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back to list MOUF Mouf is a prolific mural artist in the urban art scene in Austin, Texas. He’s mentored and supported many of the city’s younger artists, while traveling internationally to spray paint his art. In his early years, he was always interested in using spray paint to create something on any surface. He has always considered himself creative and a little bit of a trouble maker. The way he got started was like most that are a part of the art form. Every time he was in a city, he’d notice the contrast of grey and colorless buildings, to the vibrant burst of colors in the shape of letters or characters.

Ashna Pradhan < Back Green Is a Color as Well By Ashna Pradhan Everyday, you come at dawn You come bearing a watering can and perhaps clippers And everyday I pray, wishing they were for me Praying to be plucked as those around me, with jealousy through my stems Maybe one day it will be me, but for now, I shall continue to watch the creatures around me Pick the roses over me Perhaps my spiky leaves are not enough As you prefer thorns Perhaps my sharp aroma is not enough As the dogs prefer sweet Perhaps my fresh taste is not enough As the bees prefer nectar Perhaps my hue is not enough, As the world prefers vividness Perhaps there is no place for a mint plant in a garden full of roses The days will go on, the seasons will change Yet I am still the same old, green mint plant Hoping for a change in me A few thorns maybe? A simple flower bud? A hint of yellow hue? Praying for change seemed like an eon Even the old sycamore tree gained colors by fall Yet I am still the same old, green mint plant Eventually the day came You walked up to my soil, clippers in hand And you snipped off the two leaves closest to the burning sun, Which happened to shine a little brighter that day My leaves may have only been a garnish, Uneaten and unacknowledged, lying on the rim of a cocktail Yet that day, my existence was given a definition Perhaps being a shrub of green in a garden of roses wasn’t so bad after all Previous Next

back to list Victoria Cassinova Victoria Cassinova is a Los Angeles-based visual artist whose work ranges from murals and graphic art to illustration, drawing, and painting. Solo and group exhibitions of her work have been presented at galleries such as Thinkspace Projects-Los Angeles,Vertical Gallery-Chicago, Band of Vices-Los Angeles, Bernice Pauahi Bishop Museum-Honolulu and Spoke Art- San Francisco, among others. Cassinova’s work has also served as an integral contribution to many social justice collaborations, including Blackout for Human Right’s annual MLK NOW event, We Rise Exhibition, Sons & Bros., Truth Initiative and more. Branded works include Urban Outfitters, Condè Nast with Proactiv & Teen Vogue, Netflix, TIME Magazine, Disney, CNN and Adidas.

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Riley Briones < Back Yellow Rose By Riley Briones Name: Yellow Rose, Point of Origin: Middle East, Date: TBD Dear journal, I was thinking of my whole time alive. I was planted here for as long as I can remember when they moved in. I was chosen for my bright colors and the joy I bring from the outside. I used to be happy I was loved. I had a family who always took care of me even through the harsh winters and nasty weather. I loved watching them grow, as I grew to see how beautiful they have gotten; to see their faces light up when they look up at me. I used to be so tall compared to the light; I was something they looked up to and wanted to be. I would sometimes go away when it came to the season for me to leave. However, as soon as I came back I got to see the growth they had made, like they were following my lead. I loved the touch I got when others visited and the way they looked at me. The feeling that I was picked amongst all others and I still get picked to this day by the children I watched grow. I was made to be here. The family wanted me, but was it just for my beauty, was I only a material to them only to be seen from the outside? Do they not care what I actually feel? I watch as so many people come and go through the doorway. I’ve experienced the loss of people too; watching new people come along so happy to see the children I love inside. I have seen many things, the love these humans give to each other, their faces light up when they see them like how they used to look at me. But, one day these new people disappear and they never come back. I see the face of a once happy child grow into a depressed lonely girl. She never looks at me the same. I no longer feel the love and joy I used to give to these people. Is my reason for being here gone? Have I failed to keep this child happy? The once joy I brought to others and myself is gone. I feel empty. I can no longer serve for those I love. The girl has gone so far down into a hole I never get cared for anymore. I see the sunlight come over the house and the water hit my roots; but nothing will ever be good enough as the love she once gave me. I am gone. I am nothing. But, I still live day to day growing more and more sad as I see her grow to be the feeling that I feel. I am her. She is me. We are a part of one another. If only she could see. Previous Next

