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Up The Light of Space Various Artists Solo exhibitions: Laddie John Dill Jay Mark Johnson Kysa Johnson Shana Mabari Ruth Pastine Mary Anna Pomonis Robert Standish Site specific installations Gary Lang Edwin Vasquez Video installation Jeff Frost New Works by Ruth Pastine The Light of Space - A film by Eric Minh Swenson. "These Photos Bend Time and Space—Literally" MICHAEL HARDY on Jay Mark Johnson for WIRED Laddie John Dill Laddie John Dill is a Los Angeles artist whose work focuses on nature by portraying cycles and moments rather than a singular moment in time using light and space. He achieves this by utilizing materials like glass, cement, and pigment as a metaphor. With influences like Rauschenberg, Keith Sonnier, Robert Smithson, Dennis Openheim, and Robert Irwin, Dill has learned to use the physical space around him as opposed to a stationary canvas on an easel. This practice results in a magnificent scene of candescent light and sand that envelopes the viewer, entering a form of metamorphosed reality. Contained Radiance Lancaster demonstrates his use of space as his canvas and distributes light creating a dreamlike, ethereal quality. His use of light, sand, and hard materials like aluminum 6061 within the surrounding space each work to create a harmonious and tranquil atmosphere, diffusing light and shadow to create a transcendental experience for the viewer. He portrays the light, sky and earth as parts of a whole that cannot function without the other, bearing witness to the oneness of nature and ultimately demonstrating reasons why nature should be protected and respected. Dill was born in Long Beach, California in 1943. He graduated from Chouinard Art Institute in 1968 with a Bachelor of Fine Arts. After graduating, Dill became a printing apprentice and worked closely with established artists, like Robert Rauschenberg, Claes Oldenberg, Roy Lichtenstein, and Jasper Johns. Laddie John Dill’s work is in the permanent collections of national and international institutions such as the Museum of Modern Art in New York, New York, Los Angeles County Museum of Art in Los Angeles, California, Museum of Contemporary Art in Los Angeles, California, San Francisco Museum of Modern Art in San Francisco, California; High Museum in Atlanta, Georgia, The Phillips Collection in Washington DC, Chicago Art Institute in Chicago, Illinois, The Smithsonian in Washington DC, Louisiana Museum of Modern Art in Humlebaek, Denmark, Pio Monte della Misericordia in Naples, Italy, Museum of Contemporary Art in San Diego, California, and Museo Jumex in Mexico City, Mexico. He currently lives and works in Venice, California. Jay Mark Johnson Jay Mark Johnson’s unconventional method of timeline photography examines human space and time, broadening established understandings about linear temporal space. He combines the storytelling abilities of a cinematographer with a handmade German scanning device to create an image that effectively melds the ideas of time and space into a single artwork. In his series of work, the subject remains clear while the background appears to be distorted and in a constant stream of motion and colors altering time and space. Instead of standard photography which favors space and stagnation, these images are captured through the rate of movement of the subject. This project began when Johnson tested the effect of a rotating slit-scan camera had when he stopped the rotation and focused on a fixed area. The camera takes photographs of a single moment represented by a single vertical sliver and over time a series of vertical lines are created of the moving subject resulting in a composite series of strips. Depending on the rate of motion of the subject, the object can appear elongated or crushed. The rendering of reality in conjunction of time into space provides powerful interpretations of the way humans move through time and space. Johnson was born in St. Petersburg, Florida and studied architecture at Tulane University in New Orleans and at the Institute for Architecture and Urban Studies in New York City. He produced more than fifty series of images that have been presented in more than a hundred solo and group exhibitions. The artworks can be found in the permanent collections of the Riechstag building of the German Bundestag in Berlin, Germany, the Zentrum für Kunst und Medientechnologie in Karlsruhe, Germany, the Frederick R. Weisman Art Foundation in Los Angeles, California, the Phoenix Art Museum in Phoenix, Arizona, the Langen Foundation in Hombroich, Germany, the Peter Klein Museum Kunstwerkin Eberdingen, Germany, the collection of Michael G. Wilson, the Milken Family Foundation in Santa Monica, California, and the Fidelity Corporate Art Collection in Boston, Massachusetts. He currently lives and works in Santa Monica, California. Kysa Johnson Kysa Johnson conceptualizes the microscopic and the macro landscapes of subjects like molecular structures, maps of the universe and diseases transforming them into lively still lifes and landscape paintings. She effectively introduces scientific concepts that would normally be invisible to the naked eye and magnifies its contents, exposing the viewer to the world’s most fundamental parts of our structural universe. Providing meaningful, emotional, and historical relevance, this magnification of the microscopic and macro allows for the viewer to connect to scientific concepts and phenomena providing a newly found appreciation of our reality. Inspired by images gathered from the Hubble telescope and particle accelerators, Faraway, So Close utilizes subatomic particles to portray the cycle of death, rebirth, and transformation from supernovas to the formation of new stars in nebulae. She shows both the fragility and sheer power of these happenings with elegantly placed loops of particle decay to demonstrate the life cycle of these celestial events. The images are made up of hundreds of ink markings contrasted with a stark, black background symbolizing the darkness of space and the universe resulting in a newly realized perspective of life and death. Born in Illinois in 1974, Johnson trained at Glasgow School of Art in Scotland. Johnson has had solo exhibitions at institutions such as The Aldrich Museum of Contemporary Art in Ridgefield, Connecticut, The National Academy of Sciences in Washington, DC, Roebling Hall Gallery in New York City and The Nicolaysen Museum in Casper, Wyoming. She has been featured in a number of group shows including exhibitions at The 2nd Biennial of the Canary Islands, the Tang Museum in Saratoga Springs, New York, The Katonah Museum of Art in Katonah, New York, the Hudson River Museum in Yonkers, New York, DeCordova Sculpture Park and Museum in Lincoln, Massachusetts and Standpoint Gallery in London, England. Johnson has created site-specific installations for KK Projects