Search Results

< Back Charles Hood Under/Water Amongst his twenty published books and over eight-hundred photographs, artist and author Charles Hood has focused much of his attention on wildlife and nature. He has traveled globally, documenting aspects such as resource allocation, regional fauna, and the evolution of natural landscapes. Hood’s work brings attention to both the political and environmental nuances of these varied regions in order understand how these locales are shaped and still constantly evolving. A widely published poet, Hood has received numerous fellowships and writing awards, and his most recent artist residencies were with the National Science Foundation in Antarctica and with Playa Arts in Oregon. Other residencies include Center for Land Use Interpretation and the Annenberg Beach House. He has also been a visiting professor in England, Mexico, and Papua New Guinea. Previous Next

Up Threads of Entanglement Orly Cogan Hand embroidery typically conjures up images of docile women, silently working on their expected domestic duties through their needle work. This traditionally feminine medium was once seen as an indicator of marriage suitability, teaching ideas of modesty, virtue, and obedience. Artist Orly Cogan reclaims the medium, using vintage fabrics as a foundation for her hand stitched explorations of modern women. Cogan challenges the idea of embroidery being a symbol of female domesticity and injects themes of sensuality, feminism, and power to portray the evolving role of women in society. Cogan’s love for embroidery stems from her early years in grade school where she would learn to knit and crochet with natural fiber materials. This fondness for the material was also encouraged through her mother's collection of samplers — pieces of embroidered cloth meant to represent a larger whole — and quilts. Cogan describes her work as intuitive, figuring out the stitching as she goes, utilizing an embroidery hoop, appliqué, and paint to bring movement within the stitches. The result is a dreamy and ethereal quality that speaks to the feminist fairytales she creates in her pieces. May 13 - August 20 Out of gallery Back to list

back to list Carly Ealey 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, Carly 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 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

Elana MannBellows and QuakesThrough sculpture, sound, and community engagement, the artwork of artist Elana Mann explores the power of the collective voice and the politics of listening. Mann’s sculptures, resembling the horns and rattles prominent in musical instruments, serve to create, amplify, and embody sound. < Back Elana Mann, Unidentified Bright Objects Elana Mann, Bans Off Our Bodies Elana Mann, Bans Off Our Bodies Elana Mann, Unidentified Bright Objects 1/4 Elana Mann Bellows and Quakes Through sculpture, sound, and community engagement, the artwork of artist Elana Mann explores the power of the collective voice and the politics of listening. Mann’s sculptures, resembling the horns and rattles prominent in musical instruments, serve to create, amplify, and embody sound. The physical creation of sound and of hearing itself is an intangible discourse that is visualized through her artworks. For Mann, the act of listening can be a catalyst for social change. Her sonic sculptures, street protests and performances in galleries and museums produce a collective voice to enable social activism. These works generate a sonic link between art practice and civic action, providing visible symbology to connect the ephemeral and material power of sound. Previous Next

2013 < View Public Art Projects Yarn Bomb At City Hall 2013 Temporary Art Project To kick off the 27th annual Antelope Valley union High School District Student Art Exhibition, local artist and art educator Kris Holiday organized this public installation project with the help of pioneering yarn bombing artist Nicola Vruwink, her students, and community members. The concept was to create public art by knitting scarves around trees, cozies on bike racks, and decorating benches, lampposts and even sculptures with vibrant covers.

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

2020 < View Public Art Projects Little Giant by Ann Weber 2020 Permanent Art Project Ann Weber is an American artist who transforms the ordinary medium of cardboard into impressive large-scale sculptures reminiscent of pods, gourds, and organic spires. She views the psychological component of her artwork as one of the most important aspects; between representational and abstract, Weber invites the viewers to bring their own associations to her artwork. Composed with a palette of simple circles and cylinder forms, Weber’s work represents the symbolic male and female forms in the natural world while tying in architecture and historical references to evoke memories, relationships and morality in her sculptures. By casting ordinary cardboard into bronze or fiberglass for public art projects, Weber illustrates that things are not always what they appear to be and the humble origin of the materials are part of the innovation, charm and humor of artwork like Little Giant . Weber states that, “when you put a seed in the ground, the first thing that happens is a sprout. I felt what my content was, or what I was saying, had to do with these very primal kinds of forms...Ultimately my interest is in expanding the possibilities of making beauty from a common and mundane material.”

back to list Kelsey Brown

2008 < View Public Art Projects The Musical Road 2008 Permanent Art Project In September, 2008, Honda Motor Company constructed a musical road on Avenue K, between 60th Street West and 70th Street West as part of their Honda Civic ad campaign. After several complaints from local residents, the street was then paved over to alleviate the nuisance that it created. However, after much public interest, the Lancaster City Council decided to reconstruct the road and relocate it to a more remote location on Avenue G, between 30th Street West and 40th Street West. Both projects used the same melodic line from Rossini’s William Tell Overture. However, possibly due to miscalculations during the engineering process, the melodic intervals are quite different than the actual tune, while the rhythmic patterns are accurate. This is the first musical road to be constructed in the United States, and is only one of a few located in the entire world.

< 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

Land and Image: Chris Engman, 2002-2022 < Back Chris Engman Land and Image: Chris Engman, 2002-2022 May 14 - August 21, 2022 1/4 Previous Next Born and raised in Seattle, Washington, Los Angeles-based photographer Chris Engman spent his earlier years with an appreciation for nature, art, and travel. Throughout his undergraduate career Engman continued to travel from his studio in Seattle to the desert landscapes in eastern Washington, Oregon, and Nevada, collecting materials and building photography sets in Seattle and relocating them to the desert. Over the past two decades, Engman has dedicated his art to understanding how images deceive the eye and the human need to make sense of visual perception. Engman’s photography, at first glance, appears normal, yet, under careful examination, viewers become aware of the optical illusion and begin to question the constructed image. Engman’s twenty-year practice is grounded in research and conceptual thought. He documents remnants of labor and the juxtaposition of human material and vast landscape through sculpture and photography. He explains, “My constructions are not sculptures in the traditional sense. They’re just vehicles to reveal a process that is focused on experiencing time and understanding what photographs do – or don’t do. . .” Chris Engman was born in Seattle, WA. He currently lives and works in Los Angeles, California. He earned an MFA from the University of Southern California in 2013, and a BFA from the University of Washington in 2003. His work has been shown widely in the United States and Europe including at Luis De Jesus Los Angeles, Greg Kucera Gallery in Seattle, Henry Art Gallery, The Seattle Art Museum, Institute for Contemporary Art in San Jose, Museum of Photographic Arts in San Diego, Museum of Fine Arts in Houston, Clair Gallerie in Munich, 68 Projects in Berlin, Project B in Milan, and Flowers Gallery in London. His work is featured in numerous public and private collections including Orange County Art Museum, The Henry Gallery, Seattle Art Museum, Houston Fine Arts Museum, Covington Library, Microsoft, and the Elton John Collection. Engman is represented by Luis De Jesus Los Angeles and in Seattle by Greg Kucera Gallery.