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

Autumn 2013 < Return to Exhibitions August 3, - October 13, 2013 Free Enterprise: The Art of Citizen Space Exploration Curated by Tyler Stallings and Marko Peljhan Main & Vault Gallery Tim Youd: The Right Stuff Jewel Box Gallery When I'm Sixty-Four Curated by Rebecca Trawick East, South, Wells Fargo Jorg Dubin: Dog Fight Lobby Atrium Free Enterprise Image Courtesy of Tyler Stallings, Artistic Director UCR Culver Center for the Arts & Sweeney Art Gallery Troy Aossey Tim Youd Jorg Dubin Free Enterprise: The Art of Citizen Space Exploration Curated by Tyler Stallings and Marko Peljhan Occupying the entire ground level, MOAH presents the first contemporary art exhibition in the U.S. to showcase an international array of artists and organizations who are exploring the intersection between artistic production and civilian space travel. The possibility of fulfilling the human dream to fly into space has been encouraged by a major political and cultural shift away from federal-sponsored space activities towards a private enterprise model. This exciting exhibit includes a variety of media such as drawing, photography, video, sculpture, painting, and artifacts by international participants. Locally based XCOR Aerospace, Inc. (Mojave, CA), has installed a full scale working rocket and other hardware in the Museum as a major feature of the show. Free Enterprise originated from the University of California Riverside ARTSblock. Participants : The Arts Catalyst (London, U.K.), Lowry Burgess (Pittsburgh, PA), Center for Land Use Interpretation (Culver City, CA), Richard Clar (Paris/Los Angeles), Skeith De Wine (Santa Ana, CA), Kitsou Dubois (Paris), Final Frontier Design (New York), MIR - Microgravity Interdisciplinary Research (international participants), Forrest Myers (New York), Carrie Paterson (Los Angeles), Connie Samaras (Los Angeles), and XCOR Aerospace, Inc. (Mojave, CA). Tim Youd: The Right Stuff Continuing with the theme of space and flight, Los Angeles-based artist Tim Youd will perform the typing of Tom Wolfe’s The Right Stuff on the original typewriter used to create the novel. Youd’s performance involves typing the novel on a single page run through the machine over and over again, thereby embedding the entire manuscript into one sheet. Youd travels the world, performing the works in locales geographically related to either the author’s life or the plot of the novel. When I'm Sixty-Four Curated by Rebecca Trawick When I'm Sixty-Four explores the lives of our country's 50+ population. California alone is projected to have a population of 6.5 million people over the age of 65 within the first two decades of the new millennium. All aspects of life will be impacted including politics, public services, the economy, family structures, and healthcare. As our population ages we have to ask ourselves the role this group will play in our culture and whether or not our perception, acceptance and politics will mature along with them. The contemporary artists in When I'm Sixty-Four use diverse approaches to explore the realities of the lives of our senior population, often through extremely private investigations into their own aging or the lives of their loved ones. Their work poses questions about our concepts of growing older, and what we can do to access our senior community members. The Museum of Art and History is presenting an in-depth schedule of public programs, lectures, film screenings and special performances featuring amazing seniors in our communities. Artists include Deborah Aschheim (CA), Troy Aossey (AZ), Jeanne C. Finley (CA), Gina Genis (CA), Nancy Macko (CA), Peter Riesett (NY) and Shari Wasson (CA). Jorg Dubin: Dog Fight Jorg Dubin’s Dog Fight sculptures capture the form and structure of military aircraft. Constructed from metal, Dubin finishes the surfaces with corporate logos painted directly on the work. Suspended in the Museum’s atrium in a configuration resembling an aerial dog fight, the title of the work comes alive from multiple vantage points as viewers walk through the first and second floors of the facility. The Corporate Jet Series is a playful and ironic look at the influence or perhaps the merging of the power of corporate America, politics and the innate desire for the good life, all of which is protected by the military. Enterprise Youd Dubin Trawick View or Download the Autumn 2013 Exhibition Catalog by clicking on the cover image or here.