in New Orleans, Louisiana in 2008, Dublin Contemporary in Ireland in 2011 and for the New York Armory Show in 2013. She is a 2003 New York Foundation for the Arts fellow, a 2009 Pollack Krasner Grant recipient and currently lives and works in Los Angeles, California. Shana Mabari Shana Mabari’s work revolves around the use of color, light and geometric forms to relate ideas about visual perception and our surrounding space. Inspired by the Light and Space movement that occurred in the 1960s, she pulls the west coast artistic movement from key figures like Robert Irwin and James Turrell and explores the philosophy of human perception and the highly technical and advanced scientific fields of astrophysics and psychophysics. In Mabari’s series, she records her astronomical observations during the summers of 2018 and 2019 in Ibiza, Spain. Her prints focus on the overlapping views of the same object - the positive and the negative. In this case, the “positive” view would be the object looking up from earth and the “negative” would be the view of the object looking down on earth. She also makes the choice of incorporating aluminum into the drawing to demonstrate aluminum’s historical importance to aerospace and its natural occurrence in space. The prints in Planeta and Stella incorporate mathematical information like right ascension, declination, apparent magnitude, radial velocity, distance from Earth in light years, eccentricity and synodic period into the intricately placed geometric lines and forms demonstrating the inherent beauty and structure in space. Mabari was born in Los Angeles, California. She has traveled extensively, and lived in Paris, Northern India, and Tel Aviv.  Her education includes studies at the École Nationale Supérieure des Beaux-Arts de Paris and Otis College of Art and Design in Los Angeles. In 2016, Mabari’s Astral Challenger, a 20-foot-high rocket-shaped sculpture, was installed in the center of a roundabout at the intersection of Challenger Way and Avenue L in Lancaster, California, in honor of the City’s ongoing achievements in the aerospace industry, and in commemoration of the 1986 space shuttle Challenger disaster. She holds a patent for the design of “Dynamic Spatial Illusions,” a portable version of a visual and sensory experimental environment. She is a recipient of the Center for Cultural Innovation Artists’ Resource for Completion (ARC) grant. Mabari currently works and lives in Los Angeles, California. Mary Anna Pomonis Mary Anna Pomonis’ work functions at the crossroads of mysticism, abstract painting, geometry, and popular culture. She utilizes a multitude of different source materials including quilt squares, sacred geometry, icons, and abstract painting tapping into themes concerning personal power. She channels these ideas with symbols like crests and banners using historically revered artwork to emotionally move the viewer. Mary Anna Pomonis’ new exhibition Iris Oculus, focuses on the eight point star or temple rosette and is a visual celebration of Inanna, the Mesopotamiam goddess of war and sex. Inspired by images seen of Mother Mary and the Greek Orthodox church, Pomonis joins the sacred images of mandorlas and the architecture of churches to celebrate goddesses of antiquity. Utilizing sacred geometry and geometric forms allows the viewer to transcend beyond the physical realm and invokes the mystic nature of the work. In turn, she creates a space of personal strength connecting to both the artwork and the otherworldly. Pomonis is a Los Angeles based artist. She received her Bachelor of Fine Arts at the University of Illinois at Urbana-Champaign in Illinois and her Master of Fine Arts at the Washington University in St. Louis, Missouri. Her work has been included in exhibitions at galleries and institutions including the Western Carolina University Museum of Fine Arts in Cullowhee, North Carolina, the Torrance Art Museum in Torrance, California, the Mildred Lane Kemper Museum in St Louis, Missouri, the Museum of Contemporary Art in Los Angeles, California, and I-space Gallery in Chicago, Illinois. Her artwork and projects have appeared in The Los Angeles Times, The Huffington Post, Artillery Magazine, Art Forum, Frieze, Hyperallergic, National Public Radio, Whitehot Magazine, Yale University Radio and Artweek. Additionally, her curatorial projects and essays have been featured at commercial and institutional galleries, such as the Vincent Price Art Museum in Monterey Park, California, Whittier College Greenleaf Gallery in Whittier, California, PØST in Los Angeles, California, and the Peter Miller Gallery in Chicago, Illinois. She is currently an Assistant Professor of Art Education at California State University Fullerton. Robert Standish For 12 years, Los Angeles painter Robert Standish had been representing his perceptions of the undercurrents of the human condition through photorealistic paintings of people and blurred lights. Seven years ago, Standish shifted away from constructing life-like replicas based solely on his photos to delving deeper into the unconscious unknown and new psychological depths. His choice to explore pure abstraction unlocked an organic spontaneous paint process of his own making, which is evidenced in both his current Rhythmic series and Anti-Sporadic series . With an interest in metaphysics, Standish uses basic elements like line, color and texture, to represent the dynamism, constance and transcendent flow of the universe. Standish’s lusciously colored, abstract paintings appear to be in the tradition of both American Abstract Expressionism and German Expressionist painting. There are no finite borders or endings in his works as every stroke bleeds into one another in an eternal unbroken chain that seems to extend far beyond any conceivable edge of the canvas. The painting’s many layers, strokes and scrapes of color may thus appear as “beautiful” as anything found in nature that came into existence partly according to a predetermined structure (such as DNA), as well as by way of unpredictable occasions of pure chance and the action of outside forces. Standish taps into a universal and organic language as his traces begin to take on the shape of fractal patterns, earth frequencies and topographies and biorhythmic waves. As he once manipulated the real into the un-real, Standish now transforms the natural into the supernatural. Robert Standish graduated from Antioch University in 1996 with a Bachelors of Art in Psychology. His works can be found in the permanent collections of Los Angeles County Museum of Art in Los Angeles, California, The Weisman Foundation in Los Angeles, California, JP Morgan Chase, the Louis K. Meisel Gallery in New York City, Larry and Marilyn Fields, Patricia Arquette, Bryant Stibel, along with numerous acclaimed private collections. His paintings have been exhibited internationally in galleries and