the Art World. In collaboration with Coagula Art Journal , Art Stars , is an expansive series of over 200 photographs that build public awareness and celebare female contributions as artists, curators, gallerists, etc. Eric Minh Swenson grew up in San Antonio, Texas and through his father discovered the craft of photography. Swenson captures moments that are spontaneous and impromptu while utilizing color and texture to expand his artistic horizon. He shares that the inspiration comes through architecture, vibrant landmarks, music, and various other art forms, relating to Fauvist techniques. After a move to Hollywood in the 1990’s, Swenson found a passion in cinema and began to produce documentaries and promos for other artists, curators and fine art collectors. His art focuses on celebrating the culture and art of Southern California and how it is always developing just like he is. Swenson was born in Honolulu, Hawaii, but relocated shortly after. Though he never took an art class prior to college, he graduated with a Fine Arts Degree after attending both the University of Texas in San Antonio and Brigham Young University in Utah. Upon receiving his degree, Swenson went on to form a film society, producing over 600 short films as well as producing and directing four feature length narrative films and a documentary. Swenson has also relentlessly photographed art openings across the Southland, ardently bringing the milieu to the public eye while capturing artists, collectors and enthusiasts in situ. In 2001, he moved to the Southern California. Through his emphasis on the documentation of the Los Angeles art scene, Swenson focuses much of his attention on bringing public awareness into the realm of art as a cultural experience. Jane Szabo: Sense of Self and Reconstructing Self Jane Szabo has a passion for the human condition and studies the ways we live today, how we relate to each other, how we feel about our identity as individuals, and how it fits together collectively as a community. Szabo merges everyday fabrications with conceptual photography in a series of self-portraits as a means to interpret the psychological complexity of what it is to be human. In her series Sense of Self, Szabo utilizes in-motion self-portraits against a harlequin pattern wall to convey issues of control over herself as well as the external environment, revealing her own vulnerability. Through the use of elements such as light and movement, she aims to capture a sense of chaos and the internal struggle to maintain order as well as the conflicts that occur in the process. She also creates still life images, using inanimate objects to portray a story which invites viewers to draw their own interpretation of meaning, generally relating to feelings of alienation and loneliness. She explores issues of identity through the juxtaposition of fashion, sculpture, installation and photography, seeking to highlight the necessary balance between one’s self and the outside world in her series Reconstructing Self. Szabo has a background as a painter and installation artist with some experience in creating custom props and scenery, which continues to contribute to her artistic style. Jane Szabo is a Los Angeles based photographer known for her award winning fine art photography. Her work has been published and reviewed in The Huffington Post and the Los Angeles Times. Szabo’s photography has been displayed in multiple exhibitions at institutions such as: Oceanside Museum of Art, the Griffin Museum of Photography, Colorado Center for Photographic Arts, PhotoSpiva, San Diego Art Institute, The Los Angeles Center for Photography, Orange County Center for Contemporary Art and Gallery 825 in Los Angeles. In 2014 her work Sense of Self was featured as a solo exhibition at the Los Angeles Center for Digital Art. In 2016, her work Sense of Self and Reconstructing Self were shown as a combined set in Arizona under the title Investigating Self. Nataša Prosenc Stearns: Night Spring Local California artist, Nataša Prosenc Stearns works with film, video art, installations and prints to explore the human body in juxtaposition with the natural and technological worlds. Stearns delivers gravitating pieces that reveal her passion and desire for undiscovered potential of the human body. Working with the effects of anxiety and angst with a bodiless cyber-space, Stearns’ focus on the human body is pushed deeper as she continues to find more complex meaning relating technology to physical life. As her style progressed, she has gradually started to engage her own body, discovering new ideas for her growing passion. Night Spring , featured at the 2015 Venice Biennale, consists of an HD single-channel video with a series of digital prints. The video is composed of a geyser that eventually erodes due to natural effects revealing a human form. She combines organic forms with inorganic ones that are both subjects of transformation, while also putting on display their simultaneous abstractions. Nataša Prosenc Stearns was born in Slovenia and began her studies at the Academy of Fine Arts in Slovenia. She moved to California as a Fulbright scholar to pursue her Master of Fine Arts from California Institute of the Arts. Since completing her education, she has been the recipient of the Soros Grant and the Durfee Foundation Grant, among others. Stearns has participated in numerous solo and group exhibitions, as well as film screenings and lectures. Her work has been shown internationally at the ARCO Fair in Spain, the Douloun Museum of Art in Shanghai, the Tel Aviv Museum of Art in Israel and numerous venues in the United States. Stearns currently resides in Southern California, where she continues to work. May 7 - July 24, 2016 Back to list

Sarah Valdez Ocampo < Back Fighting Against Weakness (A slightly dying) Zebra Haworthia By Sarah Valdez Ocampo Somewhere I can no longer remember, the warm breeze, the warm sun, and the feeling of being wanted and not forgotten. A disappointment is what I’ve realized I have become. Never the glowing green color desired but the dull, miserable brown. Weakness, though my rough texture is still intact, the want and need to break and fall apart will remain inside—momentary things such as the sun, a warm glowing light that brings me a moment of happiness. The desert or so-called home has brought many emotions, never quite sad but never fully happy, a hint of anger suppressed enough to the point where it becomes numb for a second before feeling the weakness hit once again. I am not fully myself, I resemble others, yet I am entirely alone. A single stem that has been separated and taken. However, I have not realized if my growth has stopped due to not being cared for or if I am just born this way—another singular disappointment. There are moments when I feel cared for, even if it’s just water being poured into my uncomfortable and dry soil or being brought inside to feel the heat and joy of others. When I have been placed back outside, I weakly sense the bipolar weather of this peculiar area. One moment it is hot, and the sun shines so brightly that I think it could be a fantastic day, but that feeling rapidly comes crashing down when the clouds cover up the warm light, and the coldness begins to strike, making me once again discouraged. The summer is what I long for, though I am not sure I can make it till then. I long for the heat that reminds me of home, a lapse of memory. I need the warm breeze and the attention I will receive as soon as I’ve been noticed. I want to regain my bright green color, I want to remain happy, and I want to feel loved and wanted. Sometimes it’s okay not to feel okay. Previous Next

