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Mission Statement: 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 dynamic exhibitions, innovative educational programs, creative community engagement and a vibrant collection that celebrates the richness of the region. History: Founded in 1986, the Lancaster Museum of Art and History operates four sites within the City of Lancaster, serving the Antelope Valley and greater Los Angeles County regions. MOAH, the museum’s primary exhibition space, is host to large-scale curatorial initiatives, which celebrate the historic traditions and artistic revolutions taking place in Southern California. MOAH holds a collection of over 10,000 artworks and artifacts, producing community-oriented programming engaging diverse audiences. MOAH:CEDAR, located at the Cedar Center for the Arts campus, boasts additional gallery spaces which highlight experimental and emerging artists and their studio practices, is home to the Museum’s artist-in-residence program and activates the regions youth and young adults through its weekly programs. The Western Hotel Museum and the Elyze Clifford Interpretive Center offer semi-permanent exhibitions highlighting the rich indigenous, ecological, natural, and economic histories of the Antelope Valley and provide access to the past and future from environmental perspectives. Learning is at the core of Lancaster MOAH’s mission. Collecting, exhibitions and programs are all undertaken in an effort to provide the residents of the Antelope Valley with a way of integrating art and history into their lives and taking away the lessons that these disciplines offer. By presenting quality exhibitions and programs as well as committing to the proper care and preservation of works of art and artifacts relating to history and culture of the Antelope Valley, the Lancaster Museum of Art and History is the region’s center for art and historical engagement. MOAH's exhibition program is diverse, offering a range of displays for all age groups. Exhibitions of locally collected dinosaur and native artifacts, collectible toys and hands-on history of the pinball machine have delighted children, while the presentation of works by major California artists and creative presentations from sustainable energy to the history of the surfboard have appealed to adults. Exhibitions that are especially relevant to the Antelope Valley have included shows on aircraft and space travel as well as displays on the industries and natural resources that built the area. For artists, the museum hosts an Annual Juried All-Media Art Exhibition and Annual High School Student Exhibition. Increasingly, the Lancaster Museum of Art and History is presenting exhibitions to the residents of the Antelope Valley that feature works by regional, national and internationally renowned artists. Land Acknowledgement: The Lancaster Museum of Art and History (MOAH) acknowledges the original inhabitants of the Antelope Valley including the Tataviam, Vanyume, Nüwü (Chemehuevi), Serrano, Kawaiisu, and Kit anemuk peoples who call this region home. The museum honors the Valley’s history as a renowned center of trade and commerce, a vital part of a widespread economic network that reached far beyond its own boundaries. The Lancaster Museum of Art and History recognizes its position as a guest on these unceded lands and honors the ongoing work of Indigenous peoples to preserve their history, culture, and stories for future generations.

Founded in Hawaii, POW!WOW! is a series of global events that celebrates culture, music and art. Antelope Valley has joined in with its set of murals. Official 2018 Map Here 2018 MEET THE ARTISTS aaron De La Cruz Amir Fallah Amy Sol Andrew Hem Carly Ealey Christopher Konecki dan witz Darcy Yates Ekundayo Emily Ding Hot tea Hueman Isaac cordal Jeff Soto julius eastman laurence Vallieres Lauren YS Mikey Kelly MOUF Nuri Amanatullah Scott listfield slinkachu Spencer little Super A Tina Dille Tran Nguyen Jaune