museums, with a recent group show at the Frederick R. Weisman Museum of Art at Pepperdine University in Malibu, California in 2019, and is now excited to share his first solo show with us here at The Lancaster Museum of Art and History. He currently works and lives in Los Angeles, California. Gary Lang Gary Lang is a widely-known Western contemporary abstract painter whose work is centered around color theory and the study of time. Recognized for his intense and brightly colored circles, he combines the precision of his brush, hand, paint and canvas to his hypnotic paintings that simultaneously convey an immense amount of sharpness, gradiance and permeability. In Lang’s Glitterworks, he strays from his iconic circles to a playful rendition of color and space. However, these works still continue to explore Lang’s fascination with effervescent colors and visual consciousness. He uses 120 six inch fabric squares from clothing that he wore while working with dabs of different colors, glitter and reflective film placed into square wooden frames, creating a sense of order in the energetic splashes of color. This contrasts sharply with the carefully controlled, concentric circles one witnesses of previous works. The result challenges traditional ideas about formal composition while exploring Lang’s themes of color and space. Gary lang received his Bachelor of Fine Arts from the California Institute of Art and his Masters of Fine Arts from Yale University. In 1975, Lang received a Fulbright Scholarship to study in Barcelona where he studied the architecture of Antoni Gaudí. Lang’s work has been shown in more than seventy solo exhibitions in the United States, Austria, France, Japan, The Netherlands and Spain. His work is also featured in permanent collections of the Museum of Contemporary Art in San Diego, California, Los Angeles County Museum of Art in Los Angeles, California, Portland Museum of Art in Portland, Maine; the Brooklyn Museum of Art in Brooklyn, New York, Contemporary Art Museum, University of South Florida in Tampa, Florida, Detroit Institute of the Arts in Detroit, Michigan, Gemeentemuseum den Haag in The Netherlands, among many others. Gary Lang currently lives and works in Ojai, California. Edwin Vasquez Edwin Vasquez’s work ranges from a multitude of different mediums including photography, digital images, poetry, and mixed-media utilizing art as a vehicle for social commentary about his surrounding environment and human nature. His art expands on his universe and his perspectives on today’s controversial social and political climate tapping into themes about immigration, freedom, and Latinidad. Vasquez’s new body of work combines a logical, mathematical analysis of shapes with digital photographs of space and purposefully deconstructs these images creating a harmonious depiction of the planets and constellations. His art relies on his intense saturation of colors and forms to promote the reactions of the viewer. Vasquez achieves this with the use of fractal geometry, a mathematical approach to describing, measuring, and predicting systems occurring in nature. The installation consists of more than 200 images that Vasquez has manipulated through different software melding various colors and shapes until finding an image that he is satisfied with. The use of fractal shapes, bright colors, abstract shapes, and space function to create structure and pattern inside our tumultuous universe. Vasquez is an artist, photojournalist, published author, and videographer in the Antelope Valley. He has participated in a number of different exhibits including: Refractions, Metro Gallery, Pomona; dA Gallery 16th Annual d’Aztlan: El Movimiento; Hispanic Heritage, Latino Art Museum; Convergence From Pixels to Picote, Colleen Farrell Gallery, Tehachapi; Vasquez has been featured in several group exhibitions including The State Latin American Visual Arts in Rhode Island (where his work was recognized by Governor Lincoln D. Chafee), Communication at Casa 0101 in Los Angeles, Don’t Sleep! at the Latino Art Museum in Pomona, Day of the Dead Installation at the MOAH, and regularly participates in the Museum of Art & History’s Annual All-Media Juried Art Exhibit. He is currently an Artist-in-Residence for #CountMeIn and a Kipaipai Fellow. Jeff Frost Jeff Frost explores time and space through different sub-mediums like painting, photography, video and installation. In combination with short films that traverse themes about creation and destruction. He often works with time-lapse and stop motion to portray notions of science and physics to understand the subtleties of our physical world. This process is achieved by taking photos from several points in time and coupling them into a smooth, chronological flow of spatial events. The use of time-lapse and stop motion is also utilized in the painting of empty, abandoned buildings, capturing a fluid motion of events that appears to have seemingly materialized on their own. In the series, GO HOME , Frost dissects the meaning of “home” through a series of optical illusion paintings in derelict, abandoned structures in southern California. Typically, abandoned locations don’t conjure up feelings associated with the idea of home, Frost challenges the physical representation of home by questioning our emotional alignment with these ideas. “In order to maintain our world view, our emotional alignment must be very precise. One step to the left or right and the illusion breaks.” Frost said. The work examines the physical and ideological notion of what one considers to be a home and explores the frailty of these concepts through the different layers of illusion. Frost was born in Utah and graduated from the University of Eastern Utah in 1998. His work has been shown at his own independent Desert X 2019 parallel installation, Los Angeles Art Association curated by Leslie Jones for LACMA, the Palm Springs Art Museum, the Center for European Nuclear Research (CERN), and LAX. He has been selected for the Nordic LA residency at the ACE Hotel in Palm Springs & the Facebook Artist in Residence program in 2019. He performed a soundart set at the Desert Daze music festival in 2019. He was both a producer and subject of the 2017 Netflix docuseries, Fire Chasers. He has been featured in numerous online publications and TV interviews such as PBS Newshour, TIME Magazine, Artnet, and American Photo. The American Society of Media Photographers (ASMP) named him one of the best photographers of 2014. U2 and Ladytron have commissioned him for artwork used on tour and in album art. He has spoken at TEDx in Switzerland, the Seattle Art Fair, University of Southern California, Palm Springs Art Museum, Orlando Museum of Art, Snap! Orlando, and photoLA Ruth Pastine Ruth Pastine’s painting practice is an ongoing contemplative and reflective investigation focusing on the austerity of the three complementary color