< Return to Exhibitions Spring 2013 Gary Lang: Whim Wham Jorg Dubin: My Facebook Friends Guillermo Bert: The Bar Code Series Susan Sironi: Altered Books Gary Lang Shepard Fairey These Sunsets Are To Die For Thomas McGovern Jorg Dubin Guillermo Bert The Barcode Series Danial Nord Youtopia Susan Sironi Altered Books Learn More March 16 - May 5, 2013 Thomas McGovern: Sign Language, Notes from the High Desert Danial Nord: Youtopia March 16 - April 29, 2013 March 16 - May 11, 2013 Signs and Symbols: From Street Art to High Art Dubin Signs Bert Nord McGovern Lang Signs and Symbols: From Street Art to High Art Signs and Symbols: From Street Art to High Art showcases internationally renowned and groundbreaking works by: Keith Haring, Banksy, Barry McGee, Heretic, Cryptik, David P. Flores, Shepard Fairey, Robbie Conal and MearOne. Now a global practice, the artists in this exhibition span a geographic range from Los Angeles to New York and London and pioneered the street art movement by using the urban matrix as their canvas. They continue to create guerilla works of art using stickers, murals, paint, templates, wheat paste, and video projections to transform the dialogue about where art may or may not be placed and sanctioned. Collectively, the artists are master editors, using only the most relevant signs, symbols and materials to achieve the greatest visual impact in a short period of time. They question the commercialization of art by changing the materials they employ and selecting alternative places in which their works appear. The term street art is used to distinguish between two opposites: government and corporate sponsored public art works and the unsanctioned tagging of territorial graffiti. The practice is a form of visual activism by artists who often feel disenfranchised by the codification and standards of art-making in the public realm. Disenfranchisement is a strong motivator and the street artists represented here have revolutionized the way public space is utilized to convey socio-political messages to everyday people who may not frequent museums and galleries. The artwork is eventually taken out of its local context by commercial galleries and museums, the very institutions many artists intend to avoid. Other street artists welcome the influx of their work in the commercial realm, embracing it as an opportunity for their messages to reach larger audiences. Over the last decade, the street art movement gained considerable notoriety with the public through widespread acclaim for the element of surprise. As a new work of art appeared on the street overnight, neighbors and communities either relished or fought against the phenomena, generating a vibrant social currency that fuels the artists. Most street artists are working for the people and are driven by the effect of mobilizing the community into action. Gary Lang: Whim Wham The Lancaster Museum of Art and History presents Gary Lang: Whim Wham an intimate selection of Lang’s acclaimed circle paintings accompanied by his never before seen word paintings. The two bodies of work may at first appear unrelated, yet they are inextricably linked by a union of opposites and similarities—both through the process in which they are created and in Lang’s quest for reconciling the space between beauty and pain in contemporary times. Lang began working on his minimalist circle paintings in the 1980’s and quickly became internationally renowned for his ability to engender a physical connection to the sublime through his radiating color combinations. When viewed from a distance, his paintings propel the viewer into an unrelenting optical experience that transcends everyday concerns. The colors blend and shift, deepen and soften, and awaken and pulsate in conversation with one another, taking the viewer on a phenomenological joy ride. As one moves closer to the work, the artist’s hand—and his remarkable affection for the materiality of paint—is revealed. In the 1970’s, prior to the birth of his circle paintings, Lang had sustained a quiet practice of writing text on paper and painting words in books that he positioned on his paint mixing tables. He eventually began making word paintings in concert with his large canvasses. On the surface, the word paintings function as an immediate repository for the excess pigment left over from his monumental canvasses: he simply moves from the canvas to the paper to “clean” the brush. Lang’s improvisational cleansing process ultimately yields words and phrases that expose his deeply poetic response to the concepts of truth, religion, power and tragedy. Lang has methodically practiced this private ritual since the bombing of the World Trade Center on September 11, 2001. Just days before 9 -11, Lang moved his family from their New York City loft—where the World Trade Center towers were visible from the kitchen window—to Southern California, where Lang was born. Lang expresses that this event turned him toward words “in an effort to understand how they are used, abused, and manipulated by agenda and temper as well as to serve the heart.” He has equally found that he associates the words "real" and "true” with the momentary quality of painting in the here and now. Exhibited together for the first time, Gary Lang: Whim Wham invites the viewer to witness the fruits of Lang’s private ritual, sparking an adventure among color-saturated objects that assist us in transcending the everyday to traversing the intellectual pursuit of words, asking of us to reconcile the beauty and mystery of life with the tragedy of the human condition. Jorg Dubin: My Facebook Friends Jorg Dubin: My Facebook Friends is a contemporary exploration of identity through the fragmented lens of social media. Dubin’s portraits are painted directly from his Facebook friends’ profile pictures, many of whom the artist has never met or whom mostly remain unknown to him. The power of the work emerges from the identity fragmentation that occurs in the virtual world, and is strengthened by the clues into the visage of social media that Dubin provides the viewer. By turning unknown virtual “friends” into his painted subjects, he delivers small treasures from which to begin questioning the motives of identity in the digital age. Dubin, a skilled painter, departed from his classical, representational training and has become well regarded for his expressive explorations of the human condition. His large figurative paintings depict the fragility of human physicality: many of his subjects have undergone physical harm through illness or misfortune or simply through the choices made in life. Dubin explores these realities by blanketing his subjects in oily, acerbic painterly color and roots them in surreal and often grotesque scenes. These larger works are generous visual narratives, whereas his small Facebook oil sketches convey only fragments such as an eye, nose or mouth. These singular sketches ask of us to fill in the gaps, prompting one to contemplate the concept of superficiality through