Activist Graphics from the Los Angeles County Museum of Art Up What Would You Say? Various Artists Activist Graphics from the Los Angeles County Museum of Art Featuring: Emory Douglas • Sheila Levrant de Bretteville • Shepard Fairey & more Since the mid-20th century, California has been a beacon of both inventive design and political activism. Exploring the intersection of these two realms, this exhibition uses case studies from LACMA’s collection to demonstrate how designers and artists championed civil rights, opposed wars and injustice, and pressed for change. Skilled communicators by profession, they distilled complex issues into eye-catching images, often appropriating commercial art techniques—from newspaper broadsheets to screen prints to digital downloads—to distribute powerful imagery despite limited resources. Others led workshops and formed printing collectives, providing movements with new methods for disseminating their messages. Their works express both outrage and optimism, going beyond protest to envision alternative ways of living. Key figures and organizations including Emory Douglas of the Black Panther Party, Sheila Levrant de Bretteville of the Woman’s Building, Self Help Graphics & Art, and street artist Shepard Fairey achieved widespread acclaim and notoriety, galvanizing political movements and empowering marginalized communities. This exhibition was organized by the Los Angeles County Museum of Art in collaboration with the Lancaster Museum of Art and History; Riverside Art Museum; California State University, Northridge, Art Galleries; an Vincent Price Art Museum at East Los Angeles Collage. Local Access is a series of American art exhibitions created through a multi-year, multi-institutional partnership formed by LACMA as part of the Art Bridges Initiative. January 22 - April 16, 2022 Back to list

back to list MamaWisdom Born on the island of Oahu, Hawaii, Nikila is a self-taught multidisciplinary artist, designer, and performer inspired by an earth-based wisdom of Roots and Culture. Mother and community organizer, her work as an advocate for youth, indigenous, and environmental rights has played an influential role within shaping her foundation as a "Cultural Community Artist". Born into Pacific Islander, First Nations, and European lineages, to the raw street smarts of the Bay Area’s inner cities, it has been the cultural richness, as well as the systemic issues of her background, that have led Nikila to explore the arts as a foundation for educational reform and decolonization. In turn, she has helped develop youth arts curriculum and programs for a number of organizations. As a painter and muralist, her art weaves underlying stories, traditions, and elements of the sacred indigenous with modern influences of the urban underground, and is guided by a maternal connection to the natural wisdom of the Earth; Thus birthing the art alias "MamaWisdom".

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

Joanna Vazquez < Back A Plant’s Life By Joanna Vazquez I don’t understand how others look at this world and know what they have to do in life. It is like they have a purpose; do we all have a purpose? Where do we even come from? Where do we at any point come from? Can anyone explain why I need to go into this world and carry on with a daily existence I won't ever concede to? Where do I, by any chance, come from? More often than not, I feel like there is no reason for living. We spend our lives stuck in this soil, we never move, yet others are so persuaded this is an excellent way of life. I realize I ought to be more joyful to be a piece of something; however, I am not because I don't have the foggiest idea. I'm on this soil, no place to go watching the days pass endlessly, but then I don't have a choice; however, it is my life, right? We will die anyway; there are stories about how humans remove us whenever they feel Like it; eventually, we will die off when the winter comes. It isn't like I would be missed or anything. When the leaves fall, we fall. I guess the upside to things is no one ever comes out as often. I used to hear stories about people running around them, and we dance; everyone dances with the wind. They talk about how exciting it is to be a plant. Coming into this world, I've seen nothing but had things don't even get me started when the dogs use the bathroom on us! It is so disgusting. What's considerably more sickening is me, why I'm so frizzy all over. Why is the top of me so big while the bottom of me is so thin? I feel so disgusting sometimes, and I hate it. I need to be content with life and myself; however, it is difficult to feel lonely. I don't relate to any other plant. I have tried, but now I don't even bother. Some days I feel fantastic, happy, thrilled and then other days I feel really sad. I don't understand; the world is grey, and to the other plants, the world is gloomy. I wish I had the chance to see the world in that way. But I frequently ask myself, why me? Am I just not good enough? It would be nice to stand up tall and appreciate the sun and how amazing the sky looks, and how being a part of this world is a beautiful experience. I try and try, but I am just a plant; I have no means to reproduce as I’m supposed to; I don’t have a gender. Why I’m I the only one like this? I know my purpose should be to provide oxygen for other living things, but there is no point in doing so because what do I get in return? Dog poop. At some point, when I die, I will become another plant that does the same thing over and over again. As the days have gone on, I've tried to be more positive. And as the days continued, I've found this to be more pointless, but I am trying. Trying to be positive makes me feel better. It makes me feel like maybe I have a purpose, and there is hope. I haven't felt hope in a long time. Lately, days have seemed better; I've tried to make friends, and I mean, I am trying. Having a friend makes me feel happy for once. And as the days will continue, I will try and find my—purpose in this life. Previous Next

