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back to list Ben Brough Ben Brough is an artist whose work is loosely autobiographical, working from memory, presenting inspirations, and questioning of growth, excess, and decay. He paints because it is his favorite and most confident form of communication. Brough lives by the DIY code and uses materials and mediums of all kind—magazine clippings, materials attached to a surface, painted surfaces scraped away, stenciled, layered, repainted, torn down, and built back up again. He likes to explore the world that borders between abstract expressionism and the figurative, because telling a story through familiar imagery and playing with colors, space, and patterns are both just as important to him. Through this process, he connects to the surrounding world, open up memories, and communicates ideas. Brough likes leaving it up to the viewer to find their own energy inside his paintings and use it for what they need, even if it’s different from his intended message. He likes to think of a painting not just as a window into one human’s take on the world... but also a powerful tool to uplift one another.

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

MOC (My Own City) < Back Previous Susan Feldman MOC (My Own City) Susan Feldman’s artistic practice centers around architecture and the idea of home, primarily working with found wood and other mixed media. Her art practice is often inspired by her meditation practices and contextualizes this process through the physical act of “rising up.” Her works include wall art, sculpture, and installation, where she utilizes different textures, colors, materials, and layering. Through her meditative process, Feldman creates architectural reverie that defies conventional utilitarian structures. Completed in 2019, MOC (My Own City) is a site-specific, mixed-media installation of 50 miniature structures showcasing Feldman’s whimsical architectural fantasy. Her utopia includes buildings and structures like a coffee house, a meditation center, a funhouse, and an art museum, among others. All the businesses and properties within MOC are all establishments that she envisions for her idealistic city. Like much of her earlier work, her city is comprised of items from her personal belongings, melding ideas of both the past and the present creating a unique embodiment of belonging, freedom of expression, and inclusion. Next

< Back This is a Title 03 This is placeholder text. To change this content, double-click on the element and click Change Content. This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Previous Next

Rental FAQ How do I reserve a date for my event? You may reserve a date for your event upon completing the required application agreement. The application agreement may be sent to you via email or you may pick one up anytime during regular business hours. After completing the application a deposit is required to reserve the date. Reservations are first come first serve. Must be booked at least 45 days in advance. Is my security deposit refundable? Yes, your security deposit is refundable IF you leave the facility as found or IF you cancel your event 45 DAYS prior to the event. Is my security deposit included in my rental price? NO, your security deposit is separate from your rental price and is refundable IF the requirements are fulfilled. How much time do I have to set-up for my rental? Your set-up time is from the time your rental begins and ends. Example rental 5pm-12am your set-up time will begin at 5pm. Can I have food and drinks at my event? To preserve the integrity of the exhibit spaces and ensure a clean and secure environment, food and beverages are not permitted in the galleries. However, guests are welcome to enjoy food and drinks on the third-floor rooftop, where such accommodations are available. Am I allowed to have a BBQ or Grill at my party? We have a NO open flame policy. Including but not limited to bbq’s, grill’s, candles, etc…Hot Plates are permitted. Can I put up an awning shade or umbrellas? No Can I have alcohol at my event? Yes, Alcohol may be served only if customer provides an outside Liability Insurance Certificate of at least up to 1 million dollars. The event must have a person serving alcohol with their ABC(Alcohol and Beverage Control) license. A Ranger will be required at an additional cost. I am a business do I need to provide my own separate insurance? Yes How far in advance can I make a reservation? You may make a reservation up to one year in advance. How many tables do you have? 10 - (5ft) round tables, 11 - (6ft) rectangular tables and 10 - (8ft) rectangular tables How many chairs do you have? We have 120 black fabric chairs with silver lining for Lantern Room rentals. 100 folding white resin chairs for Cedar Hall, ECIC, and the WHM Patio. Do you provide wi-fi? Yes, Wi-fi is available for an additional $28.00 Can we use MOAH logo on our invitations? NO, you may use the address. Will MOAH staff be available to help set-up? NO, after agreeing on a tables/chairs set up for your event MOAH staff will already have the setup upon arrival to MOAH. Prohibited items: Open flames, fireworks, confetti, glitter, water balloons, and fog machines.

2022 < View Public Art Projects Nuri Amanatullah Crosswalk Mural 2022 Temporary Art Project Watch the video of the painting of Nuri Amanatullah's crosswalk mural!