the accumulation of friends. The installation as a whole creates an entirely new friend: one that questions our desire to be needed, to be seen, to be heard and investigates how social media has changed human interaction and communication. Dubin lives and works in Laguna Beach, California. He studied at the Art Institute of Southern California and is a lecturer at Laguna College of Art and Design. Dubin shows extensively in the region, with several solo and group shows at Robert Berman Gallery, Santa Monica, CA; Peter Blake Gallery, Laguna Beach; Guggenheim Gallery, Chapman University, Orange, CA; and Blue Gallery, Kansas City, MO among many others. His work is widely published in art journals and magazines including: ArtScene Magazine, Artillery Magazine, Orange County Register, Coast Magazine, Sacramento Bee and Riviera Magazine. Guillermo Bert: The Bar Code Series Chilean artist Guillermo Bert has long been fascinated with the concept of encrypting messages, language and ideas beneath the “skin” of his artwork. He embeds this concept by incorporating contemporary bar codes with Inca, Maya, and Mapuche religious icons, each rendered in gold, thereby creating hybrid relics and proposing a new mythology. His panels are engraved and carved, much like the stonework of ancient civilizations. This process of engraving and encoding allows Bert to question the price of core values such as democracy and justice, while blurring the lines between culture and commodities. Using the bar code—the quintessential symbol of consumerism and branding as a form of contemporary conquest—Bert provides a critical comment on the effects of globalization and the western consumerist model. Bert lives and works in Los Angeles and shows extensively in the United States and South America, including the Museum of Latin American Art in Long Beach CA, the San Diego Museum of Art in San Diego CA, the Fowler Museum at UCLA, the Museum of Tolerance and the Architectural Design Museum both in Los Angeles, and the Pasadena Museum of California Art. He is the recipient of many awards and grants and has been commissioned to create a number of public art works. Susan Sironi: Altered Books Los Angeles based artist Susan Sironi received her BFA from California State University, Long Beach and studied color still photography at Orange Coast College. Her early work in urban photography and assemblage lead to her collecting vintage materials with a focus on vintage books. Since 2003 she has used vintage books to express the inconsistencies and frustrations of a world that clings to past conventions while striving for future ideals. Her first altered books were text only and were meticulously cut page-by-page. The advent of the Internet provided Sironi with the ability to acquire multiple copies of books while scanning technology allowed for the precise cutting of entire books. This blending of old and new technologies is central to Sironi’s approach: each book promotes an alternative reading of the accepted norms and conventions of the past. By altering the information the viewer sees, Sironi transforms the books into new visual and conceptual forms while retaining clues from their former identity and history. Exhibiting primarily in Los Angeles, Sironi's work has also been shown at the Laguna Museum of Art and the Carpenter Center at Harvard University, MA. She is represented by Offramp Gallery in Pasadena. Thomas McGovern: Sign Language, Notes from the High Desert Sign Language, Notes from the High Desert showcases the distinguished work of Southern California photographer Thomas McGovern. McGovern’s new work was made specifically for and about the Antelope Valley and is part of a larger documentary project called Vital Signs. The Vital Signs series documents hand-painted signs and murals throughout the Inland Empire region of Southern California, starting with the City of San Bernardino. The great Mexican muralist tradition has an obvious influence in the region, but these signs and murals also suggest the economics of a recovering city where immigrants and established locals alike set up shop and try to provide for themselves and their communities. For his Sign Language, Notes from the High Desert project, McGovern expanded his range to include the Antelope Valley, a place recovering from similar economic pressures as San Bernardino and other rural communities throughout the country. With the Antelope Valley’s close proximity to Los Angeles and the proliferation of high definition billboards lining the ubiquitous eight-lane highways in our region, McGovern turned his lens toward the hand painted signs, murals and advertisements that punctuate our rural, two-lane highway landscape. McGovern provides a window into the minutia that is often taken for granted among the larger mass of “freeway culture” in the area. The photographs piece together fragments of the Antelope Valley’s vernacular style of architecture with the hand painted signs that are being replaced by homogenous strip malls and master planned communities. Many of the signs are deteriorating or were painted in a by-gone era, indicating how the valley is changing over time. Thomas McGovern is Professor of Art at California State University San Bernardino. He exhibits widely in California, New York and Germany and is represented in distinguished collections such as the Museum of Fine Arts, Houston; Brooklyn Museum of Art; Baltimore Museum of Art; Library of Congress; Museum Fur Photographie; Museum of the City of New York and The New Museum, New York among others. Danial Nord: Youtopia Danial Nord is an interdisciplinary artist who reinterprets the familiar language and trappings of mass communication. Nord’s installations draw from his accomplishments as an award winning designer-animator in the entertainment industry, as an internationally-based fashion designer, and as a scenic and prop artist for film, television and theater. Nord’s humorous new digital video Youtopia pokes fun at electronic communication and how automated search engines control the information we obtain. The video is based on an email he received with a link to a New York Times article titled: Guggenheim and YouTube Seek Budding Video Artists. Nord created virtual assistants to investigate the article. As the automated inquiries progress over time, they are eventually skewed by database hierarchies and software glitches, which produce amusing, convoluted associations and misguided conclusions. Youtopia underscores the current state of affairs in our quick-to-click culture. Nord earned his BFA from Tyler School of Art in Philadelphia and Rome, Italy. He continued with postgraduate studies in communication technologies and media at the School of Visual Arts and the NYU Center for Digital Multimedia in New York. Nord has exhibited his work in the US and abroad at World Expo 2010, Shanghai, China, Stadsmuseum Ghent, Belgium, and in New York at Freight + Volume and ISE Cultural Foundation. Nord lives, works and exhibits widely in Los Angeles including at California Museum of Photography, Fringe Exhibitions, HAUS, Pacific Design Center, and the City of L.A. Municipal Art Gallery. His work has been covered by the LA Times, LA Weekly, Artweek, Afterimage, and NPR. Sironi View or Download the Spring 2013 Exhibition Catalog by clicking on the cover image or here.