< 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

2026 < View Public Art Projects Antelope Valley Walls™ 2026 Permanent Art Project Since 2016, Antelope Valley Walls™ has brought international and local artists to the Antelope Valley, adding more than 70 vibrant murals across the community between 2016 and 2024. The 2026 installment will introduce 10 new murals between October 11-17, expanding the growing collection throughout the region. Stay tuned as we gear up to celebrate 10 years of Antelope Valley Walls™. Don't miss the Antelope Valley Walls 10th Anniversary Exhibition at MOAH:CEDAR, opening August 1, 2026! Learn More >

Skytower Park Murals 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 Dr, 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. Phase One Phase Two Completion On March 12, 2022, MOAH and Artist At Work, Vojislav Radovanović, organized the First Community engaged artistic workshop in Skytower Park in Lancaster, CA, where community members gathered and provided input about future murals in the park. Approximately 60-65 neighbors actively participated in the workshop creating drawings and collages. Critical data was also collected through questionnaire forms where participants were asked to pick specific words that resonated with them the most, and that they would recognize as values that future murals should represent. The artworks and questionnaire data gathered during the workshop were compiled and reviewed to develop the final two mural concepts: Day and Night. The murals feature favorite flora and fauna from Antelope Valley with the characteristic landscape and mountain ranges. During the next month and a half, Radovanović spent time developing sketches and drawings that would resemble cartoonish and illustrative style. Sketches for the Night Time Mural - South Wall, 164 ft long Sketches for the Day Time Mural - North Wall, 148 ft long On May 7, 2022, a second workshop was held and community members were invited to join Radovanović in painting the mural concepts. Paints and brushes were provided for everyone who wanted to participate. More than 70 individuals collectively painted both murals in just a few hours. After the workshop, Radovanović spent an additional month refining details as a final layer of the murals. I’m a Return and Refund policy. I’m a great place to let your customers know what to do in case they are dissatisfied with their purchase. Having a straightforward refund or exchange policy is a great way to build trust and reassure your customers that they can buy with confidence. On March 12, 2022, MOAH and Artist At Wok Vojislav Radovanović organized the First Community engaged artistic workshop in Skytower Park in Lancaster, CA, where community members gathered and provided input about future murals in the park. Approximately 60-65 neighbors actively participated in the workshop creating drawings and collages. Critical data was also collected through questionnaire forms where participants were asked to pick specific words that resonated with them the most, and that they would recognize as values that future murals should represent. The artworks and questionnaire data gathered during the workshop were compiled and reviewed to develop the final two mural concepts: Day and Night. The murals feature favorite flora and fauna from Antelope Valley with the characteristic landscape and mountain ranges. During the next month and a half, Radovanović spent time developing sketches and drawings that would resemble cartoonish and illustrative style. Sketches for the Night Time Mural - South Wall, 164 ft long Sketches for the Day Time Mural - North Wall, 148 ft long

Up LA Painting Various Artists Five Year Survey curated by Cooper Johnson In MOAH’s Main Gallery, Five Year Survey , curated by Cooper Johnson features significant Los Angeles painters over the last five years. Its paintings range from socially-conscious figurative works to “pure” abstraction and everything in between. The exhibition exudes pure joy in paint as a material, with thick impasto brushwork, energetic mark-making, and bright, fresh color palettes. But paint isn’t the only material these artists utilize; photography, digital rendering, and printmaking all make their way into the work to break the mold of tradition and subvert expectations of what painting is and means. Five Year Survey is a cross-section of Los Angeles painting of the last five years, as exemplified by 15 artists who are moving the medium in new directions. Whether the artists of the survey pull from socio-political fray, bend the logic of composition, reinvigorate the mark, or push painting into the digital, all have a command of material and concept that enables multifaceted work. More importantly, their work reflects salient aspects of living in the present moment: an increased awareness of identity, hyper-connectedness and information abundance, and a heightened sensitivity to what is fake and what is real. And in this context, three