< Return to Exhibitions Autumn 2012 The Contemporary Figure: Past Presence Hats Off: Sally Egan & Amy Bystedt Mercedes Helnwein: Drawing from the Figure Deli I pity the fool2 arbus_f jennifer-glass-cyanotypes_edited Mercedes Helnwein Creatures MOAH Learn More September 6 - November 24, 2012 Hats Decay Helnwein Cyanotypes Past Presence Artifacts of Desire in Decay: Gregory Martin Although most easily categorized as landscapes, Gregory Martin's paintings can be thought of as contemplative spaces in which to experience dualities and polarities within human nature, the natural world and the practice of painting. For instance; growth and decay, the illusion of depth and flatness, the "truth" of photography and the "fiction" of painting, the differences between our ideals and our actions. The Contemporary Figure: Past Presence Exhibition Statement To embark on a journey through contemporary figurative art is to dive into a rich history of image making as a fundamental means for understanding and interpreting our world in the image of ourselves. In this history, from Paleolithic times to the mid 19th century, the depiction of the human form is plentiful, yet went largely unchanged in both artistic approach and intent until the modern era. From the 30,000-year-old fertility figurines unearthed at Çatalhöyük of Southern Anatolia to the height of the Italian and French Renaissance, art making was primarily focused on the skillful, realistic depiction of the human figure in an attempt to reconcile the place of humans in the world, both physically and spiritually. During the Middle Ages, for example, artists learned their skills through craft guilds and in monasteries—the academy of the time—by creating highly representational and illuminated manuscripts in the service of the church. Similarly, through the height of the Renaissance, an artist underwent rigorous technical training as an apprentice to a master, copying the masterworks until their skills were exquisitely refined. These skills were essential for creating high liturgical art and the finest of paintings, portraiture, frescoes and sculpture for the wealthy. From around 1850 C.E. through the late 1960’s, however, a sea change occurred: the artistic representation of the figure and the means by which creative skills were developed and employed shifted dramatically, ultimately ushering in the new era of Modern Art (1860’s – 1970’s). This remarkable shift transpired at the hands of the avant-garde: a small group of artists who gradually abandoned their rigorously acquired skills and rejected the master-apprentice approach of mimicking historical masterworks in favor of experimentation. Invention and the individual artist’s idea came to the forefront, providing the art world with especially pioneering periods from the mid 19th century in the works of Claude Monet (1840-1926), Mary Cassatt (1844-1926) and the Impressionists. Building upon the Impressionist’s momentum, an increase in creative risk-taking and experimentation occurred from 1900 to the 1920’s when the art of Georges Braque (1882-1963), Pablo Picasso (1881-1973), Wassily Kandinsky (1866-1944) and Georgia O’Keefe (1887- 1986) emerged. These artists replaced the norms of representation, composition, color, and light with pure form and structure, emotion and intuition, dream imagery and expression, and ultimately pure abstraction. In equal measure, they sought to examine the human form—and the human condition—as a pursuit of the artist’s idea outside a defined set of socially acceptable consumables. These trajectories eventually lead to the wide-spread making of non-representational imagery which remains a popular force in contemporary art today. The Contemporary Figure: Past Presence showcases a group of Southern California figurative artists at the forefront of an equally important development in contemporary art. First and foremost, the works herein depict a shift away from the dominance of non-representational image making in contemporary art. By employing the figure in their work, these artists present an immediate and accessible line of connection to the viewer through the imagery, often affording us the opportunity to identify ourselves within the work. Equally rich are the opportunities to understand the questions these artists are asking—through representational form—about the greater human condition. Like their predecessors working over one-hundred and fifty years ago, many of these artists have undergone rigorous training in traditional drawing and painting techniques through the academy. During a time when such a traditional curriculum is often viewed as passé or considered relevant only to the pre-modern era, these artists have intentionally honed their drawing and painting skills in order to deftly execute their ideas. Once again the artist’s skill and craft is revealed in the work. Finally, the depth of inquiry into the artist’s idea is often expressed through intelligent historical references that question currently established norms inside the art world, academia and the greater society. In doing so, these artists are revitalizing the figurative movement, harkening back to the early days of Modern Art when artists were highly trained, superbly expressive and keenly knowledgeable of the art history canon. By utilizing a more traditional form of academic training in figure and portraiture as a springboard to unleash their contemporary ideas, the artists in The Contemporary Figure: Past Presence honor and acknowledge the past while inviting you to explore skillfully executed works at the edge of a revolution in figurative art. Hats Off: Sally Egan & Amy Bystedt In this series, Bystedt and Egan give reverence to icons of photography that have influenced and inspired them throughout the years, playing the role of both photographer and subject in these emulations. The attention to detail in these recognizable photos was just as significant as choosing which photographer and image to replicate. Hats Off is a salute in the highest form to those who have come before them, whose trail blazing in the arts have paved the way for some of the most progressive images in photography. Mercedes Helnwein: Drawing from the Figure Exhibition Statement Mercedes Helnwein is an Austrian born visual artist and writer based in Ireland and Los Angeles. As a self taught artist, drawing and literature have been the focus of her creative life for as long as she can remember. Although of European descent, Helnwein’s many influences are distinctly American, crossing artistic genres and places including a fascination with the culture and values of the American Midwest and Bible belt, the music of the Delta blues and the literary works of John Steinbeck, Mark Twain and Charles Bukowski. Mercedes Helnwein: Drawing from the Figure showcases a selection of recent works from 2006-2010 including several from her internationally acclaimed series “Whistling Past the Graveyard”, “Temptation to Be Good” and “East of Eden.” These expertly drawn images depict women engaged in quiet, yet unsettling dramas often holding a child’s toy or occupying a vaguely domestic context. Helnwein presents the viewer with the mystery of her character’s circumstance. The artist explains: “Judging by their expressions I’d say there’s probably something the girls in these drawings would rather not talk about – something they’d prefer to sit on. And they’re keeping it in, but it’s kind of leaking out of their faces.” While her figures are drawn with meticulous attention to detail and rendered with the precision and technique of a classically trained artist, Helnwein often bathes her subjects in a harsh, raking light. This tension provides the viewer with an unseen antagonist operating outside of the frame’s edge. Art critic Peter Frank (ArtLtd, January 2010) writes of her work: “A writer as well as visual artist, Mercedes Helnwein does not so much tell stories or even capture moments in her drawings as she triggers possibilities—the possibilities being vaguely unlikely, vaguely unsavory, and not-so-vaguely menacing, rather like inverse Magrittes. Helnwein’s basic ingredient is the fully, fashionably, clothed human figure, more often than not regarding the viewer or about to; occupying a peculiarly lit, but familiar space, they are shown engaged in a solipsistic soliloquy— self-absorbed and drenched in an almost urgent ennui—with someone and/or something else…” Equally mysterious are Helnwein’s short films. Included here are “Whistling Past the Graveyard” and “Temptation to Be Good” where the figures from the drawings jump off the page into film. Like the drawings, her subjects are inundated with a ruthless combination of light and dark yet animated in segmented, slow motion sequences across the screen. Although they are engaged in a kind of indiscernible struggle, the characters are laden with clues: dressed in period clothing, accompanied by purposefully placed objects and moving within a stark, domestic context. Additional clues may be found in the musical scores, which are composed by the artist’s brother Ali Helnwein. Helnwein began paring her drawings with film in 2008 with her debut of “Temptation to Be Good”. Mercedes Helnwein: Drawing from the Figure presents a selection of figurative works set in a series of vaguely defined narratives where someone is missing or something is awry. MOAH invites you, the viewer to engage this work and ask –as art critic Peter Frank suggests—what that someone and/or something else may be. The Lakes and Valleys Art Guild: The Western Figure As part of our continuing local artist series, The Vault Gallery showcases work from the Lakes and Valleys Art Guild celebrating the figure in western themed paintings. The Lakes and Valley Art Guild is located in the nearby hamlet of Lake Hughes, California. This group of artists have dedicated themselves to the traditional painting techniques of watercolour, oil on canvas and representational imagery as well as mixed media compositions. Jennifer Glass: Cyanotypes Cyanotype Greek: kyano (blue; dark blue) + Greek: typos (type or form; print) English 1835-1845 Jennifer Glass captures moments in the life of women through her cyanotypes of vintage gowns. Selected from her private collection, these gowns are reproduced as cyanotypes through a process that the artist sees as a deeply metaphorical statement on the roles of women, politics, power, and fashion. Specifically, this body of work emphasizes the artist’s affinity for fashion as a polarized narrative. The large-scale reproductions are strong in their Prussian blue impressions while fragile in their ghost-like translucency. Glass explains that her connection to the world of fashion elicits a “strong emotional response to how [fashion] may either empower or constrain a woman depending on how she uses it”…she continues: “fashion has been used as a tool by women for years and although it has confined them in many ways, it also has liberated them…these garments belonged to someone.” Glass notes that although the women who wore these garments are now gone, in their time they danced, brought about new life, felt pleasure and pain, and likely changed policy, leaving their own imprint on the world however large or small. Glass’ prints are created through the deceptively basic methods of light exposure and chemical preparation on fabrics. The cyanotype was pioneered in 1842 by Sir John Herschel as a photographic method to quickly duplicate technical drawings that are normally time-consuming to draw and reproduce. Herschel discovered that when iron salts react with sunlight they leave a permanent blue imprint. When paper or porous fabric is treated with a solution of ferric ammonium citrate and potassium ferricyanide, almost any image may be reproduced if it is drawn on a transparent surface, placed over the photosensitive paper in a darkroom and then exposed to sunlight. The areas of the photosensitive paper (or canvas/fabric) that are concealed by the lines of the drawing remain white while the exposed areas turn into an insoluble blue, resulting in a reverse silhouette. In 1843, shortly after Herschel developed the cyanotype, his friend and colleague Anna Atkins, a recognized botanist, utilized the cyanotype method to catalogue her extensive botanical collection. By placing her algae specimens on the photosensitized paper, she created the first known volume of cyanotype photograms. Atkins went on to self-publish her cyanotypes in her book: Photographs of British Algae: Cyanotype Impressions. Atkins published three volumes and only seventeen copies were reproduced. As a photographer, Jennifer Glass is carrying on this tradition in contemporary times, a method that has gone underutilized since the advent of digital reproductions. A Florida native, Jennifer Glass earned a Bachelor of Art degree in Social and Political Science from Florida State University. Glass went on to study photography at the Art Institute of Fort Lauderdale along with taking workshops in New York with well-regarded photographers Debbie Fleming Caffery and Mary Ellen Mark. Glass currently resides in Copenhagen, Denmark. Western August 9, 2012 - September 16, 2012 Artifacts of Desire in Decay: Gregory Martin September 22 - October 22, 2012 The Western Figure: Lakes and Valleys Art Guld September 29 - October22, 2012 Jennifer Glass: Cyanotypes View or Download the Autumn 2012 Exhibition Catalog by clicking on the cover image or here.