Up The New Vanguard II Various Artists Artists: Sandra Chevrier | Cages and the Allure of Freedom Seth Armstrong | Lil' Baja's Last Ride Craig 'Skibs' Barker | Suzy is a Surf Rocker Brooks Salzwedel | Rut in the Soil Featured Installations: Andrew Hem Dan Witz HOT TEA Isaac Cordal Jaune Laurence Vallieres Spenser Little The New Vanguard II, a dynamic group exhibition of works by international artists working in the New Contemporary art movement. The highly anticipated follow up to 2016's successful first iteration of The New Vanguard, on view in tandem with this year's POW WOW! Antelope Valley will feature special solo projects by artists Sandra Chevrier, Seth Armstrong, Craig 'Skibs' Barker, and Brooks Salzwedel. A sequel to what was in 2016 the most extensive presentation of work from the New Contemporary movement in a Southern Californian museum venue to date, The New Vanguard II, in keeping with the first, will present a diverse and expansive group of curated new works. The group show will include new pieces by ABCNT, Adam Caldwell, Alex Garant, Alex Hall, Alexandra Manukyan, Amy Sol, Andrew Schoultz, Benjamin Garcia, Brian Mashburn, Carl Cashman, CASE, Dan Witz, Drew Merritt, EINE, Ekundayo, Ermsy, Esao Andrews, Evoca1, Fernando Chamarelli, Fidia Falaschetti, Fintan Magee, Helen Bur, Hueman, Hula, Huntz Liu, Jaune, Joel Daniel Phillips, Jolene Lai, Juan Travieso, Kaili Smith, Kathy Ager, Kikyz1313, Laura Berger, Lauren YS, Lonac, Mark Dean Veca, Mars-1, Martin Whatson, Masakatsu Sashie, Meggs, Michael Reeder, Milu Correch, The Perez Bros, PichiAvo, RISK, Robert Xavier Burden, Robert Proch, Ronzo, Saner, Scott Listfield , Sergio Garcia, Seth Armstrong, Snik, Stephanie Buer, Super A, Super Future Kid, TikToy, Tran Nguyen, Van Arno, and Yosuke Ueno. Alongside the focused solo presentations by Chevrier, Armstrong, Barker, and Salzwedel, the exhibition will include site-specific installations by Andrew Hem, Dan Witz, HOTxTEA, Isaac Cordal, Jaune, Laurence Vallieres, and Spenser Little. A movement unified as much by its diversity as its similitude, 'New Contemporary' has come to denote an important heterogeneity of styles, media, contexts, and activations over the course of its establishment since the 90s. Unified in its fledgling beginnings by a founding countercultural impulse searching for its own nomenclature, the New Contemporary movement's shifting and inclusive designations have offered alternative narratives over the years to those popularized by the dominant art establishment and its conceptual predilections. Though stylistically disparate, the work belonging to this rapidly expansive movement reveals a desire to reference the popular, social, and subcultural domains of contemporary experience, grounding, rather than rarifying, imagery in the familiar. Looking to the urban landscape and the kaleidoscopic shift of individual identities within it, these artists use the figurative and narrative to anchor their work in the accessible and aesthetically relatable. A fundamentally democratic stance governs the ambitions of this new guard, ever in search of novel ways to expand rather than to contract. Sandra Chevrier - Cages and the Allure of Freedom Chevrier creates work that explores identity as a locus of competing imperatives and complex contradictions. Drawing parallels between the assumed invulnerability of the superhero and the impossible demands placed upon the contemporary individual, Chevrier creates literal and metaphoric masks by combining comic book imagery assembled from found and imagined sources. Her dystopian spin on the iconic figure of the superhero looks to reveal the flaws in the staged extroversion of a superficial veneer. In Cages and the Allure of Freedom, her first significant solo museum presentation, Chevrier showcases large-scale sculptural works for the first time including three massive portrait based reliefs alongside three life-sized, hand-painted busts complementing some of her largest two-dimensional acrylic on canvas works. Sandra Chevrier is a Montréal-based Canadian artist. Her work has been shown in Canada as well as in the United States, United Kingdom, Europe and Asia and in collections in Europe, the United States, Netherlands, Japan, New Zealand, Australia, and Russia. Seth Armstrong - Lil' Baja's Last Ride Seth Armstrong creates paintings that arrest a sense of time. Some offer expansive views and others a contracted intimacy, moving freely in