themes emerge throughout the survey. First, many of the paintings in the survey address ideas surrounding identity. Taken together, these works suggest how identity can be viewed merely as a construct, but at the same time, the cause of serious issues concerning one’s experience. Something fabricated but nevertheless real. In Five Year Survey , identity is not about our physical features or inherent qualities, but is instead about the meanings we create for them, and store through object, symbol, and mark. And how those meanings, usually with historical and cultural momentum, are imposed, inflicted, or bestowed on each of us. Five Year Survey prompts us to consider not only how these attached meanings affect our day-to-day lives, but the inverse: whether there is something we truly are without our fabrications. A second theme throughout the survey is the use of paint to confuse how we define and experience what is “real.” Whether approaching the issue from painting’s tradition of illusion or its drift into the digital, these artists manipulate the mind’s natural functions, ranging from base-level sense-making to the desire to treat illusion as real. Artists handle this in a variety of ways in the survey. Objects in a landscape might be simultaneously revealed as staged—mere props in a diorama—but remain cloaked in the illusion of representation. Forms can be ambivalently representative and abstract, trigging the mind’s need to recognize patterns, but denying it certainty. The “space” in a painting may be structured to contain incompatible objects, forcing the mind to reconcile what shouldn’t exist in the same space. Even light itself, painted as textureless and pure as the sublime, lets slight deviations of the hand creep in. These works leave the viewer in seemingly contradictory states: experiencing the painting as “real,” but at the same time, hearing its confessions to the contrary. Third is the theme of plurality and purity in painting—paintings that do not zero in on any single concept, logic, or style, but are more interested in how different sets of rules can coexist in a single image. As seen over painting’s historical cycles of “purification” (and subsequent complication), narrowing down an image or process to its essence simultaneously constructs rules about the logic of its creation and interpretation. Although this isn’t new, the current trend away from “pure” painting seems to fit in the context of how technologically connected we are—not only do we have increasing access to a broader variety of work, but the role of the traditional gatekeepers is not as critical. In Five Year Survey , for example, this could include: charging geometric abstractions with agency or narrative; imbuing marks with more than the immediate movement or gesture, sometimes even elements of the painter’s identity; distorting the logic of the painting’s creation; nesting disparate styles within each other; or ironically adopting the rules of previous styles but conceptually contributing to them nonetheless. While Five Year Survey has no unifying concept, these three themes have similar analytical structures that inflect on, resonate with, and map onto the others. Whether it is our identity, our reality, or our rules of constructing images, the survey asks the viewer to explore the relationships we have with our own fabrications—the extent to which they only exist because we created them, and the extent to which we are nevertheless bound to them. Solo show DAVID ALLAN PETERS David Allan Peters creates work that explodes with countless layers of color and intricate texture, combining painting with sculptural hand-carved qualities. Diamonds, grids and circles create kaleidoscopic compositions that vibrantly explore geometry, intuition and chance. He has become known for his innovative process of building up material which is then peeled and cut away exposing what is below the initial surface, unveiling various colors at different depths. Peters sometimes works for 15 years on a single painting, painstakingly applying layer upon layer of acrylic paint and then cutting, scraping, sanding and carving into the layers to show the passage of time similar to the rings of a tree trunk. From the by-products of his paintings, Peters recycles the carved-out remnants into bricks forming minimalist installations. He pushes the limits of acrylic paint and the traditional painting processes, while dissolving the boundary between the second and third dimension. Rooted in the history of early West Coast abstraction, the genesis of Peters’ career was inspired by the dense layers found in other abstract artists such as Jay DeFeo. Continuously experimenting with pattern and diverse techniques, David Allan Peters’ latest body of work explores both the bold designs of Native American textiles and post-painterly, geometric abstractions. Peters received his Master of Fine Arts degree from Claremont Graduate University following his undergraduate at the