Brooke Jurgenson < Back ROSE By Brooke Jurgenson Seed. Secured beneath the soil, Spreading of thy roots. Stuck in a choking coil, With nowhere to offshoot. Sprout. Suddenly struck by the light, Suffering from the air’s embrace, She climbs till night, Yearning for the roots’ embrace. Shoot. Surrounded by the foreboding trees, Sensing the futility of life, Suppressing her urge to freeze Amidst the winter strife. Thorn. Trapped in this withered existence, There is no other choice but to fight. There is no other choice but resistance, For she must survive the brutal winter night. Rose. Rising above the pain of the past, Releasing the rouge of the future, Rejoicing in life at last, She is forever flourishing. Previous Next

2022 < View Public Art Projects Skytower Park Murals by Community Engagement Artist, Vojislav Radovanovic 2022 Permanent Art Project The Skytower Park Community Mural Painting project was a multiday creative event held in the Spring of 2022. Community members of all ages were invited to join community engagement artist Vojislav Radovanovic in the two-phase process of planning and painting of over 300 ft. of murals at Skytower Park, 43434 Vineyard Drive, Lancaster, CA 93535. The Lancaster Museum of Art and History is dedicated to strengthening awareness, enhancing accessibility, and igniting the appreciation of art, history, and culture in the Antelope Valley through creative community engagement and vibrant public art projects that celebrate the richness of the region. Learn More >

< Back Spiritual Elevation Moore Family Trust Gallery Marthe Aponte Marthe Aponte's work explores the relationship between time and perception, inviting viewers into a world of reflection and stillness. Her delicate mixed media renderings of flowers and trees transcend paper and thread, becoming intricate meditations on beauty, existence, and finitude. Drawing inspiration from Charles Baudelaire's poem Elevation , Marthe Aponte's series Spiritual Elevation uses lace and stitching to symbolize the open-ended nature of life, without resolution yet full of meaning. Flowers adorn her compositions, serving as quiet proof of a life lived and a reminder of humanity’s ongoing presence in the world. Each of the eight works in the series reflects the human journey: narrow stems of lace reach upward, striving for understanding with no certainty of finding it. The flowers that emerge represent both fragility and resilience; petals may fall, but the essence of life continues to expand, a testament to growth and endurance. Previous Next

back to list Isaac Cordal With the simple act of miniaturization and thoughtful placement, Isaac Cordal magically expands the imagination of pedestrians finding his sculptures on the street. Cement Eclipses is a critical definition of our behavior as a social mass. The artwork intends to catch the attention on our devalued relation with nature through a critical look at the collateral effects of our evolution.

Highlights from MOAH's permanent collection < Back Human Natures Highlights from MOAH's permanent collection May 14 - August 21, 2022 Emily Maddigan "Untitled", 2020, Mixed Media, Taxidermy Slinkachu,"Deserted", 2006, Archival Ink on Photo Rag Paper Alvaro Naddeo, "Shoulder of Orion", 2021, Warercolor on Paper Emily Maddigan "Untitled", 2020, Mixed Media, Taxidermy 1/11 Previous Next Human Natures is the culmination of a decade’s worth of acquiring artworks for MOAH's permanent collection for public benefit. The artists of Human Natures represent the diversity of the Antelope Valley and a range of identities and perspectives. The various works throughout Human Natures reflect the dichotomy between humanity and the natural world. The human desire to differentiate oneself from nature is juxtaposed with the necessary and inevitable need to remain connected to the natural world. Viewers will find a multitude of media including painting, photography, assemblage, and sculptural works. In addition to the overall collecting effort, the exhibition features installations from our annual juried show, a program dedicated to acquiring artworks from local artists. As an institution, providing space and representation for the Antelope Valley is driven by the public's desire to see themselves reflected in art, serving as a metaphorical looking glass into the community and, ultimately, the viewer. The artists featured in Human Natures are Jessicka Addams, Abel Alejandre, Alex Anderson, Judie Bamber, Sean Banister, Donna Bates, Kelly Berg, Lili Bernard, April Bey, Justin Bower, Lavialle Campbell, Rebecca Campbell, Kate Carvellas, Victoria Cassinova, Rob Clayton, Christian Clayton, Gisela Colón, Darryl Curran, Ann Diener, Julius Eastman, Ayin Es, Amir H. Fallah, Matthew Finley, Alex Garant, Leonard Greco, Mark Steven Greenfield, Iva Gueorguieva, Carla Jay Harris, Suda House, Lanise Howard, Louis Jacinto, Anthony James, Michael Jones, Sant Khalsa, Christine Kline, David Koeth, Scott Listfield, Stevie Love, Emily Maddigan, Randi Matushevitz, Dru McKenzie, Zära Monet Feeney, Alvaro Naddeo, Naida Osline, Paul Paiement, Alejandro Perez, Vicente Perez, Sarah Perry, Sheila Pinkel, Melanie Pullen, Osceola Refetoff, Melissa Reischman, Gustavo Rimada, Lezley Saar, Leigh Saldago, Slinkachu, Ali Smith, Alyson Souza, Katherine Stocking-Lopez, Coleen Sterritt, Roni Stretch, Jane Szabo, Linda Vallejo, Robert Von Sternberg, Melanie Walker, Nancy Webber, Cathy Weiss, and Manuel Zamudio

NEW AQUISITIONS Collections Norman Zammitt Untitled Carlos Almaraz Whatever Happened to the Inca? Julius Shulman Raymond Loewy House, Palm Springs - 1947 Kim Abeles Smog Plate Sarah Perry Voltmeter Online Collection Database