Bloom 2013 < Return to Exhibitions May 11 - June 29 SuperCallaFragileMysticEcstasyDioecious: Cole Case, Amir H. Fallah, Penelope Gottlieb and Roland Reiss Sharon Suhovy: Ambrosia Elena Manferdini Jennifer Vanderpool/ Patrick Melroy: Astro Flowers Kathleen Elliot: Living Flame Janice Tieken: Orchid Requiem Susan Sironi: Nothing Domestic Rebecca Niederlander: We are Stardust, We are Golden. And We Have to Find our Way Back to the Garden Penelope Gottlieb Susan Sironi Kathleen Elliot Rebecca Niederlander Janice Tieken Learn More Case Niederlander Vanderpool Manferdini Elliot Tieken Suhovy SuperCallaFragileMysticEcstasyDioecious: Cole Case, Amir H. Fallah, Penelope Gottlieb and Roland Reiss SuperCallaFragileMysticEcstasyDioecious highlights the work of four Los Angeles artists who synthesize artistic and ecological concerns through the painting of flowers. Cole Case, Amir H. Fallah, Penelope Gottlieb and Roland Reiss bring disparate painting approaches and varying cultural associations together as an artistic response to the world’s concentrically dizzying spin. “Whereas older traditions of botanical art and still life painting involved calm, studio-bound reflections of natural beauty and visual order, a new paradigm seems appropriate in the more fragile condition of the world in the early 21st century. We’re in a state of accelerated change, possibly teetering on some sort of apocalyptic brink.” -Penelope Gottlieb Sharon Suhovy: Ambrosia Sharon Suhovy sculpts sumptuous three dimensional paintings with cake-frosting utensils. Her sculptures may reflect structures that are familiar in historical architecture and almost always include the use of classic flowers like the rose as a metaphor for beauty. Elena Manferdini Elena Manferdini’s site specific installation is a new addition to the MOAH permanent collection. This acquisition was made possible with funds from the Lancaster Museum and Public Art Foundation. Jennifer Vanderpool/ Patrick Melroy: Astro Flowers This site specific installation recontextualizes the historic propaganda of the Cold War Space Race, imaging an alternative history that subverts patriarchal, nationalistic imagery with botanical iconography – the rocket ship for the flower. Thematically, the work acknowledges Lancaster’s role in space technology, while in a tongue and cheek manner suggesting the beautification of space is as worthy a goal as manifest destiny of unknown galaxies and global dominance. Kathleen Elliot: Living Flame Kathleen Elliot lives in two worlds: the “real” one of luscious flora, fruits and vegetables and in her own Garden of Eden. Her works in glass exhibited at MOAH arose from a great love of plants, their life cycles, the beauty of all of their parts – leaves, seed pods, flowers, bark, etc – and the spiritual connection she feels when she is in nature. Janice Tieken: Orchid Requiem California photographer Janice Tieken’s series Orchid Requiem focuses on the beauty of orchids and other flora after their life cycle is finished. This body of work won the International Silver Prize for Art and Science of Color. Susan Sironi: Nothing Domestic Susan Sironi’s altered garden books are fantastical botanical dioramas. Leftover cuttings from the altered books form the basis for Sironi's "Garden Collage" series of mixed-media wall work. Romantic looking floral bouquets are overlaid with Sironi's handwritten stream of consciousness texts which are modified -- leaving us to ponder the poetic content. Rebecca Niederlander: We are Stardust, We are Golden. And We Have to Find our Way Back to the Garden As an artist, Rebecca Niederlander’s practice is founded in the relationship of the individual to the larger whole. Her art contains an aesthetics of multiples, a commitment to the singular element and how it fits into a larger balanced context of many. Her works invite the viewer to participate on an active level by creating pieces of their own within the installation that add to the whole of Niederlander’s work. Rebecca Niederlander is the Community Engagement Artist working in conjunction with sculptor Brad Howe on the new Los Angeles County Multi Ambulatory Care Center scheduled to open in Lancaster in 2014. Sironi View or Download the Bloom 2013 Exhibition Catalog by clicking on the cover image or here.

Events ALL EVENTS Closed on the following dates: Dec 13 Closed for A Magical BLVD Christmas Dec 24 Closed on Christmas Eve Dec 25 Closed on Christmas Day Dec 31 Closed on New Year's Eve Jan 01 Closed on New Year's Day

2021 < View Public Art Projects Paleolithic Herd by Devin Thor 2021 Permanent Art Project Devin Thor presents three pieces from his raw, unique stone works that make extinct paleolithic creatures live again as a life-size sculptural herd. The use of material makes these flat works fascinating in texture as well as image. In the use of color (russet, gold, brown) and material (sandstone, rebar, and found/discarded materials), they appear as if they arose from the earth itself. The herd, which includes a buck, a doe, and a fawn, makes extinct creatures live again. Seeming tribal in nature, their beautiful simplicity serves as an elegy to the losses of the past, and a pristine prayer for a better future. According to Thor, his paleolithic creatures are “ a homage to our prehistoric ancestors, but also an exploration of the global influence of humans on our environment…” adding that “modern humans have modified the planet and now must take on a stewardship role, otherwise we might face extinction ourselves.” Thor is a geologist as well as an artist, which is likely a reason for his choice of material. The rough brown surface creates an elegant but primal visual perspective, representing a tribute to the beings themselves and the land where they once roamed. His minimal approach is relatable with an easily recognizable shape and universal figures that open the world of the past with hope for tomorrow. A poignant reminder that despite the bulk and weighty purpose of these beings, they were too fragile to survive in the end representing a cautionary tale for the preservation of many species including our own.

Presents What's in a Landscape? What’s in a Landscape? is a project undertaken by Art in Residence, in partnership with the Museum of Art and History, to uncover the diverse and multivalent relationships Antelope Valley residents have to the landscape they call home. The goals of the project focused on documenting the people of the Antelope Valley and their relation to its landscape and history. Using the work of Rackstraw Downes as a jumping off point, Art In Residence organized four workshops at Quartz Hill High School, each building on the next, giving students the opportunity to explore plant-centered narratives, documentary filmmaking, landscape painting and mural design, and oral histories. What’s in a Landscape? is generously supported by the California Arts Council’s Artists in Communities grant program and the Lancaster Museum and Public Art Foundation. Plant-centered Narratives Landscape Painting & Mural Design Art Talk Series Oral History Interview Documentary Filmmaking Made possible by A Workshop on Plant-centered Narratives In this workshop, Jenny Yurshansky took Richard Rosenblatt’s 11th grade English class through a guided writing exercise. Students collected a clipping from a plant, and then wrote a narrative embodying that plant’s point of view. Some students went personal, some went speculative. Writing took various