systems which, although seemingly finite, access limitless possibilities. Her paintings evolve in concert with and in juxtaposition to one another furthering the perceptual interaction of color contexts while challenging phenomena of color perception and the relativity of color and light. Working serially, Pastine’s process is informed by the systematic understanding of color developed at the Bauhaus and the 19th Century research of Michel Eugène Chevreul and his discovery of simultaneous contrast. Confronting the unknown is always at the edge of discovery and is the onramp to new work. Pastine’s minimalist color field paintings explore essential tensions that drive her work: presence and absence, surface and depth, materiality and immateriality, the finite and the limitless. She continues to evolve pure abstraction and follow the concepts of Minimalist theory, furthering the phenomenological experience of light and space in her work. Pastine explores the subtle character and nuance of color, color and light are reduced to their most elemental form, working with oil paint on canvas thousands of small brush strokes resolve and appear visually seamless, producing an image that is both objective and dematerialized. Challenging preconceptions about color, her investigations into the manipulation of color, light, and matter question the perceptual experience and redefine the visual field. Born and raised in New York City, Ruth Pastine received her B.F.A. from Cooper Union for the Advancement of Science and Art and upon graduating was awarded an independent residency grant to the Gerrit Rietveld Academie, Amsterdam, The Netherlands. She received her M.F.A. from Hunter College of the City University of New York where she focused on painting, color theory and critical studies. In 2009, Pastine began site-specific work with a public commission entitled Limitless, composed of 8 large-scale paintings, installed as two series in the adjoining lobbies of Ernst & Young Plaza, in downtown Los Angeles. In 2014, Ruth Pastine had her first museum survey exhibition titled: Attraction: 1993-2013 at MOAH Lancaster Museum of Art and History, Lancaster, CA with exhibition catalog essays by Donald Kuspit and Peter Frank, with an appreciation by De Wain Valentine. In 2015, she opened Present Tense: Paintings and Works on Paper 2010-2015 at the CAM Carnegie Art Museum, Oxnard, CA. Ruth Pastine’s paintings are included in numerous private and public collections, including the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco; SFMOMA San Francisco Museum of Modern Art; MCASD Museum of Contemporary Art San Diego; Frederick R. Weisman Art Foundation, Los Angeles; MOAH Lancaster Museum of Art and History Lancaster; Brookfield Properties, Ernst & Young Plaza, Los Angeles; AXA Art, Cologne, Germany; Qualcomm, San Diego; CIM Group Headquarters, Los Angeles, among others. Ruth Pastine lives and works in Southern California. February 8 - April 19, 2020 Back to list

Up Made in the Mojave Various Artists Artists Samantha Fields Kim Stringfellow Carol Es Catherine Ruane Marthe Aponte Nicolas Shake Ron Pinkerton Aline Mare Randi Hokett Made in the Mojave celebrates the subtle beauty, rich history, and plentiful resources of the Mojave Desert. The exhibit which focuses on the landscape interpreted through a variety of media, from painting, to photography, to social practice, is sure to awaken within visitors a new-found appreciation for the nuanced splendor of the desert. Featured solo exhibits include artists Samantha Fields, Kim Stringfellow, Carol Es, Catherine Ruane, Aline Mare, Ron Pinkerton, Nicolas Shake, Randi Hokett and a site specific installation by local artist Marthe Aponte. Made in the Mojave expands our idea of the desert and its relevance in our daily lives. In addition to the professional artist presentations, the Museum is honored to highlight R. Rex Parris High School students’ project, Wasteland, on the rooftop terrace. As part of MOAH’s Green Initiative, this project was led by Los Angeles artist Nicolas Shake working in conjunction with R. Rex Parris High School art instructor Kris Holladay and her students. Samantha Fields: Ten Years While it is true that Samantha Fields spends a great deal of time contemplating how things fall apart, whether it be by fire, drought, tornado, typhoon, flood or simple human error, to say that Fields is obsessed with disasters would be reductive. There is a central and indefatigable impulse toward beauty and hope that underlies the artist’s process, which is as central to her final image as water is to a river. Fields’ images are drawn from our collective human consciousness. They are recollections of events that have passed or are still raging on as in the epic fires that regularly engulf the Los Angeles landscape, which the artist has drawn to create a series of startlingly realistic images of fire plumes, simultaneously delicate and hard edged. Fields creates these paintings in a kind of vacuum, her hand never really touching the canvas as she applies acrylic paint through an air brush, only occasionally adding a more surreal gesture by hand. Fields’ images are just as much metaphors for the state of the world as they are landscape paintings. The landscape, for Fields, is simply the best and most luminous vehicle to express these ideas. These images, drawn from disaster, highlight the viewer’s gaze into the abyss, searching for a sense of self in the chaos and beginning to understand the complexity of our human experience. Samantha Fields is a painter based in Los Angeles, California. She received a Sabbatical Award from California State University, Northridge in 2015, an individual artist grant from the City of Los Angeles (COLA) in 2012, and was awarded the College Art Association’s professional development fellowship in 1997. Kim Stringfellow: The Mojave Project The Mojave Project is a transmedia documentary and curatorial project led by Kim Stringfellow exploring the physical, geological and cultural landscape of the Mojave Desert. The Mojave Project reconsiders and establishes multiple ways in which to interpret this unique and complex landscape, through association and connection of seemingly unrelated sites, themes and subjects thus creating a speculative and immersive experience for its audience. The Mojave Project explores the following themes: Desert as Wasteland; Geological Time vs. Human Time; Sacrifice and Exploitation; Danger and Consequence; Space and Perception; Mobility and Movement; Desert as Staging Ground; Transformation and Reinvention. The Mojave Project materialized over time through deep research and direct field inquiry involving interviews, reportage and personal journaling supported with still photography, audio and video documentation. Field Dispatches were shared throughout the production period at mojaveproject.org and through KCET Artbound. This