Art Institute in San Francisco.The artist has been featured in WhiteWall magazine’s profile on the Anderson Collection as well as the Los Angeles Times, the Huffington Post, the New York Times and an artist profile in Elle Decor. Site Specific Installation ERIKA LIZÉE Site-specific installation Infinite Love/Flesh and Blood by Erika Lizée spans three floors in the MOAH atrium. Erika Lizée uses trompe l’oeil and sculptural acrylic painting to create images that seem to “react” to the actual light and shadows of the space in which they reside. Her magically biomorphic installations are strange yet familiar, and seem to recede behind the gallery wall and reach out toward the viewer simultaneously. Lizée imagines the wall surface as a symbolic threshold between different realms or states of existence. She is also inspired by Plato’s Allegory of the Cave, a tale of human perception and how our perceptions and experiences shape our personal reality. “The visionary function, which fulfills the soul’s need for placing itself in the vast scheme of things, has been suppressed, with the result that as a culture, we have lost the gift of vision,” states Lizée. She believes there is a “universal and ever-present urge for transcendence, for going beyond the mundane to experience the sublime. I hope to provide such an otherworldly experience.” Lizée’s recent body of work is based on her studies of the numbers 1 through 10 as well as sacred geometry. Infinite Love/Flesh and Blood at MOAH is inspired by the number 8, with visual references to the shape of the clematis flower, oxygen (the 8th element on the periodic table), musical octaves (there are eight notes in an octave) and the infinity symbol (which looks like a number “8”). Raised in a family of four and now having her own family of four, the number eight holds great symbolic power for Lizée as she reflects on love and life. Erika Lizée earned her Bachelor of Fine Arts degree in Painting from the University of North Carolina Asheville and her Master of Fine Arts degree in Painting from California State University Northridge. She is currently a tenured professor at Moorpark College and the Director of the Moorpark College Art Gallery. A Visual Game of “Telephone” 49 works of art created by 49 contemporary artists in absolute secrecy over a period of nine years. Laura Hipke and painter Shane Guffogg’s curatorial project Circle of Truth in the South Gallery is comprised of works by Ed Ruscha, Shane Guffogg, Billy Al Bengston, Lita Albuquerque, Jim Morphesis, Charles Arnoldi, Robert Williams, Ruth Weisberg and 41 other artists in a modern, visual take on a common childhood game “Telephone”. The Circle of Truth project opens a dialog regarding the nature of what is considered “truth”, and the inherent flaws of receiving and re-transmitting information from one person to the next. The process for the Circle of Truth project was simple: the first painting, created by Shane Guffogg, was delivered to a second artist in the Circle along with a blank canvas. The second artist was instructed to find the “truth” in the first painting and respond with their own creation. That painting was then passed on to the next artist. As a rule, each artist was asked to keep their participation a secret until the project was completed. Circle of Truth, launched in 2009, was completed in 2016 and includes paintings by 49 different participating artists, all of which come from a variety of backgrounds and utilize painting styles ranging from hyper-realism to pure abstraction. The paintings will be hung in chronological order so visitors can see the progression of the “truth” over time. Each artist was also asked to write an essay about their experience. Excerpts of the essays will be available in the exhibition catalogue titled Circle of Truth (available for purchase at MOAH) and can be autographed during the book-signing on September 7 at 1 p.m. https://www.youtube.com/watch?v=OII1XYjBoBc Kaye Freeman in collaboration with Amy Kaps The Anatomy of a Painting Kaye Freeman in Collaboration with Amy Kaps: The Anatomy of a Painting , examines the performative act of applying paint while expanding the painting plane to include the Museum’s entire East Gallery. Kaps’ role as curator quickly morphed into that of cohort, catalyst and collaborator when she asked artist Kaye Freeman to participate in creating the immersive painting installation. Together, they explore the body in relation to the process and product of painting. The curatorial vision for The Anatomy of a Painting is to tell the story of “creation” from the artist’s point of view using Freeman’s bright color palette and intuitive brush marks. Inspired by Yves Klein’s Anthropometries, Freeman paints directly on Kaps’ nude body, using the human form as a mark-making tool. The installation is made complete with a performance by Amy Kaps in which she walks around the gallery as viewers tear pieces of artwork off her dress, gradually revealing a satin