Arts for Youth Transportation Grants Lancaster Museum of Art & History has been granted a limited stipend, in support of paying for bus funding, from the Hernando and Fran Marroquin Family and the Lancaster Museum & Public Art Foundation. The Bus Fund is used to help offset the cost of transporting students to the Museum for participation in a tour and/or hands-on activity. A separate application must be submitted for each trip for which funding is requested. A representative will contact you after your request has been reviewed. If a grant is offered, to receive payment, an invoice from your transportation department must be billed directly to the Lancaster Museum & Public Art Foundation. If you have any questions or need additional information about the Arts for Youth Program or transportation, please contact the Education Department at (661) 723-6085 or MOAHeducation@cityoflancasterca.gov . Use the form below to request transportation. Interested in our traveling Discover Trunks program? Click Here Apply for Arts for Youth Tours Request transportation! Primary Contact First Name Primary Contact Last Name Contact Title School Name and District Street Address Street Address Line 2 City Region/State/Province Postal / Zip code School Phone (Day) Contact Email Last date your school attended MOAH. Last date your class attended MOAH. Your Trip Visit Date Visit Time Number of students Number of Adults (group leader + chaperones) Teacher Name(s) Grade Level Transportation Cost When estimating transportation costs, anticipate 1.5 hours at MOAH, plus your round trip transportation time. Estimated Transportation Cost I want to subscribe to the newsletter. Apply