initial phase of the project was designed to make ongoing research transparent, inviting the audience into the conversation as the project developed. The Mojave Project culminates as a large-scale video installation incorporating the digital research journal, photographs, documents and maps along with other collected ephemera and objects gathered over the three-year production period. Launched at MOAH, the completed project, exhibition and corresponding publications will travel to multiple institutions over a two-year period. Funding for The Mojave Project is provided through a Cal Humanities 2015 California Documentary Project production grant with additional support from San Diego State University. The Mojave Project is a project of the Pasadena Arts Council’s EMERGE Program. The Mojave Desert Heritage & Cultural Association and KCET Artbound are project partners. Kim Stringfellow is an artist, educator and independent curator based in Joshua Tree, California. She is a 2016 Andy Warhol Foundation for the Visual Arts Curatorial Fellow and a 2015 Guggenheim Fellow in Photography. In 2012, she became the second recipient of the Theo Westenberger Award for Artistic Excellence. Other awards include a Center for Cultural Innovation (CCI) “Investing in Artists” equipment grant in 2010. Carol Es: The Exodus Project Over the past 15 years, Carol Es has made several pilgrimages to Joshua Tree National Park. During one of these visits, a 10-day extended stay in a secluded spot of the park, The Exodus Project was born. As Es studied Jewish mysticism, meditated and explored her desert surroundings, she carefully documented the process, sketching, filming and blogging about her experience in an effort to gather as much preliminary work as she could before returning to her studio in Los Angeles, where she would work on the project for the next year. Back in her studio, one of Es’ first endeavors was a short film, produced in collaboration with visual artists and animators Jonathan Nesmith and Susan Holloway. Together they created Up to Now, a six-minute movie featuring Yuddy, a giraffe-like creature representing Es’ spiritual quest and Moppet, who resembles a ragdoll, symbolizing the artist’s inner child. It is a short story, narrated by Es, about “freeing oneself from emotional baggage.” The short is featured inside Camp Up to Now, a multi-media installation consisting of a large yellow tent that acts as a miniature theatre. The Exodus Project also encompasses a series of oil paintings on canvas and gesso boards, called the Joshua Tree Paintings, inspired by actual locations mixed with the artist’s imagination, as well as an additional series, Rock and Refuge, consisting of more abstract, collaged paintings on panels of birch. These pieces are meant to represent the unique architectural landscapes which can only be found in the high desert. Carol Es is a two-time recipient of the ARC Grant from the Durfee Foundation and the Artists’ Fellowship in New York. She has also received a Pollock-Krasner Fellowship and a Wynn Newhouse Award. Additionally, she writes, illustrates and publishes handmade books via her independent publishing company, Careless Press. She has also just completed her memoir, Shrapnel in the San Fernando Valley. Catherine Ruane: Dance Me to the Edge Visitors to the Mojave Desert often comment on how the wide vista of its windswept environment feels like being precariously close to the edge of the world. Catherine Ruane grew up on this “edge.” The Mojave Desert is a wild place full of mystery, challenges, danger and impossible wonders. The native plants are not only miraculous to behold but are a metaphor for our own survival. Ruane’s set of drawings are dedicated to the iconic, unusual and yet ubiquitous Joshua tree. Dance Me to the Edge consists of 12 round drawings, 12 inches each in diameter, providing a nod to the counting of time on the face of a clock, as well as the recognition of balance and continuity inherent in the desert’s unchanged landscape. There is also one larger drawing, depicting a Joshua tree in full bloom, which stands as a symbol for the continuum of life in ongoing generations: life begets life. Joshua trees are slow-growing and long lived, with several reaching a thousand years in age. This plant tells a story of survival, resilience and persistence. There is a symbiotic relationship between the tree and one particular, tiny moth that pollinates the Joshua flower in exchange for its food provisions and protection for its maturing eggs. Cooperation and the space of time are significant to the survival of this desert tree. Ruane chose to use basic charcoal and graphite pencil to meticulously draw the features of this prehistoric plant and its dependence on a tiny desert insect. It is as if the Joshua tree and its moth are in a dance of perfect balance, reflecting the delicate relationship between humankind and the environment itself. Catherine Ruane is a member of Southern Graphics Council International, College Arts Association, West Coast Drawing and Los Angeles Art Association. She has also completed commissions for several large businesses, including: The Walt Disney Company, Citi Bank, the Hyatt Hospitality Corporation, and the Ritz Carlton Hotel Development Company. She currently resides in San Diego, California. Marthe Aponte: Memories of a Joshua Tree Marthe Aponte is concerned with the relationship between time and looking, seeking to create pieces in which the artist and the viewer are transported into another world, where one is encouraged to savor the moment, inviting deceleration and contemplation. Her picoté technique, composed of varying sizes and textures of holes pierced through paper with the artist’s singular tool – an awl – forces viewers to slow down in order to best appreciate the intricacy of each composition, an experience that runs directly counter to the high-speed, technology fueled reality of modern existence. The subject of this work is the Joshua tree. Of her subject matter, the artist stated, “I am interested in the Joshua tree not because it is a symbol of the Mojave Desert’s flora, but instead because it gave me the opportunity to explore concepts of life, death and fate.” Thus, the artist incorporated the presence of the mythological Fates, sisters visiting from Greek mythology, who flank the tree at each side. An organism that must survive on meager resources, the Joshua tree’s austerity lends itself well to Aponte’s minimalist picoté technique. For the artist, the Joshua tree is a sacred site, existing somewhere in the liminal spaces between life and death, potentially subject to the mercy, wrath, or whim of the Greek sisters. Marthe Aponte is a self-taught artist who began her practice in the Antelope Valley five years ago. Since then, she has become a member of the Los Angeles Art Association’s Gallery 825 and has participated in numerous