under-dress embellished with body prints, black and white photographs and gestural brush-strokes by Freeman. Kaye Freeman uses painting and drawing to “fold and unfold the myths that surround us like a cosmic origami”. Memories and shared emotions weave through her paintings, abstracted and reshaped again and again until an ineffable common humanity and truth is revealed. Kaye Freeman was born in Hong Kong, raised in downtown Tokyo and currently resides in Los Angeles, California. She has shown in solo and group exhibitions throughout Australia and southern California. Amy Kaps is an interdisciplinary artist in constant dialogue with her surroundings and those who inhabit it. Possessing a predilection for the abstract and surreal while emphasizing the human form and condition, she presents a psychological puzzle hoping to entice the viewer to question what they see. Kaps is a past Artist-in-Residence at the Museum of Art and History and completed a major installation at MOAH:CEDAR in 2018. She has worked in the realms of performance, installation, video, photography, music and words in the United States, Germany, Cuba and Spain. She currently lives in Venice, California. Selections from the Permanent Collection Selected highlights from Lancaster Museum of Art and History’s (MOAH) permanent collection are on display throughout LA Painting. The mission of the permanent collection is to celebrate the rich creative culture and history of southern California. As the Lancaster Museum of Art and History, we place great importance on being good stewards of the art of its collection by preserving and displaying artworks for the enjoyment and education of the public. MOAH emphasizes the support of emerging and established local artists that are significant to our region’s unique cultural perspective. Highlights from the permanent collection include works by: Craig “Skibs” Barker Billy Al Bengston Gary Brewer The Clayton Brothers Rebecca Campbell Alex Couwenberg Julius Eastman Renee Fox Dion Johnson Michael Jones Christine Kline Gary Lang Scott Listfield Stevie Love Bradford Salamon Andrew Schoultz Roni Stretch Tim Youd Eric Zammitt August 10 - October 20, 2019 Back to list

< Return to Exhibitions Holiday 2012 Ann Marie Rousseau: Sight Lines sight lines jennifer-glass-cyanotypes_edited Accatino Collection 3 Kokeshi&Totem veritas300 Learn More December 6, 2012 - March 2, 2013 September 29, 2012 - January 1, 2013 Jennifer Glass: Cyanotypes December 6, 2012 - January 19, 2013 Madonna and Child: Selections from the Accatino Collection Kokeshi and the Totem: The Art of David and Kazumi Svenson Gary Baseman: The Seven Sacred Magi Winter Wishes: Letters to Santa Madonna Glass Totem Winter Rousseau 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. Ann Marie Rousseau: Sight Lines Ann Marie Rousseau is a photographer, artist and writer formerly of New York City and currently living in southern California. She works with photography, painting and drawing on paper. Rousseau has a deep interest in line in all its manifestations - drawn, painted, photographed. Madonna and Child: Selections from the Accatino Collection The Museum of Art & History is proud to present an exhibition showcasing Madonna and Child paintings from the Tom and Christie Accatino Collection. Dating from the 17th, 18th and 19th centuries, the selections feature Madonna and Child paintings from Russia, Ukraine, and Spanish Colonial origins. The Accatino’s are regional collectors, based in Riverside and Palm Springs, whose eclectic tastes range from California landscape painting to Asian artifacts. They have a particular interest in certain themes and approaches associated with the Old Masters, and over the past few years have amassed a group of portraits, still lifes, and religious subjects by various painters – many still unidentified – working in the Baroque and classic styles prevalent in their day. The selections here are in honor of the holidays and include a range of treatments of the Madonna and Child subject. Kokeshi and the Totem: the Art of David Svenson and Kazumi Kobayashi Svenson David Svenson and Kazumi Kobayashi Svenson are mixed-media sculptors based in the High Desert of southern California. They both share an affection for folk art traditions, in particular the kokeshi: wooden Japanese dolls, and the wooden totems of Pacific Northwestern tribes. This exhibition highlights the Svenson’s traditional kokeshi collection and its influence on David and Kazumi’s mixed media work, which includes hand blown glass, neon, wood and concrete. Through their artwork and teaching, David and Kazumi are helping to keep folk art traditions alive by sharing their collection with the public and creatively interpreting the kokeshi and the totem through contemporary art-making methods. Although the couple shares an affinity for folk art traditions and sculpting with glass, neon and mixed-media, they come from very different backgrounds. David Svenson grew up in the 1960’s