Chicano Futurism Fall 2026 Artists: Edwin Vasquez, Eugene Rodriguez, Linda Vallejo plus a collection by ALTAMED Previous Next

< Back Capturing the Self in Portraiture Before You Now The Lancaster Museum of Art and History (MOAH) is pleased to announce their latest exhibition Before You Now: Capturing the Self in Portraiture. The exhibition will be on view at MOAH from Saturday, January 25 to Sunday April 13, 2025. The opening reception for the exhibition will be held on Saturday, January 25 from 2 to 4 PM. Before You Now: Capturing the Self in Portraiture focuses on the enduring theme of the artist’s self-portrait, as seen in a selection of photographs, prints, drawings, and video art from the Los Angeles County Museum of Art. The exhibition is an introduction to seeing artists as they see themselves – or as they want to be seen by their publics. Organized into seven categorical themes – Claiming, Crafting, Clowning, Convening, Conceptualizing, Camouflaging, and Concluding, the images in the exhibition showcase these artists’ fascination with self-portraiture and its ability to communicate an autobiographical narrative. This exhibition was organized by the Los Angeles County Museum of Art in collaboration with the Riverside Art Museum, California State University, Northridge, Art Galleries; Lancaster Museum of Art and History; and Vincent Price Art Museum at East Los Angeles College. 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 Cohort Program.

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Modern Ballet Price $600 Duration 12 Weeks Enroll < Back About the Course 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. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Your Instructor Ashley Amerson This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left.

Pottery Workshop Price $200 Duration 2 Weeks Enroll < Back About the Course 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. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Your Instructor Brian Chung This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left.

Baking for Beginners Price $200 Duration 3 Weeks Enroll < Back About the Course 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. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Your Instructor Marcus Harris This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left.

Arts & Crafts Price $350 Duration 12 Weeks Enroll < Back About the Course 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. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Your Instructor Kelly Parker This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left.

Tennis Price $250 Duration 4 Weeks Enroll < Back About the Course 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. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Your Instructor Brad Grecco This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left.