and out of public and private spaces to create intersecting narratives. Known for paintings that self-consciously capture the act of looking - whether as a voyeur in trespass or a participant in the landscape - Armstrong apprehends the simultaneity of the city as a place of endless, contingent narratives, jarring interruptions and suspenseful pauses. In Lil' Baja's Last Ride, the artist presents a sequential vignette of over ten new paintings in which his own car becomes an unlikely protagonist. His immersive approach to his subject matter often produces anecdotal adjuncts. Following several pilgrimages into the landscape between his home in LA and Lancaster for the exhibition, a route, incidentally, which also happens to have personal childhood significance for the artist, Armstrong's beloved beater and proverbial instrument of research, 'Lil' Baja,' caught fire and was partially incinerated in the museum's parking lot. The overarching narrative structure of the works feels ambiguously suspended somewhere between fiction, social realism, and personal history. In an ending befitting Armstrong's own penchant for cinematic turns, poetic hooks, and absurd knacks, Lil' Baja's Last Ride is an unexpected swan song in memoriam to an old friend's final expedition. Armstrong is a Los Angeles-based painter who holds a Bachelor of Fine Arts degree from California College of Arts in San Francisco. His paintings have been exhibited throughout the United States and Europe. He is represented by Thinkspace Projects in Los Angeles, Vertical Gallery in London and Bold Hype Gallery in New York. His work has been featured in international art fairs such as SCOPE and the LA Art Show. Craig "Skibs: Barker - Suzy is a Surf Rocker Barker has been immersed in both the punk rock and surf culture of southern California since the early 1980s. His imagery, being informed by the print media and graphics of the subcultural terrain shaping the time period, reflects this upbringing. Influenced and surrounded by punk flyers, album covers, and surfing magazines, Barker began testing his artistic skills by initially making flyers and t-shirts for his punk bands and his friends. Barker’s work explores the junctions between past and present, memory and imagination, fantasy and reality, while creating a dialog between image and viewer. Barker’s most recent paintings infuse his long-standing love for painting and rendering the human female figure with his punk-fueled graphic design aesthetic. Mixing different approaches, techniques and mediums, he creates a sense of memory, personal history, and appreciation for the female form. Combining elements of pop culture and literary censorship, he creates layered scenes of voyeuristic playfulness. His artworks feel surreal and partial, yielding results of decontextualization. The way Barker frames his figurative subjects, his compositions feel like spontaneously taken polaroids. Born and raised in Huntington Beach, Barker has been exhibiting installations and his paintings in places such as Long Beach Museum of Art, Thinkspace Projects Los Angeles and was featured at MOAH in 2014. His work has been included in Newbrow and Juxtapoz magazines. Brooks Salzwedel - Rut in the Soil Obscuring the boundaries between actual and imagined landscapes, Salzwedel constructs light, delicate and translucent vistas that fluctuate between solid and ethereal states. These assembled works explore the juxtaposition of natural and simulated scenes, bringing together scant terrains and fabricated sierras with hazy atmospheres and primordial vegetation. Eroding woods and frosty, glacial peaks veil repressed settings, evoking a landscape untethered from this reality existing on the periphery of dreams. Salzwedel continues this series of ghostly, celestial worlds that are suspended indefinitely, the scenes often feel almost real but are undoubtedly conjured from vivid imagination. Salzwedel induces a sense of solitude through ephemeral, surreal fantasies of supernatural scenery using a combination of materials to create his mixed-media works. His drawings are comprised of graphite, mylar and resin, tape, colored pencil and ink. Salzwedel earned his Bachelor of Fine Arts degree with honors and distinction at Pasadena Art Center College of Design in 2004. He has been featured in more than 50 blogs and publications and he has participated in numerous group and solo exhibitions. His work has been displayed at renowned museums worldwide, including the Hammer Museum, MOCA, Honolulu Museum of Art and the San Diego Museum of Contemporary Art. Salzwedel was born in Long Beach and works in Los Angeles, California. The New Vanguard II A movement unified as much by its diversity as its similitude, 'New Contemporary' has come to denote an important heterogeneity of styles, media, contexts, and activations over the