exhibitions throughout Los Angeles County, including Coagula Curatorial’s Sweet 16 Juried Exhibition and 2017’s stART Up Art Fair. She was also awarded the Beryl Amspoker Memorial Award for Outstanding Female Artists during MOAH’s Annual Juried Exhibition, Cedarfest. Aponte currently resides in Lancaster, California. Nicolas Shake: Wasteland The source material for Nicolas Shake’s work is derived from what others leave behind. The commercial detritus of suburban life, discarded in the desert, becomes reconfigured in complex and often surreal arrangements, only to continue their slow disintegration in the harsh climate. To create his compositions, Shake has stacked tires, constructed abstract scarecrows from cardboard boxes, upended sofas and made flimsy fences out of mops, brooms and rakes, arranging and rearranging these cast-off items in an ode both to their temporal nature and the human failure they imply as discarded remnants of the American dream. Once the compositions are complete to the artist’s satisfaction, he illuminates with the light from his vehicle. This results in large-scale otherworldly arrangements that echo themes of dreamlike possibility as much as they evoke post-apocalyptic disaster. Once completed, the structures are left to decay back into ruin—and this is part of the point. Nicolas Shake received his Bachelor of Fine Arts from Rhode Island School of Design in 2008 and Master of Fine Arts from Claremont Graduate University in 2011. Shake lives and works in Los Angeles, California. Ron Pinkerton: The Last Stand The source material for Nicolas Shake’s work is derived from what others leave behind. The commercial detritus of suburban life, discarded in the desert, becomes reconfigured in complex and often surreal arrangements, only to continue their slow disintegration in the harsh climate. To create his compositions, Shake has stacked tires, constructed abstract scarecrows from cardboard boxes, upended sofas and made flimsy fences out of mops, brooms and rakes, arranging and rearranging these cast-off items in an ode both to their temporal nature and the human failure they imply as discarded remnants of the American dream. Once the compositions are complete to the artist’s satisfaction, he illuminates with the light from his vehicle. This results in large-scale otherworldly arrangements that echo themes of dreamlike possibility as much as they evoke post-apocalyptic disaster. Once completed, the structures are left to decay back into ruin—and this is part of the point. Nicolas Shake received his Bachelor of Fine Arts from Rhode Island School of Design in 2008 and Master of Fine Arts from Claremont Graduate University in 2011. Shake lives and works in Los Angeles, California. Aline Mare: The Angle of Repose Over the past year, Aline Mare has found herself drawn into several mysterious encounters during extended trips into the Mojave Desert. In this suite of images, the artist has immersed herself in those landscapes, open to the pull of objects and narratives embedded within the nakedness of the desert. Mare attempts to capture the spirit of the environment through its tangible elements: roots, seedpods, wispy clouds, Joshua tree flowers and other various fragments of the desert’s living systems. Each piece is an amalgam of images that are scanned, altered, painted and recombined to create a rich layering of sources. Biological and urban objects are fused with mark making, photo sources and digital media to compose a poetic language where systems of generation and communication are linked to form a new syntax. Using the machine’s illumination as an original light source, Mare utilizes digital scanning as a contemporary interpretation of the nineteenth-century photographic process of cliché verre, literally a Greek phrase meaning “glass picture.” The distinct layering of image and sensory background amplifies the direct beauty of the natural object as it interfaces with technology, creating a modern hybridization between the historic photographic process and the artist’s hand-rendered paintings. Thus, the eroded objects become talismans, charged artifacts of past habitations, bleached and fractured from the sun and loaded with a subjective energy. Each tableau is a theatre set where time becomes the actor—both giver and destroyer of life—within a space where quiet mysteries are revealed. Aline Mare is a multi-media, multi-disciplinary artist, currently concentrating on photography, video and installation. In 1991, she was awarded a New York State Residency for the Arts as well as the New Langdon Arts Grant. She participated in the Headlands Residency for the Arts in 1999 and was the Kala Artist in Residence in 2006. In 2012, Mare was awarded a Creative Capacity Grant by the City of San Francisco. In 2015, she participated in New Mexico’s Starry Nights Residency, as well as Surpass, a Sino-American China Art Tour. Randi Hokett: Crystalworks Hokett draws upon the volatility of tectonic plates and volcanoes as geological manifestations of creation as a metaphor for the formation of the personal landscape. Utilizing a variety of materials including salt and borax mined from the Mojave Desert itself, Hokett grows crystals on disrupted, broken and burned panels of wood. She uses chemistry to grow the crystals and then adds ink, paint and encaustic to create the finished panel. Blurring the lines between painting and sculpture, she explores a complex narrative of growth in a place where at one time there was only damage. Crystalworks draw heavily from science-based ideas and processes in order to address the wound or scar as the liminal space that allows for the beauty of growth, change and transcendence. Randi Hokett was born and raised in southern California. She earned her Bachelor of Arts in Art History from University of California Los Angeles and her Master of Fine Arts in Art History and Museum Studies from University of Southern California. She is inspired by science, especially geology and chemistry. Recurring themes in her work include the relationships between damage/growth, isolation/connection, love/lust, birth/rebirth, light/dark and other places of intersection. Hokett’s work has been show at Los Angeles Municipal Gallery, Irvine Fine Arts Center and Lancaster Museum of Art and History. She lives and works in Los Angeles. May 13 - July 30, 2017 Back to list