< Back Mammalian Main Gallery Tanya Aguiñiga Tanya Aguiñiga transforms traditional craft materials such as natural fibers, cotton, wool, and textiles into intricate sculptures and installations that explore gender, identity, and nationality. Drawing inspiration from Mesoamerican and pre-Columbian Latin American craft traditions, she weaves intricate structures and incorporates terracotta elements to create deeply layered works. As a binational citizen of Mexico and the United States, Aguiñiga infuses her practice with personal experience, shedding light on the often-unseen stories of transnational communities and the cultural histories that shape them. Mammalian comprehensively looks at Tanya Aguiñiga’s work from 2013 to 2024, highlighting her evolving use of traditional craft materials and her shift toward larger, more intricate compositions. Pieces such as Somos mujeres (We are women) , 2024, and Untitled ,2013, exemplify her mastery of cotton, wool, and textiles while addressing themes of gender and identity. Additionally, works such as Ejercicios en entendimiento (Exercises in Understanding) ,2020, reflect Aguiñiga’s experiences as a binational citizen while addressing contemporary political and human rights issues at the United States-Mexico border. In this piece, she incorporates cotton dyed with pulverized border fencing, transforming the physical remnants of division into a powerful commentary on identity, migration, and the impact of national boundaries. Through the works in this exhibition, Aguiñiga continues to merge traditional craft with urgent social commentary, offering a poignant reflection on resilience and resistance. Previous Next

back to list Christopher Konecki 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.

The goal of Wasteland is to teach—through hands-on art making—as many students and community members as possible about the environmental, social, aesthetic and economic impacts of illegal dumping on our High Desert ecosystem. To date the Wasteland collaboration has yielded a series of more than 70 large and small-scale flower sculptures made entirely from trash collected by Eastside High School students at illegal dump sites in the Antelope Valley. The project has involved more than 600 visual and performing arts students, many who came to the project with little or no sculpture making experience. The students have gained a great sense of achievement by honing creative problem solving skills throughout the project. This project meets and exceeds state core curriculum standards in Performing Arts, Health, Mathematics, Science and Government, as well as national museum accreditation standards. Wasteland is the first project of the Green MOAH Initiative. The Initiative is the Museum’s public engagement program that utilizes art and environmental education as a creative catalyst for living greener, more sustainable lives. Museum staff developed the initiative to expand the Museum’s hands-on arts education programming and to fill the need for multidisciplinary arts education in the Antelope Valley. Green MOAH was inspired by the City of Lancaster’s Net-Zero Power policy which has the goal of converting to 100% renewable energy sources by the year 2020. With the success of Wasteland, future Green MOAH projects will include wind energy, solar energy, water resources and sustainable design. The Wasteland project was selected for funding by a panel from the Antelope Valley Illegal Dumping Task Force (AVIDTF), and made possible by Los Angeles County Supervisor Michael D. Antonovich. In the spirit of building community partnerships, AVIDTF brought together many people from numerous institutions to fund the project. Many thanks to Christine Borzaga, Assistant Deputy to Supervisor Antonovich and AVIDTF co-chair, Doug Burgis, AVIDTF co-chair and all respective members for their commitment to the project and for working to eliminate illegal dumping in the Valley. In 2014 support staff, volunteers along with 55 high school students were honored in Council Chambers by the Los Angeles County Board of Supervisors for raising the bar in arts and environmental education. They were awarded special commendations from the Los Angeles County Board of Supervisors for their Dedicated Service to the Affairs of the Community. “The Wasteland team designed and implemented a model for success that has set the precedent for future projects by actively and creatively combating illegal dumping in our neighborhoods,” said Supervisor Antonovich. “They definitely earned this recognition." Show More Project Photo Documentation Provided By : Edwin R. Vasquez