among the many contrasts of southern California. He was surrounded by the flashy neon signage of historic State Route 66 standing out against the vast expanses of citrus groves that dominated the landscape at the time. David recalls the contrast of multicolored light emanating from the neon signs against the darkness of night as an important impression on his aesthetic development. David subsequently left California to study Tlingit art and culture in Alaska where he witnessed the breathtaking displays of the Aurora Borealis. Having a similar effect on his aesthetic development, the use of light became central to his studio practice. While working with the tribes, David was equally influenced by the way of life practiced among the Tlingit families that adopted him into their clan. There, art and life are intertwined in daily interactions and the overarching respect for life is honored through the arts and gift-giving. Totems are always made for someone else, to honor another family or clan. David recognizes kokeshi and totems as fine craft, and sees kokeshi as similar to the Pacific Rim totems because they both honor the family and the spirit of gift-giving. In addition to his studio practice, David teaches at the Academy of Art University in San Francisco, and has taught classes at the Pilchuck Glass School, in Seattle, Washington; the Corning Museum of Glass in Corning, New York; Urban Glass in Brooklyn, New York, and internationally. He continues to work periodically with a team of Alaska Native totem carvers. Learning, teaching, and sharing skills and knowledge about glass, neon, art and the cultures of the Pacific rim are central aspects of David's life and work. Kazumi Kobayashi Svenson was born in Sendai, Japan, the heart of kokeshi country. She creates miniature kokeshi as well as drawings and sculpture. Kazumi’s interest in kokeshi began while growing up with her mother’s traditional kokeshi collection, which consists of wooden dolls made in the 1930’s of Japanese maple, Cherry or Dogwood. The family collection contained examples from Onsen, an area in northern Japan renowned for its hot springs and kokeshi workshops that lined the streets offering the dolls for sale to tourists and locals. Traditional kokeshi are meant to honor the loss of a child or simply be given as a souvenir to bring happiness to the home. The floral and linear patterns painted on their kimonos have been developed and passed down through generations of kokeshi craftsman and are distinctive to the area where they are made. The 2011 Fukushima earthquake was centered in kokeshi country, a devastation that has taken an additional toll on keeping the tradition alive. Kazumi works in the relatively new “Creative Kokeshi” style which developed after the second World War as a departure from traditional doll making. Although many Creative Kokeshi retain the traditional limbless body, contemporary interpretations often show a more shapely body and additional features such as hair and perhaps a more colorful and exquisitely patterned kimono. The features, materials, and styles of Creative Kokeshi are always unique to their creator. Kazumi utilizes glass as her choice of material and creates in a range of scales from tiny dolls made of individual hand blown glass beads to the larger Italian glass and neon pieces. Because the traditional method of creating kokeshi was by lathe turned wood, it converts easily to glassblowing due to the similar methods of turning the material either by a blow pipe or in using a mandrel for bead-making. She often places her Creative Kokeshi miniatures in a mixed media ensemble of neon and old boxes, perhaps referencing her move to America and symbolically bringing the childhood collection with her. Kazumi recalls that the experience of coming to America afforded her the opportunity to see her own culture from a new perspective and allowed her to translate the traditional art form into her own visual language. Kazumi has been blowing glass for twenty two years as well as teaching the craft in Japan. She first began studying neon in the United States in 1994 and has continued combining neon with glass and exhibiting internationally. Gary Baseman: The Seven Sacred Magi MOAH is honored to bring the artwork of multitalented and internationally celebrated artist Gary Baseman to the Antelope Valley. Born and raised in Hollywood, the artist crosses many disciplines as a painter, illustrator, video and performance artist, animator, TV/movie producer, curator, and toy designer. His artwork captures the bittersweet realities of life: playful yet vicious, naughty but nice and always telling a story layered with the pleasures and pain that life brings across generations. Winter Wishes: Letter to Santa This charming exhibition showcased letters and drawings to Santa inside paper snow globes from local Antelope Valley school children. Baseman View or Download the Holiday 2012 Exhibition Catalog by clicking on the cover image or here.