forms, from prose, to poetry, to diary entries. In writing this way, students gained empathy for the landscape as a living companion to its human inhabitants. Adriana Orozco Diary of Letitia Read Now Brandon Kim October 18th, 2020 Read Now Edward Lee Desertion Read Now Lara Cruz Roses Read Now Patrick Park My Name is Winky Read Now Tanisha Alam Spring Festival Read Now Kendall Segale Ripped from the Ground Read Now Alayna Boyd The Fiddleneck in Me Read Now Brooke Jurgenson ROSE Read Now Eric Chen The Siren Read Now Tahlia Campbell This Was the End Read Now Martin Bozikovic Untitled Read Now Om Baboolall Taking It All In Read Now Jillian Stebbins A Pine Tree Doesn’t Know English Read Now Alex Kim Untitled Read Now Camille Murray From an Oleanders View Read Now Emily Schneider The White Rose and I Read Now Sarah Valdez Ocampo Fighting Against Weakness (A slightly dying) Zebra Haworthia Read Now Samantha Martinez Rosemary Read Now Sophia Rocha The Periwinkle Read Now Riley Briones Yellow Rose Read Now Ashna Pradhan Green Is a Color as Well Read Now Destiny Solis Stuck Read Now Gabriela Valiente Reborn, Here Read Now Renee Chowdhry Diary Entry Read Now Valeria Munoz The Alien Read Now Renee Odoi The Fern Plant Read Now Joanna Vazquez A Plant’s Life Read Now As an extension of this workshop and as a warm up exercise to the Documentary Filmmaking workshop, Richard Rosenblatt shared the writings with the students in Chris Hall’s class. Each of the four groups took one of the written works, recorded a voice over, and gathered footage to accompany the text. Play Video Play Video 02:55 Untitled by Alex Kim Play Video Play Video 02:46 The Siren by Eric Chen Play Video Play Video 04:25 A Pine Tree Doesn’t Know English by Jillian Stebbins Play Video Play Video 02:02 Green is a Color as Well by Ashna Pradham Plant Centered Narratives A Workshop on Landscape Painting & Mural Design Muralist Nuri Amanatullah led students in Deepak Dhillon’s art class through lecture and discussion on the landscape as a subject in drawing and painting, with an emphasis on symbolism and expressing identity through natural elements. Students created landscape sketches, and used those sketches as the basis for proposed mural design. Amanatullah then combined the work done by the students into a single mural to be executed on the campus of Quartz Hill High School. Hover over the s on the mural below to learn more about this collaboration. In this sketch by Makalya Ojeda we see the inspiration for the sky – your classic AV sunset – as well as the more profile pose of the pronghorn. This initial sketch by Diego Vargas incorporates abstract wavy lines, as well as a suggestion of architectural elements which inspired the map seen inside the pronghorn's form. From Erin Segovia's digital rendering we receive the overall palette and look of the mural. Her detailed renderings of the flora were important to capture in the final image. Landscape Painting and Mural Design A Workshop on Documentary Filmmaking Robin Rosenthal and Dave Martin partnered with Chris Hall’s Intermediate Production class to create short documentary videos. Students were tasked with creating a piece about a particular landscape they have a personal connection with, or interviewing a person or group with a particular relationship to the landscape in some way. Play Video Play Video 05:47 The Isolated Community of Green Valley Play Video Play Video 01:59 Rough Beauty Play Video Play Video 05:18 Littering In The Landscape Play Video Play Video 05:02 The Mojave Desert Documentary Filmmaking Public Art and Monuments An Oral History Interview with Margaret Rhyne In her interview for What’s in a Landscape? Margaret Rhyne focuses on the role of conservation and stewardship in preserving land. She offers unique insights into how the Antelope Valley landscape has been changed by the hands of people who, like herself, have dedicated their lives to maintaining and preserving the local land and its wildlife. An Interview with Margaret Rhyne 00:00 / 46:34 Art Talk Series In this art talk series Art in Residence invited 4 artists to discuss their work in relation to the theme of landscapes. They explored how this theme plays a role in each of their art practices. Art Talk Series: Whats In a Landscape? Play Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Now Playing Art Talk Series: Whats In a Landscape? | Mood & Meaning 58:50 Play Video Now Playing Art Talk Series: Whats In a Landscape? | Monuments Now: Joel Garcia 01:15:33 Play Video Now Playing Art Talk Series: Whats In a Landscape? | Jenny Yurshansky 01:06:45 Play Video Art Talk

< Back Stevie Love Featured Structure Artist Challenging herself to explore and adopt new art forms, contemporary artist Stevie Love has expanded her creative practice by taking on the role of adobe builder. In 2001, after attending a four-day workshop at Southwest Solar Adobe School in Bosque, New Mexico, Love and her husband Dr. Bruce Love decided to build their very own adobe house in Juniper Hills, California overlooking the Mojave Desert. Architecturally, the concept of an adobe house is an ancient building technique common amongst historic civilizations in the Americas and the Middle East. The term “adobe” is Spanish for mudbrick or Arabic for brick. Honoring the traditional techniques of adobe building, Love and a small crew hand-sculpted each brick and structural element of her adobe home. Throughout the seven years Love constructed her adobe home, she photo-documented the turbulent yet immersive experience constructing the home, as photographs displayed in this exhibition. From laying the foundation to picking tiles, the Loves put in a great amount of research and effort in building an authentic yet personalized adobe house. When building the foundation, walls and overall base structure of their adobe dream home, Love committed to only using materials within walking distance from the building site. Love also made sure to align the structural orientations of the house with the Earth and sky axis, taking the seasons into account just as the first adobe builders once did. Furthermore, throughout the Love house, one finds design components from a diverse and international pool of influences. For instance, the threshold to enter the structure is fashioned with ancient wooden doors from India. As visitors cross the entryway, they are met with an alcove (a small nook or cut-out in the wall), the Loves decorated with saints and angels to protect all who enter the home. In the master and guest bath one finds Japanese and coin tiles, fossils, and Chinese half-boulder sinks. In the Loves adobe residence, the list of obscure decor goes on — every cranny, cabinet, and doorway in-between tells a unique story. Outside of hand-building her own adobe home, Stevie Love is well known for her self-declared addiction to acrylic paint and its ability to create autonomous forms. She is widely recognized for her paint-sculpture hybrids, inspired by intense energy, nature, visual culture, and open experimentation. Love earned her Bachelor of Fine Art degree from California State University, San Bernardino and her Master of Fine Art degree from Claremont Graduate University. Her work has been featured in private and public spaces across the United States, Asia, and Europe and can be found in the permanent collections of the Lancaster Museum of Art and History, Lancaster, CA, and the Riverside Art Museum, Riverside, CA. Previous Next