Edward Lee < Back Desertion By Edward Lee Darkness. I don’t know how I got here. I don’t want to be here. The first few months of my life. Easily the worst part of my life. No not easily, my whole life was bad. Very bad. From what I can remember, I was dehydrating most of the time in the soil. Only getting a load of water from the soil that seems to snatch the water away until it finally lets me have its leftovers. Those times were hard, but at the same time, it was a very short time. I remember when I first saw the light, the light that has fed me, made me beg for something to end me, crush me, and take me back into the soil, but I yearned for it when it disappeared beyond the mountains. I remember I continued to grow, my roots swirling and twisting the soil that took so much from me. But, as I grew taller to my mother’s carcass, her leaves started falling around like me like she was weeping. I then realized the emptiness that surrounded me, brown stretching as far as I can see, wrinkled and dead plants, just like me, lay periodically between the endless brown. I realized then, that the soil I hated so much, was just like me, laying in a world we knew so little about. Endless days and nights. But, life wasn’t always so endless. As I grew taller, I saw the endless brown in front of me change. Creatures. There they were so happy and energetic. They were very different from the big and small furry creatures. They seemed to love life. Something that I yearned for. As more time passed I saw more of these creatures and while I continued to wrinkle, worried about the text time the water would come and feed me, I saw those creatures become happier and happier. I wonder what was missing from my life that prevented me from feeling what they seem to be feeling. It's no matter. I can already feel some of my leaves falling, shrinking into a carcass like my mothers. Why do I even care? I am not sentient. I shouldn’t even have these feelings to begin with. But, Happiness. What a joyous looking thing. Previous Next