course of its establishment since the 90s. Unified in its fledgling beginnings by a founding countercultural impulse searching for its own nomenclature, the New Contemporary movement's shifting and inclusive designations have offered alternative narratives over the years to those popularized by the dominant art establishment and its conceptual predilections. Though stylistically disparate, the work belonging to this rapidly expansive movement reveals a desire to reference the popular, social, and subcultural domains of contemporary experience, grounding, rather than rarifying, imagery in the familiar. Looking to the urban landscape and the kaleidoscopic shift of individual identities within it, these artists use the figurative and narrative to anchor their work in the accessible and aesthetically relatable. A fundamentally democratic stance governs the ambitions of this new guard, ever in search of novel ways to expand rather than to contract. A sequel to what was in 2016 the most extensive presentation of work from the New Contemporary movement in a Southern Californian museum venue to date, The New Vanguard II, in keeping with the first, presents a diverse and expansive group of curated new works. This group show includes new pieces by ABCNT, Adam Caldwell, Alex Garant, Alex Hall, Alexandra Manukyan, Amy Sol, Andrew Schoultz, Benjamin Garcia, Brian Mashburn, Carl Cashman, CASE, Dan Witz, Drew Merritt, EINE, Ekundayo, Ermsy, Esao Andrews, Evoca1, Fernando Chamarelli, Fidia Falaschetti, Fintan Magee, Helen Bur, Hueman, Hula, Huntz Liu, Jaune, Joel Daniel Phillips, Jolene Lai, Juan Travieso, Kaili Smith, Kathy Ager, Kikyz1313, Laura Berger, Lauren YS, Lonac, Mark Dean Veca, Mars-1, Martin Whatson, Masakatsu Sashie, Meggs, Michael Reeder, Milu Correch, The Perez Bros, PichiAvo, RISK, Robert Xavier Burden, Robert Proch, Ronzo, Saner, Scott Listfield , Sergio Garcia, Seth Armstrong, Skewville, Snik, Stephanie Buer, Super A, Super Future Kid, TikToy, Tran Nguyen, Van Arno and Yosuke Ueno. October 21 - December 30, 2018 Back to list

1. SpaceShipOne is an experimental air-launched, rocket-powered aircraft manufactured by Scaled Composites that has a hybrid rocket motor allowing it to be capable of sub-orbital spaceflight 2. Map of Palmdale 3. The Boeing B-52 Stratofortress is an American long-range, subsonic, jet-powered strategic bomber. The B-52 was designed and built by Boeing, which has continued to provide support and upgrades. It has been operated by the United States Air Force since the 1950s •SpaceShipOne •Aerial Map of Palmdale (West to East) •B-52 Stratofortress 1/1 1. SpaceShipOne Photographic Print 2020.999.05 MOAH Digital Collection Gift of Edwards Air Force Base (AFFTC-HO) Scan the QR Code for more information 2. Aerial Map of Palmdale (West to East) Photographic Print 2019.19.04 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Scan the QR Code for more information” 3. B-52 Stratofortress, c. 1960 Photographic Print 2012.999.56.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 1. SpaceShipOne is an experimental air-launched, rocket-powered aircraft manufactured by Scaled Composites that has a hybrid rocket motor allowing it to be capable of sub-orbital spaceflight 2. Map of Palmdale 3. The Boeing B-52 Stratofortress is an American long-range, subsonic, jet-powered strategic bomber. The B-52 was designed and built by Boeing, which has continued to provide support and upgrades. It has been operated by the United States Air Force since the 1950s

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 Ann Diener The Invented Land As a fourth-generation descendant of a Southern California farming family, Ann Diener has a deep connection to the land and is fascinated with its continual state of change. Several years ago, while visiting her late grandparents’ farm, she was struck by how abruptly and significantly this land had changed. No longer was she able to recognize her old haunts or familiar landmarks; the crops and trees were gone, the roads were reconfigured, and fertile farmland was covered in a shroud of industrial farming operations. The fields she explored as a child have since been transformed into a tessellation of suburban development, a sprawl of quotidian Southern California tract homes, strip malls and gas stations. Those fields that remain are farmed by large conglomerates-often owned by private equity firms in faraway places. Seeds are scientifically engineered, and food is grown on massive stretches of land or in enormous greenhouse structures. Technology remains as intrinsic to California’s agricultural future as artificial intelligence and the innovations of Silicon Valley. The ecosystems this technology generates is at the core of her work, resulting in intricate architecture and stunning complex visual landscapes. The paramount issue of California