Artist in Residence Up You are (the interpreter) Here Dave Martin Elyze Clifford Interpretive Center In this workshop series participants will venture into the Preserve with Polaroid cameras and unique pointing devices to photograph areas that capture their personal interest. These locations will also be marked on a map to document their connection to the land. Back at the Interpretive Center, participants will bring their images to life by adding text, drawings, and captions using stencils, vinyl letters, and handwritten type. All photographs and contributions will be collected to create a community-generated interpretive map of the Preserve, which will be showcased in an upcoming exhibition. Schedule: Saturday, January 4, 2025 | 11AM - 1PM Saturday, January 11, 2025 | 11AM - 1PM Saturday, January 18, 2025 | 11AM - 1PM https://www.eventbrite.com/e/artist-in-residence-with-dave-martin-you-are-the-interpreter-here-tickets-1133494124439?aff=ebdsshcopyurl&utm-source=cp&utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing January 4 - January 18, 2025 Back to list

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. 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

Up Celebrate the Lunar New Year Lorraine Bubar Back to list

Up Flora Various Artists Nancy Macko: The Fragile Bee Main Gallery Terry Arena: Simbiotic Crisis: Northeast Rooftop Terrace & Entry Atrium Gary Brewer: Secrets and Emanations Wells Fargo Gallery Debi Cable: Glow South Gallery Candice Gawne: Lumen Essence South Gallery Lisa Schulte: Essence of Time South Gallery, Top of Stairs & Jewel Box Mud Baron: #flowersonyourhead Vault Gallery Jamie Sweetman: Affinities Education Gallery 8,000 Years of Antelope Valley History Curated by Anthropoligist Dr. Bruce Love East Gallery Nancy Macko: The Fragile Bee Since the early nineties, Nancy Macko has drawn upon images of nature—in particular the honeybee society—to explore the relationships between art, science, technology and ancient matriarchal cultures. Until recently, she combined elements of painting, printmaking, digital media, photography, video and installation to create a unique visual language. This combination of media allowed her to examine and respond to issues related to eco-feminism, nature and the importance of ancient matriarchal cultures, as well as to explore her interest in mathematics and prime numbers in particular, in which she endeavored to make explicit, the implicit connections between nature and technology. Since 2005, she has been developing a body of purely photographic work that takes the viewer into a space of light, air and unfamiliar textures. Using a macro lens to shoot nature subjects from her garden at close range, the images are then realized as large scale photographic works. As a social practice, Macko’s work addresses life’s fundamental questions. She photographs the process of the life and death of plants that are a metaphor of our brief existence. Increasingly threatened by encroaching development, plants remind us how fragile the whole ecosystem is; for example, there is still a very serious concern over the longevity of honeybees. For two decades, Macko has worked with honeybee imagery and media to imagine a utopia where the power and strength of women would be recognized and celebrated. The bees became the metaphor because of their cooperative and unified nature in literally creating the hive, protecting the queen and foraging for food to feed all. In 2009, her focus shifted to examining the flora they draw nourishment from and so carefully attend through the process of pollination. In essence, the bees experience memory loss when they “disappear.” Global research has determined that pesticides and fungicides containing neonicotinoids enter the bees’ nervous systems when they pollinate causing them to experience a form of dementia, which then prevents them from finding their way back to the hive. Grassroots groups like SumOfUs have organized protests and gatherings to raise their voices against bee-killing pesticides and the corporations that manufacture them. We are reaching the point where our global ecosystem is straining, and the threat to the bees is becoming a threat to all of us. As bees die off, up to a third of the food we consume is threatened and food prices are already being affected around the world. Friends of the Earth and the Pesticide Research Institute released a report in August 2013 detailing how some “bee friendly” home garden plants, such as sunflowers, sold at Home Depot, Lowe’s and other garden centers have been pre-treated with the very neonic pesticides shown to harm and kill bees. “The Save America’s Pollinators Act” is included in the next Farm Bill in Congress and the EPA has released rules and new labels for pesticides containing neonicotinoids (imidacloprid, dinotefuran, clothianidin and thiamethoxam). These labels feature a special warning and prohibit use of these products where bees are present. While this is a good sign, it is not enough. We know that bees need more protection and we need more research so that we can better understand the impacts of these and other pesticides on pollinator habitat. As our farms become monocultures of commodity crops like wheat and corn—plants that provide little pollen for foraging bees—honeybees are literally starving to death. If we do not do something, there may not be enough honeybees to meet the pollination demands for valuable crops. As the disappearance of the bees grows more and more dire, Macko’s sense of responsibility to saving them and all of us has also grown. As an artist one way Macko approaches this issue is to study and photograph the plants that attract the bees in Southern California and in different regions of the country. Working with native plants from the Rancho Santa Ana Botanic Garden in Claremont, CA, she is completing a series of photographic “portraits.” As an avid gardener, Macko has also created a drought tolerant space in her garden for these plants to attract the bees. In the future, she wants to continue to document and understand the disappearance of the bees in terms of comparative visual documentation by visiting botanical gardens throughout the United States talking to curators, botanists and horticulturists about it. Originally from New York, Macko received her graduate degrees from the University of California, Berkeley. A practicing artist since the early 1980s, she has produced more than 20 solo exhibitions and participated in over 150 exhibitions, both nationally and abroad. She has received more than 30 research and achievement awards for her art. She has traveled extensively and has had highly productive artist residencies at the Banff Centre for the Arts in Canada and the Musee d’Pont Aven in Brittany, France. Macko’s work is in numerous public collections including: Denison Library and the Samella Lewis Collection of Contemporary Art at Scripps College; the Achenbach Foundation for Graphic Art, Fine Arts Museums of San Francisco; Bell Gallery at Brown University; the Grunwald Center for the Graphic Arts, UCLA Hammer Museum; Los Angeles County Museum of Art; Mount Holyoke College Museum of Art; the New York Public Library; the North Dakota Museum of Art; Pomona College Museum of Art; Gilkey Center for Graphic Art, Portland Art Museum and the RISD Museum of Art. Macko is Professor of Art at Scripps College in Claremont, CA. Terry Arena: Symbiotic