Up The Forest for the Trees Various Artists Artists: Sant Khalsa, Constance Mallinson, Greg Rose, Timothy Robert Smith, High & Dry, Robert Dunahay Forest for the Trees is comprised of five exhibitions addressing the complex relationships between people and the living and built environments they inhabit, specifically focusing on humans’ symbiotic connection to trees. Featured in the Main Gallery at MOAH is a survey of work documented over the course of eight years by artist Greg Rose. Featured in the South Gallery is 40 plus years of work by Sant Khalsa. With solo exhibition by Constance Mallinson, site specific installations by artists Timothy R. Smith and High & Dry, a collaboration between Osceola Refetoff and Christopher Langley. Each of the artists explore the environment and the impacts, both positive and negative, that humans have upon it. Greg Rose’s work documents his, nearly decade long, excursions into the San Gabriel Mountains as he catalogs, analyzes, and paints various trees across the forest. Sant Khalsa’s, Prana, brings together work from her more than forty years as an artist, examining humanity’s existence within nature, specifically their connection to trees. Constance Mallinson’s work takes a closer look at the massive amounts of material waste that humans generate, magnifying the remains of landfills and garbage “patches” by painting them on oversized canvases. Timothy R. Smith is constructing a site specific installation regarding the built environment that will span two stories and multiple exhibition spaces. High & Dry’s dispatches takes a look at humans and their impact on the environment, specifically concerning the Mojave Desert region and what we leave behind as a culture. Joining Forest for the Trees at MOAH:CEDAR on Saturday, June 16 from 6 to 8 p.m. is artist Miya Ando. Inspired by her upbringing, Ando’s installation will transport visitors to the redwood forests of northern California. High & Dry LAND ARTIFACTS High & Dry comprises a long-term exploration of the California desert and the people who live there. Balancing images and words with the personal and historical, the cross-platform collaboration between photographer Osceola Refetoff and writer/historian Christopher Langley focuses on the remnants and future of human activity across these vast open spaces, territory that has traditionally been used for resource extraction, toxic dumping and military exercises, and currently faces a future dominated by immense wind and solar arrays. The exhibit Land Artifacts examines the things we leave behind and what they reveal about ourselves, our past and our future. Nowhere are these instructive legacies and endowments more exposed than in the barren California desert. Whether from ruins, artifacts, memorials and/or waste, there is much we can learn about lives, attitudes and the things that we value. It has been said that we borrow our land from our grandchildren. What legacy do you want to leave? Osceola Refetoff’s interest is in documenting humanity’s impact on the world – both the intersection of nature and industry, and the narratives of the people living at those crossroads. The landscape photographs in Land Artifacts are infrared exposures, which accentuate the raw intensity of vast arid spaces and the graphic relationship between land and sky. Though Refetoff does not work exclusively in black and white, what links the diverse forms of his practice is his commitment to render not only what a place looks like, but also how it feels to be there. To that end, his black and white infrared photographs tap into classic historical and visual tropes from the medium’s earliest days, confronting evolving questions of truth, beauty, dispassion, reportage and artistry that have always been a part of how photography functions in our culture. Christopher Langley, a life-long educator, has lived in and studied the Mojave Desert for more than forty-five years. Working as a film historian, founder of the Museum of Western Film History in Lone Pine and Inyo County Film Commissioner, he focuses on the desert’s complex relationship with cinema, and how land plays an essential role in the story of our lives. Co-founder of the Alabama Hills Stewardship Group, Langley’s environmental advocacy has won the National Conservation Cooperation Award. His writing is widely syndicated and includes three books on California’s arid landscape. High & Dry is a regular feature on KCET’s Emmy-winning program Artbound. Greg Rose Tree Fiction Greg Rose has been documenting individual trees and the changes they undergo for the past eight years. It began while taking regular hiking trips through the San Gabriel Mountains. He started noticing the trees of this region were made rugged from enduring extreme weather conditions. Over time, he began regarding the trees by their individual characteristics and started to document them. First he maps, illustrates and photographs the trees, then he paints them. In his series, Tree Fiction , Greg Rose presents detailed gouache renderings of trees which he has isolated in a plane of vibrant gradients. His work takes on the quality of a narrative, mirroring both the tension and sense of connection one may find in their own life such as within families and other relationships. The titles of each painting suggests a variety of complicated exchanges between the trees like characters in a play. Greg Rose is most interested in the concept of change and how much change trees undergo throughout their lifetime, particularly in regard to wildfires. Greg Rose is a Los Angeles based artist with a Bachelor of Fine Arts degree in drawing and painting from California State University, Long Beach, California and a Master of Fine Arts degree in drawing and painting from Claremont Graduate University, Claremont, California. Greg Rose has been exhibited in both group and solo shows in California, New York, Texas, Missouri and Columbia and has been featured in a number of publications including Artillery magazine, The Huffington Post, Artweek, Los Angeles Times, LA Weekly, San Francisco Chronicle and more. Sant Khalsa Prana: Life with Trees Sant Khalsa is an artist and activist whose projects develop from her impassioned inquiry into the nature of place and complex environmental and societal issues. Her artworks create a contemplative space where one can sense the subtle and profound connections between themselves and the natural world. The subject of trees has been a focus in Sant Khalsa’s creative work for nearly five decades. Prana: Life with Trees is the first in depth survey of Khalsa’s intimate connection with trees – her explorations, observations, perceptions and interpretations. Her unique perspective is expressed through a style that encompasses the documentary, subjective and conceptual. Her work evokes a meditative calm to what we often experience as a chaotic and conflicted world. Khalsa is concerned with both the micro and