agriculture is water. California built the greatest agricultural machine in history, employing technology to grow food in massive amounts to feed the world’s growing population largely by controlling where water flows. However, this approach has dealt overarching environmental consequences, primarily water shortages caused by overuse, flooding, soil erosion, and subsidence. The adaptation of industrial agriculture to a changing climate represents a metaphor for climate change on a larger level. A changing climate requires judicious use of water, rehabilitating depleted soil, rotating crops, planting cover crops, and growing in places that were previously unsuitable for farming. With her drawings, she attempts to demonstrate this complex, evolving landscape, telling the story of these topics of inequality, water, and the vicissitudes of climate change through the complexities of modern-day agriculture. UPCOMING COMMUNITY ENGAGEMENT: The Invented Land Walkthrough with Ann Diener at MOAH Saturday, July 13 at 2 PM | Located at the Lancaster Museum of Art and History Join us for an exclusive walkthrough of Ann Diener: The Invented Land , on Saturday, July 13, 2024, at 2 PM! Discover her stunning art that reflects the evolving landscapes of Southern California. Don't miss this chance to explore the intricate connections between agriculture, technology, and climate change. Sign up now on Eventbrite ! Tickets are not mandatory but suggested 📅🔗 PST ART: Art & Science Collide , Getty Pacific Standard Time 2024 Preview event Saturday, August 3 at 2 PM | Located at the Lancaster Museum of Art and History Featuring an Ar tist Talk and Book Signing with Ann Diener and Debra Scacco Previous Next

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SOUTH BOUND NORTH BOUND SR 138 (SR 14) at Avenue M Interchange Community Engagement Project Southbound | Northbound , led by artist Dani Dodge , is a community engagement project that will inform the public art program for the slated Avenue M Interchange updates. The goal of the project is to understand current values and perceptions by Antelope Valley residents; assess the their views of the local ecology and technological innovation in the region; and build a lexicon that will guide the project with the future in mind. Residents can participate by submitting their photography, poetry and/or completing a short thought survey using the links above. Avenue M serves as the boundary between Lancaster and Palmdale, mostly known for its access to the California Poppy Reserve and the aerospace industry that has become synonymous with the region itself. In recent years, the route has symbolized an ideological boundary separating the two cities known to residents as “the cactus curtain.” New leadership, however, has encouraged the dissipation of such boundaries between the two cities, making way for a new frontier filled with opportunities for civic engagement between Lancaster and Palmdale, unifying the region as a whole. This openness has led to the development of Southbound | Northbound — a community engagement project inspired by the southbound and northbound lanes leading to and from the respective cities. The Cities of Lancaster and Palmdale have partnered together to commission the creation of two public art sculptures located on the Avenue M interchange of the southbound and northbound freeway on and off-ramps. With the help of the community, the goal of the project is to create sculptures that reflect residents’ view of the Antelope Valley, its two Cities, and the relationship between the two through a series of surveys and activation projects. This community engagement art project is born out of the City of Lancaster’s Art in Public Places initiative, a city program dedicated to commissioning, preserving and expanding public art in the community. Through the creation of original public art placed throughout the region, the City of Lancaster seeks to foster meaningful dialogue, augment cultural awareness, and improve the quality of life of Antelope Valley residents. *Are you an artist interested in submitting a public art proposal? Click here for more information on how to submit a request for qualifications (RFQ ). About Dani Dodge Dani Dodge is an artist who focuses on interactive art installations and public engagement nationally and internationally, including projects in Ireland and Greece. Her work that engaged the public at 2015’s LA Pride was named one of the outstanding public art projects of the year by Americans for the Arts. Many of her works have been focused on and in the Antelope Valley. In 2017, she led imaginative public art events in Lancaster and Palmdale to engage the community in a dialogue about the personal and public spaces in which we live. These included a project at the L.A. County Library in Lancaster where participants told Dani