Inclusion The Museum of Art and History (MOAH) is compliant with American Disabilities Act (ADA) standards. MOAH is committed to making its facility, collections, exhibitions, programs, and services accessible to all visitors. Physical access to MOAH is compliant with Americans with Disabilities Act (ADA) standards. Sensory Friendly Programming Community members experiencing autism and/or other hyper- and hypo-sensitivities are invited to participate in the Lancaster Museum of Art and History's Sensory Friendly Programming (SFP). This programming is multi-faceted, with open hours every first Saturday of the month (during exhibition dates), Take-A-Break Space during select BLVD events, and calming tools available for check out from guest services. SFP Open Hours Every first Saturday of the month, the museum opens one hour early 10:00 am to welcome guests with hyper- and hypo-sensitivities. Lights are dimmed, sound elements are lowered, a free sensory-friendly art activity is offered, and the Take-A-Break Space is open for use. Fidgets and noise-canceling headphones are available for use throughout the museum. Take-A-Break Space Stocked with calming tools, noise-canceling headphones, kinetic sand, snacks, and water, the Take-A-Break Space is a great spot to relax during a museum visit or BLVD event. The T-A-B Space is located off of the Main Gallery. Check MOAH's scheduled events for details about T-A-B Space availability. American Sign Language Tours The Lancaster Museum of Art and History offers a American Sign Language Tour for each exhibition at MOAH’s main location. They are led by a MOAH guide, who is accompanied by a certified American Sign Language (ASL) interpreter. Please register in advance on Eventbrite; space is limited to 20 participants. Contact the Education Department at (661) 723-6085 or moaheducation@cityoflancasterca.gov for more information. Spanish Tours The Lancaster Museum of Art and History offers tours in Spanish every second Friday of the month during exhibition dates at MOAH's main location. Tours begin at 5:00 pm and last about 30-40 minutes. Please register in advance on Eventbrite – space is limited to 20 participants. Contact the Education Department at (661) 723-6085 or moaheducation@cityoflancasterca.gov for more information. Early Stage Social Engagement Program (virtual) The Lancaster Museum of Art and History partners with the Alzheimer's Association Southern California Chapter to create a two-part virtual tour for each exhibition on view at MOAH's main location. Each tour is one hour and touches on a variety of exhibited artworks, artistic processes, and artist perspectives for participants experiencing the early stages of dementia. Please visit https://www.alz.org/socal to register for this two-part program.

Desert Forest: Life with Joshua Trees September 7 - December 29, 2024 The Lancaster Museum of Art and History (MOAH) has partnered with the Getty, and 70+ other organizations, for PST ART: Art & Science Collide . On Saturday, September 7, the Lancaster Museum of Art and History will open Desert Forest: Life with Joshua Trees , as part of the Getty PST ART: Art & Science Collide initiative. The exhibition sheds light on the threatened Joshua tree and the fragile Mojave Desert ecosystem that sustains it. The project integrates natural history, indigenous knowledge, public policy, scientific research, and artistic expressions to emphasize the challenges facing the Joshua tree and conservation efforts. With a focus on the impact of climate change, development, wildfires, and other threats, the exhibition explores the symbiotic relationships between Joshua trees, soil fungi, and moth pollinators, engaging a diverse audience interested in arts and environmental issues. Desert Forest features more than 50 historical and contemporary artists who have produced artworks that exemplify a range of ideas across myriad practices. The exhibition will remain on view from Saturday, September 7, 2024 to Sunday, December 29, 2024. Southern California’s landmark arts event, PST ART, returns in September 2024 with more than 70 exhibitions from museums and other institutions across the region, all exploring the intersections of art and science, both past and present. Dozens of cultural, scientific, and community organizations will join the latest edition, PST ART: Art & Science Collide , with exhibitions on subjects ranging from ancient cosmologies to Indigenous sci-fi, and from environmental justice to artificial intelligence. Art & Science Collide will share groundbreaking research, create indelible experiences for the public, and generate new ways of understanding our complex world. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide , please visit pst.art Sant Khalsa, Curator and Juniper Harrower, Associate Curator Featuring contemporary artworks by Linda Alterwitz, Marthe Aponte, Madena Asbell, Nancy Baker Cahill, Diane Best, Darin Boville, Matthew Brandt, Fred Brashear Jr, Bill Leigh Brewer, Claudia Bucher, Bureau of Linguistical Reality, Gerald Clarke, Maryrose Crook, Torreya Cummings, James M Dailey, Scott B. Davis, Department of Floristic Welfare, Dani Dodge, Edgar Fabián Frías, Rob Grad, Jennifer Gunlock, Juniper Harrower, Jessie Homer French, Christine Huhn, Monroe Isenberg, Adriene Jenik, Jetsonorama (Chip Thomas), Jenny Kane, Yulia Kazakova, Sant Khalsa, Casey Kiernan, Stevie Love, Rebecca Lowry, Meg Madison, Aline Mare, Chris McCaw, Paloma Menéndez, Eric Merrell, Chelsea Mosher, Daisuke Okamoto, Michelle Robinson, Cara Romero, Catherine Ruane, Ed Ruscha, Hiroyuki Seo, Kim Stringfellow, Ruth Wallen, Jennifer Valenzuela, and Danielle Giudici Wallis; and historical artworks by Sarah E. Blanchard, Ralph D. Cornell, E.O. Hoppé, Olive Jackson, Gerald D. Jeffers, Charles Koppel, Jane Pinheiro, Betty Warner and Carleton Watkins. COMMUNITY HUB Learn about the upcoming engagement events for Desert Forest: Life of Joshua Trees Learn more View our Digital Program Click the button to view our digital program and learn more about the exhibition and upcoming community hub events! View Digital Program Desert Forest Book Front Cover Mock Up Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. Desert Forest Book Mock-Up Inside Pages Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. Desert Forest Book Mock-Up Backside Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. Desert Forest Book Front Cover Mock Up Please note: The book pictured is a mock-up and may not represent the final product. Actual book design and features may vary. 1/3 NEW BOOK: Desert Forest: Life with Joshua Trees Explore the deeply entangled relationships between humans and Joshua trees in Desert Forest: Life with Joshua Trees —a captivating collection of essays and imagery that reveals how we can protect this iconic species from the threats of climate change and development. Shop Now Thank you to our sponsors! CREATIVE RESEARCH FUND REAL93543

2021 < View Public Art Projects "Paleolithic Herd" by Devin Thor 2021 Permanent Art Project Devin Thor presents three pieces from his raw, unique stone works that make extinct paleolithic creatures live again as a life-size sculptural herd. The use of material makes these flat works fascinating in texture as well as image. In the use of color (russet, gold, brown) and material (sandstone, rebar, and found/discarded materials), they appear as if they arose from the earth itself. The herd, which includes a buck, a doe, and a fawn, makes extinct creatures live again. Seeming tribal in nature, their beautiful simplicity serves as an elegy to the losses of the past, and a pristine prayer for a better future. According to Thor, his paleolithic creatures are “ a homage to our prehistoric ancestors, but also an exploration of the global influence of humans on our environment…” adding that “modern humans have modified the planet and now must take on a stewardship role, otherwise we might face extinction ourselves.” Thor is a geologist as well as an artist, which is likely a reason for his choice of material. The rough brown surface creates an elegant but primal visual perspective, representing a tribute to the beings themselves and the land where they once roamed. His minimal approach is relatable with an easily recognizable shape and universal figures that open the world of the past with hope for tomorrow. A poignant reminder that despite the bulk and weighty purpose of these beings, they were too fragile to survive in the end representing a cautionary tale for the preservation of many species including our own.

Gorgeous Venue & Great Staff "I booked the rooftop terrace and Lantern Room for my dad's 90th birthday. The setting was stunning. It would be perfect for a wedding or any other special event...The MOAH staff was professional, helpful, and communicative throughout the 9 months of planning and also during the party." -R Oberdorf, Weddingwir e "I booked the "Lantern Room" atop the roof of the Lancaster Museum of Art & History. The space is very modern and clean; metal beams cross in front of floor-to-ceiling windows and the space is filled with natural light." -Katherine, Weddingwir e View or Download the Facility Rental Application by clicking here. Rental FAQs Rental Fees Photo: Pixels&Prints Photo: Pixels&Prints Photo: Danielle Bacon Photography Photo: Candace Benjamin Photography Photo: Pixels&Prints Photo: Pixels&Prints

back to list Amir Fallah Amir H. Fallah creates paintings, sculptures, and installations that utilize personal history as an entry point to discuss race, representation, the body, and the memories of cultures and countries left behind. Through this process, the artist’s works employ nuanced and emotive narratives that evoke an inquiry about identity, the immigrant experience, and the history of portraiture.