macro aspects of forests: what is seen and unseen; historical, scientific and spiritual; and personal and universal. She is mindful of our symbiotic relationship with trees and forests, grounded in the life-sustaining connection through the breath (exchange of carbon dioxide and oxygen). Her beautiful, distinctive and sometime disquieting works express the cycle of life (birth, life, death and rebirth), the destruction and memory of the forest, as well as the promise of new growth. The exhibition includes her earliest landscapes (self-portraits and photographs of orange groves); images of trees from her three decades photographing in the Santa Ana Watershed and other locations in the American West; and mixed-media sculptures and installation works inspired by her research on air quality and life-changing experience planting more than a thousand trees in 1992 as part of the reforestation of Holcomb Valley in the San Bernardino Mountains. In her recent color photographs, we witness the fruits of her activism, a healthy, thriving and hopeful forest eco-system. Sant Khalsa’s artworks are widely exhibited internationally, collected by prestigious museums including the Los Angeles County Museum of Art, Nevada Museum of Art and Center for Creative Photography in Tucson and published in numerous art books and periodicals. Khalsa is a recipient of prestigious fellowships, awards and grants from the National Endowment for the Arts, California Arts Council, California Council for the Humanities and others. She is a Professor of Art, Emerita at California State University, San Bernardino and resides in Joshua Tree. Constance Mallinson ME, ME, ME Constance Mallinson depicts monumental assortments of post-consumer items that are reminiscent of trash dumps, ocean gyres and urban alleyways. Her art unveils the complexities and moral dilemmas of living in a technological, consumerist, disposable world as humans simultaneously contribute to its demise. Evoking the past, present and future, the content of her work examines the complexities and moral dilemmas that come with living in an imprudent consumerist culture. Post-apocalyptic, darkly humorous, critical and celebratory at once, Mallinson’s images of degraded commodities situate the viewer in a provocative endgame. Mallinson’s art features paintings composed from both natural and manufactured waste that the artist has collected from the streets on her daily walks through her neighborhood. The discarded contents found on city streets are not often associated with the sublime, but in Constance Mallinson’s paintings, they are rendered at a disturbing scale. Decaying plant materials and a fantastical assortment of post-consumer items are deftly interwoven. The rich details, dazzling color, variety of objects and interplay of forms nod towards 17th century Dutch still life painting as well as Cubist collage. Mallinson renders kitsch advertising images in an Old Masters technique with an underlying desire to push for a newer paradigm that reflects globalism and awareness to the threatening of the world’s ecosystems by population, industry and pollution. In their scale and execution her art pieces have been appreciated for their ability to simultaneously seduce and deliver a critique and to share a continuing relevance for painting in an era of ubiquitous mass media. Constance Mallinson received a Bachelor of Fine Arts degree from the University of Georgia and has exhibited her work throughout California. In addition to her recent commission for the EXPO Line MTA Bergamot Station permanent artwork installation, she has designed a poster for the MTA Red Line, been a finalist for a mural for the California Supreme Court in San Francisco and numerous libraries in Southern California. Mallinson has taught at many universities and colleges in Southern California including University of California, Los Angeles and Claremont Graduate School. She was the recipient of the National Endowment for the Arts Fellowship as well as the City of Los Angeles’ Artist Grant. Many of Constance Mallison’s paintings can also be viewed in major private and public art collections including LACMA and the San Jose Museum. Timothy Robert Smith Revised Maps of the Present Timothy Robert Smith is a Los Angeles based oil painter and muralist interested in multi-dimensionalism, which he describes as an attempt to understand how one’s personal experience in the world fits into the greater picture of the universe. Smith’s work does not replicate reality as we perceive it, but rather asks the viewer to consider the realities they do not see, questioning the realness of their perspective both visually and metaphysically. Revised Maps of the Present is a multi-room interactive installation that combines painted walls, sculpted figures, lights, sound and video projections. The installation begins with the scene of a train station in a city. As the observer moves through the installation, layers of reality disconnect and unfold into a labyrinth of warped angles, hidden spatial dimensions and alternative versions of the present. The installation aims to simulate a present moment as if one were to view it from all perspectives at once. The installation as seen here at MOAH is the first incarnation of this exhibit. With each new installment hereafter, Revised Maps of the Present will reconfigure and expand with added rooms and features. Timothy Robert Smith invites the viewer to reexamine the world without their familiar mental filter and to see again as a child sees: enormous, mysterious and full of possibilities. Timothy Robert Smith received a Bachelor of Fine Arts degree in studio art from California State University Los Angeles and a Masters of Fine Arts degree for studio art from Laguna College of Art and Design. He also teaches at Laguna College of Art and Design, California State University Long Beach, California State University Los Angeles and Saddleback College. Timothy Robert Smith has also been featured in various media outlets including Juxtapoz Magazine and NBC News and his paintings have shown in solo exhibitions at TEDx Conferences and Copro Gallery in Santa Monica, California. Robert Dunahay He Man Distinguished patrons worldwide collect Robert Dunahay’s art including the Royal Family Al Thani of Qatar, Baroness Monica Von Neumann of Switzerland and celebrities Pierce Brosnan, Kelsey Grammer and Linda Hamilton. His work is part of the corporate collections for Pepperdine University, The Financial Times, The Packard Foundation and the W Hotel. Dunahay is most known for his Palm Series of paintings depicting grand-scale palm trees in vibrant colors. By depicting his subject in face-to-face portraiture style on a solid background, he replaces traditional references to landscape with the transcendentalism of iconography. American artist Robert Charles Dunahay currently lives and works in Palm Springs, California. May 12 - July 15, 2018 Back to list