their life stories in 3 minutes and she created a title for them that was placed into a card catalogue, and later made into a book. Another public art event was held at the Joe Davies Heritage Airpark in Palmdale. There participants wrote where they most wanted to travel to on paper, folded that paper into airplanes and flew through a painted horizon. The same year, her solo exhibition at MOAH:CEDAR invited people to write their childhood memories on wood blocks and hide them in a shoebox under a bed elevated from the ceiling. In 2019, she completed a yearlong residency in Lancaster’s Prime Desert Woodland Preserve that included monthly art activations. The art activations engaged the community in art projects such as illustrated haiku, cyanotype, and watercolor painting focused on the desert plants, animals and geologic features. Through her art, Dani works to create engagements that expand people’s understanding of themselves and their environment. Dani Dodge

< Return to Exhibitions Grand Opening 2012 Smooth Operations: Substance and Surface in Southern California Art The Painted Desert Ron_Davis Thatcher May 5, - August 18, 2012 Learn More May 5, - September 16, 2012 Indians, Gold Miners and Gunslingers Smooth Operations: Substance and Surface in Southern California Art Lancaster's Museum of Art and History opens its new dedicated space with "Smooth Operations: Substance and Surface in Southern California Art," an exhibition looking at the use of new and untraditional materials in the fabrication of art objects. "Smooth Operations" will concentrate on the postwar years in and around Los Angeles, when experimentation with such unorthodox, even radical materials and qualities led to the emergence of movements such as finish/fetish and light-and-space. Among the artist whose work will comprise "Smooth Operations" are Peter Alexander, Larry Bell, DeWain Valentine, Ronald Davis, Craig Kauffman, Judy Chicago, Mary Corse, Roland Reiss, John McCracken, Helen Pashgian, Tony DeLap, VASA, Norman Zammitt, Fred Eversley, Jerome Mahoney, Doug Edge and Terry O'Shea. The work of several younger artists who investigate the qualities of synthetic materials, including Eric Johnson, Lisa Bartleson, Andy Moses, Alex Couwenberg, Ann Marie Rousseau, Ruth Pastine, Phlip K. Smith, Gisela Colon and Eric Zamitt, will augment the main part of the exhibition. In effect, "Smooth Operations" will be the first post-Pacific Standard Time exhibition in southern California, opening only days after the official end of the Getty's vast historic initiative but continuing in the spirit o fthat initiative. Like PST, "Smooth Operations" examines aspects of modernism in southern California and their implications for contmeporary artistic practice and scholarship. The Painted Desert The Painted Desert represents diverse perspectives, interpretations and techniques addressing the dessert as subject. This show celebrates its artistic traditions both through process and concept. Paintings by artists Dennis Calaba, Cole Case, Todd Cooper, Jorg Dubin, Robert Dunahay, Smantha Fields, Richard Gallego, Kris Holladay, Christine Kline, Glen Knowles, Ellie Korn, Gregory Martin, Al Miller, Donnie Molls, Debbie Nelson, Ann Sly, Gerald Strangio, Sal Vasquez, Donna Weil and Andre Yi will grace the second floor of MOAH. Indians, Gold Miners and Gunslingers "In small things forgotten..." writes American archaeologist James Deetz, we remember our past. It is in the seemingly insignificant remnants of daily life that we can reconstruct teh history of a people. We can learn their values, derive their prosperity and visit the essence of their existence. In the beginning, Lancaster was a rough and tumble stagecoach and whistle stop thorugh the upper Mojave Desert for weary travelers on their way south toward the Los Angeles Basin or norht toward the San Joaquin Valley. Driving through the City of Lancaster today, it is difficult to imagine a time when Indians populated the landscape, gold mining was a profession and gun slinging was a means of survival. However, prior to 1930, a way of life in Lancaster, CA could be described as just this. Outpost, stagecoach stop, railroad stop, frontier—these are all words that described the area that would be Lancaster prior to 1930. Lancaster was part of the Old West. Come enjoy a brief look back at the people and industry of our predecessors, the things they left behind and the legacy they leave us. As you contemplate the history of Lancaster in the Old West the goal is that you will come away with an appreciation for what life wa like in the past and what it is today. The artifacts and photos of a time gone by seem to say, "Don't read what we have written, see what we have done". (James Deetz) Smooth Desert Gold View or Download the Grand Opening Exhibition Catalog by clicking on the cover image or here.