< Return to Exhibitions Winter 2013 December 6, 2012 - March 2, 2013 Ann Marie Rousseau: Sight Lines January 1 - March 2, 2013 Nervous Structure: Cuppetelli/Mendoza Nike Schröderz: 34° N 118° W Gisela Colón: PODS January 26 - March 10, 2013 Megan Geckler: Rewritten by Machine on New Technology Chris Trueman: Slipstream Brian Wills January 24 - March 7, 2013 28th Annual Antelope Valley Union High School District Art Exhibition Megan Geckler Brian Wills Ann Marie Rousseau Gisela Colón Nike Schröder Chris Trueman Cuppetelli/Mendoza AVUHSD 2013 Learn More PODS Nervous Geckler 28thAVUHSD Nike Nervous Structure: Cuppetelli/Mendoza Nervous Structure is an interactive installation created by emerging artists Annica Cuppetelli (USA) and Cristobal Mendoza (Venezuela). The work is composed of hundreds of vertical elastic lines illuminated with interactive computer graphics that react to the presence and motion of viewers. The piece consists of three planes that intersect: the physical plane (the structure), the virtual plane (the projection) and the perceptual plane (the viewer and his/her interaction). The artists note that “it is in these various points of intersection that the piece works, and our interest lies in the perceptual problems that arise within these intersections.” A significant aspect of the installation is the moiré pattern, which is created when the projected lines move over the structure. A moiré pattern is the optical result of two overlapping grids that are not in perfect alignment. The term is used widely in physics and computer graphics; however the word is hundreds of years old and originates from a type of textile that has a “watery” look, which is produced by layering fabric. The fact that so much of modern technology terminology has its origins in historical techniques (particularly in textiles) is of great interest to the artists, as it connects their individual practices and it ties their work to history. Cuppetelli and Mendoza began their artistic collaboration in autumn 2010. They have exhibited in the Biennial of Video and Media Arts (Chile, 2012) and festivals such as Scopitone 2012 (France), ISEA 2012, FILE 2011 (Brazil), FAD 2011 (Brazil), video_dumbo 2011 (New York, NY) among others. Cuppetelli received her MFA from Cranbrook Academy of Art (Fibers, 2008) and Mendoza at the Rhode Island School of Design (Digital Media, 2007). Mendoza is an Assistant Professor in the Department of Art and Art History at Wayne State University in Detroit, MI, where they are based. Nike Schröder: 34˚N 118˚W 34˚N 118˚W is a site-specific installation made especially for the MOAH entrance lobby by Los Angeles-based artist Nike Schröder. The installation represents an abstraction of the moment when the sun pierces the desert horizon at dawn. Schröder captured the color scheme from this moment in time by integrating it into the textile art piece, which brings a reflection of the ephemeral horizon into the museum. As the artist painstakingly hand stitched thousands of colored threads onto the canvases, she allowed them to hang in the manner that paint drips from the canvas, forming a symphony of color that is sensitive to the movement of people as they walk through the entrance doors and to the subtle and shifting air currents in the museum. The two canvases are placed at a prescribed distance apart, creating a locus of conversation between each panel. The top threads slightly touch the lower canvas while leaving drips of cut-off thread on the floor as part of the discussion between materials and location. Nike Schröder earned her Art Therapy degree in Germany in 2008 and moved to Los Angeles in 2012. Working as a professional studio artist, Schröder has shifted her practice from figurative motives to exploring the world of abstraction through precise systems of color. Her color calculations are based on a specific place and/or time and generously provide the viewer with keen color gradations that she configures into sensitive linear and formal compositions. Coming from a painting background, the artist explores the exceptional materiality of fibers and textiles as they overlap and extend beyond the traditional frame of a painting into the environment. Additionally, by utilizing materials that respond to movement, her work invites public interaction while activating the museum space. Schröder exhibits internationally in galleries, at art fairs and in commercial spaces such as Urban Outfitters and Stefanel. MOAH is thrilled to showcase Nike Schröder’s site-specific piece 34˚N 118˚W, a work that celebrates the Antelope Valley through her distinctive artistic sensibility. Gisela Colón: PODS PODS—the new work of Los Angeles-based abstract artist Gisela Colón —features a painting-sculpture hybrid of blow-molded plastic forms that are meticulously saturated with automotive lacquers in iridescent, reflective, radiating pigments. Colón’s use of anthropomorphic, amorphous, organic and asymmetrical lines appear to cause the object to dissolve into the surrounding environment, thereby inviting the viewer to experience pure color and form in space. Colón was born in Canada to a German mother and raised in her father's native Puerto Rico. Having spent the last two decades living and working in Southern California, Colón’s latest body of work reflects the influences of her surroundings and embraces the quintessential SoCal artistic practice of perceptualism—also known as "light & space" and "finish fetish" that developed here in the 1960’s and 1970’s. Megan Geckler: Rewritten by Machine on New Technology “I cannot overemphasize the need for play, for in play you don’t extract yourself from your activity. In order to invent I felt it necessary to make art a practice of affirmative play or conceptual experimentation” – Richard Serra. Megan Geckler’s installations are fun – let’s just get that out in the open. Her work is an absolute pleasure to look at, and the impending sense of vertigo one may self-induce by circumnavigating her installations and craning one’s neck at precipitous angles is part of the visceral delight. And it is a pleasure that Geckler wants to induce. Her practice of building large scale, site-specific installations out of commonly produced, industrial, rather than art-specific, materials is, at its core, oriented toward the human figure. Geckler creates a kind of grand spectacle full of pulsating color to trigger the eye, while the scale of her work, the investigation of architecture, and the manner in which the pieces unfold dimensionally elicits an awareness of space as traversed by the figure. This hybrid endeavor that blurs the distinctions between disciplines draws on the history of geometric abstract painting, late twentieth century sculpture, and contemporary practices in installation. Geckler focuses on the phenomenological experience of the singular viewer, offering an encompassing environment that notes the vocabulary of minimalism and its use of industrial materials and literalness. Rewritten by Machine on New Technology is the first of Geckler’s installations to be re-imagined for a new architectural setting, re-engineered, and re-deployed. Fill It Up and Pour It Down the Inside, her 2006 installation at the Torrance Art Museum was the first iteration and featured a vortex-shaped twist between two rectangles. Machine is about twice the size, and it involves a rhombus and a new color scheme designed specifically for the Lancaster Museum of Art and History. Her new work invites consideration: What does it mean to have created a site-specific, temporally limited work that gets resurrected and transformed? What are the implications now that the work has passed into the realm of an idea, to be retrieved from Plato’s cave, as it were, and precipitated, realized as a new specificity? Geckler’s work, in its re-imagination, takes on a self-reflexive quality, but one that is light-hearted and whimsical, rather than ironic. It is a return to the idea, a playful reiteration, and an enchantment with time, place, and perception. Christopher Michno—Los Angeles, 2013 Megan Geckler earned her Bachelors degree from the Tyler School of Art in Philadelphia in 1998 and her Masters degree from the Claremont Graduate University in 2001. She has mounted solo shows at the Wexner Center for the Arts, Utah Museum of Contemporary Art, Pasadena Museum of California Art, Los Angeles World Airport, and the Creative Artists Agency among others, as well as in partnership with corporations such as Nike, Target and Urban Outfitters. For more images and information about Geckler, please visit her website - megangeckler.com Chris Trueman: Slipstream noun \slip-strēm\ aeronautics: a current or stream of fluid (as air or water) driven aft by a revolving propeller or jet engine. an assisting force regarded as drawing something along behind something else such as to ride in the slipstream of a fast-moving vehicle. How might a stationary painting behave like a slipstream? Southern California based painter, Chris Trueman answers this question deftly and deliberately by combining forces between hard edge lines and the organic fields of color that occupy his expansive, immersive canvases. While his command of the painted surface is apparent in the formal qualities of his work, he simultaneously questions and reconstructs the ideological precepts of Abstract Expressionism, OP Art, Hard-Edge and Minimalism, which takes his work beyond the formal and into rich—and often opposing—philosophical terrain. The assisting force of Trueman’s slipstream is generated by the intersection of these formal and philosophical experiments. Trueman’s slipstream gains additional strength and efficiency as he traverses a range of painterly applications including his generous use of color, tonality, form, texture, and the visible record of his exploration of materials, each providing a tangible contrast to one another. Trueman seduces the viewer by calculating the pressure between hard and soft edges; through directing color combinations that vibrate in the moiré to trick the eye; and by leading the conversation that occurs between the painted surface and the areas where he reveals the raw, untreated canvas. His attention to materiality—the softness of the raw canvas against the strictly defined edges and textural depth—exposes the truth of the material. Trueman’s painted slipstream is equally structural: his canvases are composed with architectonic forms that reference the tenets of geometric abstraction as defined by Picasso’s lineage of producing an illusionistic space that one feels compelled to step into. Formal elements and historical styles may be easily identified in this exhibition, however the process of analyzing the work is complicated by the very act of viewing and thus, experiencing the painting. The effect of various moiré and optical patterns shift constantly according to the distance and angle from which they are viewed, and often interfere with the ability to see and envision the entirety of the painting at once. At times the underlying forms are completely dependent upon the leading or foreground layers; much like a cycling team is reliant upon the leading cyclist who is creating a slipstream. Within Trueman’s new work exists yet another type of slipstream, one that is energized by a collision of philosophical references. Moving beyond the formal principles of design, Trueman’s slipstream builds considerable momentum as he shifts through several periods that define the history of modern art: the iconic, self-absorbed and experimental nature of Abstract Expressionism; the mathematical and perceptual trickery of OP Art; the rigorous precision of Hard-Edge painting; and the quiet, contemplative principles of Minimalism. Trueman states that for him, the most compelling collision occurs between the philosophical arrogance of abstract expressionistic gesture painting and the humble “blue collar” act of hard-edge painting. This ideological conflict precipitates a kind of vigorous tension that pulls the viewer into the painting as strongly as the formal properties of his works. While Trueman’s new body of work is richly painted and contains complex formal and ideological principles, it simply draws the viewer in and is pleasurable to engage. Trueman gives you the autonomy to move between the layers and create your own slipstream in real time as you move toward and away the painting. Chris Trueman graduated from the San Francisco Art Institute in 2003, earning dual BFA degrees in Painting and Digital Media. He relocated to southern California to attend Claremont Graduate University, earning a MFA with a concentration in Painting in 2010. Trueman currently teaches painting at Fullerton College and Santa Ana College and has previously taught at Chapman University. Trueman has exhibited his work nationally in San Francisco, Los Angeles, San Diego and internationally in Milan, Italy. 28th Annual Antelope Valley Uniton High School District Art Exhibition For 28 years the Lancaster Museum of Art & History, formerly the Lancaster Museum/Art Gallery, has been proud to present the artwork of the Valley’s burgeoning young artists. This year marks the first time the show will be located at the brand new MOAH facility. Featuring the work of over 100 students from across the Antelope Valley, this all-media show will fill three of MOAH’s galleries. Over $1,000 in awards, donated by the Lakes and Valleys Art Guild, Lancaster Photography Association, Lancaster Museum and Public Art Foundation, Beryl Amspoker Memorial, as well as awards from Lancaster’s Mayor R. Rex Parris, City Manager Mark Bozigian, Director of Parks, Recreation and Arts Ronda Perez and MOAH’s Interim Curator Andi Campognone will be presented to students encouraging their passion for art. Trueman View or Download the Winter2013 Exhibition Catalog by clicking on the cover image or here.