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

Joshua the Jackrabbit is MOAH's ARTS FOR YOUTH ambassador! Joshua will let you know about all the young artist programs coming up at MOAH and MOAH:CEDAR. Joshua loves to share his favorite facts about art and run scavenger hunts! Come along on his art adventures by following him on Instagram! Young Artist Workshops Share Facebook Twitter Pinterest Tumblr Copy Link Link Copied What's New? Have you seen my new Youtube channel? Joshua the Jackrabbit here! Visit my creative and cool Kids Youtube channel to check out a NEW video tutorial every week! Each tutorial video corresponds to the current free craft kit handed out every first Thursday of the month from 11 AM - 6 PM. If you would like to be notified about our video updates be sure to subscribe! For more videos check out the Youtube Link! Purchase your own Joshua in The Vault Store Joshua on Youtube Kids Purchase Now @JoshuaJackrabbit

< Back Relic Bozigian Gallery Stephanie Buer Combining the clarity of realism with the delicate qualities of oil painting and charcoal, artist Stephanie Buer creates instances of documentation and expression that create quiet and contemplative landscapes. Her practice is tedious and labor-intensive, a testament to the photorealistic accuracy of her scenes. Relic showcases Buer’s interest in these dilapidated spaces. Her immersive mark-making brings viewers closer to these environments and allows for an intimate view. The deterioration of infrastructure and its adornment with overgrowth and graffiti are on full display, demonstrating the clash of human-made processes and the natural world. Buer shows that these structures are products of the passage of time yet are frozen in their current ephemeral state. IMAGE CREDIT: Stephanie Buer, Relic , Oil on Canvas, 2025 Courtesy of Thinkspace Projects Previous Next