RENTAL FEES MOAH MOAH:CEDAR WESTERN HOTEL MUSEUM PRIME DESERT WOODLAND PRESERVE MOAH Rental Fees * Prices are subject to change Entire Museum (excluding office and storage) CAP. 399 Deposit Hourly Fee Cleaning Fee Staff Fee (2 Staff Members) $581 $316-581 w/ 4hr. min $300 $49 per hour *Available after normal business hours Lantern Room with Terrace CAP. Sitting 80, Terrace Cocktail 170 Deposit Hourly Fee Cleaning Fee Staff Fee (2 Staff Members) $560 $314 $94 $49 per hour *Depending on Exhibit Galleries Second Floor CAP. 70-100 Deposit Hourly Fee Cleaning Fee Staff Fee (2 Staff Members) $303 $94 $61 $49 per hour *Depending on Exhibit Main Gallery CAP. 125-250 Deposit Hourly Fee Cleaning Fee Staff Fee (2 Staff Members) $287 $298 $90 $47 per hour *Depending on Exhibit Classroom CAP. 50 Deposit Hourly Fee Cleaning Fee Staff Fee (2 Staff Members) $120 $48 $0 $47 per hour Required Fees Insurance Low - If less than 99 guests Insurance High - If more than 100 guests For every 100 guests, a Ranger is required If Alcohol is being served, Ranger is required $30/hour and need to provide own Liability insurance with ABC Certificate. $46 $66 $30 Optional Fees Wi-Fi Patio Heater (Propane provided, max. quantity 4) Outdoor Furniture (Table + 4 Chairs) Tablecloth (White or Black) Chair Cover (White) Uplight Art Removal Fee Lounge Furniture - Gray Accent Chair Lounge Furniture - Gray Couch Lounge Furniture - Large Accent Table Lounge Furniture - Small Accent Table Pipe and Drape (12' - Black) $30 $65 each $21 each or $97 for all 5 sets $15 each $15 each $9 each $119 each $113 each $113 each $21 each $10 each $15 each *Refunds for deposit and cancellations are issued via paper check and may take up to 6 to 8 weeks to receive MOAH:CEDAR Rental Fees *Prices are subject to change Main Hall CAP. Seated 120, Standing 180 Deposit Hourly Fee Cleaning Fee $100 $124 $124 Galleries CAP. 50 Deposit Hourly Fee Staff Fee (2 Staff Members) $50 $43 $49/hour Required Fees Insurance Low - If less than 99 guests Insurance High - If more than 100 guests For every 100 guests, a Ranger is required If Alcohol is being served, Ranger is required $28/hour and need to provide own Liability insurance with ABC Certificate. $46 $66 $28 Optional Fees Wi-Fi Patio Heater (propane provided, max. quantity 4) Tablecloth (White or Black) Uplight Lounge Furniture - Gray Accent Chair Lounge Furniture - Gray Couch Lounge Furniture - Large Accent Table Lounge Furniture - Small Accent Table Pipe and Drape (12' - Black) $30 $65 each $15 each $9 each $113 each $113 each $21 each $10 each $15 each Western Hotel Museum Rental Fees *Prices are subject to change Pavilion CAP. 100 Deposit Hourly Fee Cleaning Fee $100 $91 $50 *Refunds for deposit and cancellations are issued via paper check and may take up to 6 to 8 weeks to receive Required Fees Insurance Low - If less than 99 guests Insurance High - If more than 100 guests For every 100 guests, a Ranger is required If Alcohol is being served, Ranger is required $30/hour and need to provide own Liability insurance with ABC Certificate. $46 $66 $30 Optional Fees Wi-Fi Patio Heater (propane provided, max. quantity 4) Staff Fee (2 Staff Members) Tablecloth (White or Black) Lounge Furniture - Gray Accent Chair Lounge Furniture - Gray Couch Lounge Furniture - Large Accent Table Lounge Furniture - Small Accent Table Pipe and Drape (12' - Black) $30 $65 each $49/hour $15 each $113 each $113 each $21 each $10 each $15 each Prime Desert Woodland Preserve Pavilion Rental Fees * Prices are subject to change Pavilion CAP. 100 Deposit Hourly Fee Cleaning Fee $100 $48 $50 Required Fees Insurance Low - If less than 99 guests Insurance High - If more than 100 guests For every 100 guests, a Ranger is required If Alcohol is being served, Ranger is required $30/hour and need to provide own Liability insurance with ABC Certificate. $46 $66 $30 *Refunds for deposit and cancellations are issued via paper check and may take up to 6 to 8 weeks to receive Optional Fees Wi-Fi Staff Fee (2 Staff Members) Patio Heater (propane provided, max. quantity 4) Outdoor Furniture (Table + 4 Chairs) Tablecloth (White or Black) Uplight Lounge Furniture - Gray Accent Chair Lounge Furniture - Gray Couch Lounge Furniture - Large Accent Table Lounge Furniture - Small Accent Table Pipe and Drape (12' - Black) $30 $49/hour $65 each $21 each or $97 for all 5 sets $15 each $9 each $113 each $113 each $21 each $10 each $15 each View or Download the Facility Rental Application by clicking here . Apply Visit the link before to see frequently asked questions regarding rentals. Rental FAQ

Up 300-Miles to Wounded Knee: The Oomaka Tokatakiya, Future Generations Ride Ken Marchionno Ken Marchionno has been pursuing photography since the age of 15 and after working with video, installation, interactive design, digital works and performance, documentary photography is Marchionno's preferred medium and methodology. Marrying his artwork with his passionate social practice, he records the fragility and complexity of life in a quick-moving contemporary world, and through his photography gives voice to moments, people and places that might have otherwise been overlooked. Marchionno is also known for his large-scale panoramic landscapes comprising dozens of separate frames shot using a telephoto lens. 300 Miles to Wounded Knee: the Oomaka Tokatakiya Future Generations Ride is a community-engaged photography project that documents the three hundred-mile memorial horseback ride to the site of the Wounded Knee massacre. Often braving the piercing South Dakota Winter, the journey to Wounded Knee is meant to be an homage to the Lakota people who lost their lives one hundred and thirty years ago, but riders also regard it as a spiritual, cultural and intellectual experience. Machionno’s portrayal of the event strays from the typical exploitative depiction of stoic, poverty-stricken Native Americans and reservation life and offers an empowering representation of their journey. His documentation offers a contemporary lens that highlights the autonomy and self-empowerment of the Lakota people. Ken Marchionno is an artist, writer and curator living in the Los Angeles area and is currently a Professor in Photography and Imaging at ArtCenter College of Design in Pasadena, California. His work has been presented in Dr. Betty Ann Brown’s Art and Mass Media and Robert Hirsch’s Exploring Color Photography. He has been a stringer for the Associated Press and his photography has been featured in a number of magazines and newspapers including the contemporary art quarterly, X-TRA. His creative writing has been included in the literary journals Errant Bodies and Framework. His ongoing project, 300 Miles to Wounded Knee: the Oomaka Tokatakiya Future Generations Ride has been exhibited in The Smithsonian Institution; the U.S. Embassy in Prague; and Yuchun Museum, Suzhou, China. January 23 – May 9, 2021 Back to list

Sean YangTOUCH THE TRUESELF WITHINThrough sculptural ceramics and mixed- media works, artist Sean Yang’s practice exploits the tension between reproduction and handcrafted objects, using this dialogue to examine social control, collective unconsciousness, individual identity, and cultural transformation. < Back SEAN YANG 20X20X12 Pigeonhole_MIXEDMEDIA CAST RESIN_2023.jpg SEAN YANG 9X7X6 BLUE MOUNTAIN PORCELAIN STONEWARE OXIDES GLAZED 2019.jpg SEAN YANG 4X12X5 CocaCola Buddha mixedmedia cast resin 2016.JPG SEAN YANG 20X20X12 Pigeonhole_MIXEDMEDIA CAST RESIN_2023.jpg 1/7 Sean Yang TOUCH THE TRUESELF WITHIN Through sculptural ceramics and mixed- media works, artist Sean Yang’s practice exploits the tension between reproduction and handcrafted objects, using this dialogue to examine social control, collective unconsciousness, individual identity, and cultural transformation. His work is informed by a nomadic-like experience during his early 20s, in which he traveled across thirteen European countries until finally settling down in the United States, taking bits and pieces from these cultures and fusing them into his own personal identity. Focusing on the desire to quiet the mind and embrace the unity between human, nature, and environment, Yang’s installation TOUCH THE TRUESELF WITHIN considers his interpretation of the Four Noble Truths: suffering, self-righteousness, perception of human nature, and environmental sustainability. Yang’s work is a meditation on the process of self-discovery, focusing on how the experience is not the result of a straightforward course, but rather a collection of social and internal exchanges within oneself. Previous Next