Crisis: Northeast Terry Arena explores the vulnerability of the honeybee and, in turn, our food sources through highly technical, rendered drawings. The growth of one-third of the crops we eat are supported by pollination from honeybees. This is to include direct consumables such as fruits, vegetables and nuts and indirectly in the crops that are grown to facilitate the production of meat and dairy products. The role of the honeybee is so integral to crop propagation that bees are transported by trucks to farmlands in need of pollination. Recently, the mysterious vanishing of the bees has been covered in public media. Though studies have been conducted, causes of the decline in the bee population are not yet definitive. Considering the ideas of our relationship with the environment and impact bees have on our food sources, Arena’s detailed renderings are drawn on food tins and repurposed materials. The reductive, yet analytical nature of the graphite drawings is reminiscent of nature studies and botanical drawings of old masters. Though the appearance and quantity of drawings is somewhat mechanized, each one is unique and handmade from collected source materials. Terry Arena received her Master of Arts degree in Painting at California State University, Northridge in 2009. Recently, Arena’s work was part of a two-person show at the Carnegie Art Museum in Oxnard, California and she completed a series of mobile installations housed in a box truck last fall. In addition, she has had three solo shows of her graphite still life renderings at Sinclair College in Ohio and the Ventura and Moorpark Colleges in California. Her work has been included in various group exhibits such as Sweet Subversives: Contemporary California Drawings at the Long Beach Museum of Art in Long Beach, City and Self at Red Pipe Gallery in Chinatown, Chain Letter at Shoshana Wayne Gallery in Santa Monica and Revisiting Beauty at Orange County Center for Contemporary Art in Santa Ana. Arena currently lives and works in Ventura. Gary Brewer: Secrets and Emanations For many years, Gary Brewer has been developing a vocabulary to articulate through images and metaphors, the mystery and history of life. His vivid oil paintings present subjects such as: orchids, lichens, corals, pollen and seeds—biological life forms suspended in space. Brewer uses their complex design and compelling architecture as metaphors for the history of life on earth and of human consciousness. In his newest works Brewer has included the mapping of “Dark Matter”, a gravitational structure that is web-like: ordering and organizing galaxies into clusters—an invisible lattice structuring the known universe. For Brewer, our lives are lattice-like in the hidden web of connections that link us to our past and send tendrils into a future resonant with meaning. Brewer states: “I was raised in Lancaster. My father was a test pilot and later became an engineer in the aerospace industry, working to land a man on the moon. As a young child we would walk to the end of our street, which dead-ended at the edge of the desert to watch the X-15 coming in for a landing after skirting the edge of the atmosphere. It was here that the first philosophical musings arose in my young mind. When I stood on the pavement of our street I was in ‘civilization’, but by simply stepping over the edge onto the desert sand I was back in ‘nature’ among the road runners, jack rabbits, horny toads and kangaroo rats that were my companions on my excursions into the wilds. There is something strangely poetic about my return to Lancaster where I spent my youth, to exhibit art works that still vibrate with those philosophical musings of a young boy standing on the edge of the desert, gazing up to the stars and exploring the universe at his feet.” Brewer is a self-taught artist raised in the Mojave Desert. He has curated two major exhibitions, Them; Artists, Scientists and Designers Concerned with the Entomological World SOMARTS, San Francisco, CA in 1999 and The Age of Wonder; Artist’s Engaged with the Natural World Turtle Bay Museum, Redding, CA in 2011. His work has been exhibited in galleries located in New York, Los Angeles and San Francisco and are in private, corporate and museum collections throughout the United States. He lives and works in Los Angeles. Debi Cable: Glow Debi Cable creates colorful immersive art experiences through her fluorescent hand-painted murals. Subjects often incorporated include flowers, butterflies, geisha’s and dragons. She also creates full environments such as underwater visions, voyages through space and Alice’s Wonderland. Furthermore, her hand painted murals leap off the canvas through her signature accessory, 3D ChromaDepth® glasses. Debi Cable's artistry was recognized early in her career, when the California native was invited to show at the prestigious “Festival of Arts,” in Laguna Beach, California. Then, after honing her talents for several seasons at the Laguna Beach Sawdust Festival, Debi's faux finishing skills became renowned and she was invited to Las Vegas to paint some of the most amazing hotels, casinos and private residences in the world. Cable's return to Los Angeles has led to the detailed restoration of many landmark venues including the Los Angeles and Palace Theater on Broadway. Her latest personal project, a dazzling 120 foot long blacklight koi fish mural, is located in the heart of downtown Los Angeles on 4th and Main Street. Debi Cable presently lives at the world renowned Brewery Artist Colony and is one of the most prominent up and coming blacklight artists in the country. Debi also supports the growth of her fellow artists by sitting on several committees that promote and market the vibrant arts scene of downtown LA. Formerly the co/founder/art curator for Pershing Square, she is now the Burning Man Regional arts director for Los Angeles allowing her to bring vast, public attention to some of today's hottest artists. Candice Gawne: Lumen Essence Candice Gawne is a Los Angeles artist living and working in San Pedro, California. Since 1975, her oil paintings, neon sculptures and art furniture have been exhibited in galleries and museums in Los Angeles, New York, Washington D.C., Berlin, Tokyo and Taiwan. Her neon sculptures are inspired by the fluid grace and endless variation of form found in the inhabitants of the seas and botanical realms. Through electricity, the noble gasses krypton, neon, xenon and argon are transformed to illuminate glass sculptures that show the color and energy of life. Glass, at once translucent and reflective, contains the light as form and energy are revealed. Thus, Gawne states “my invisible feelings of love for the natural world appear as ‘jewels of light’ in glass." For Gawne, light also creates a special kind of abstract energy within the space it describes. She uses light coming into the darkness to symbolize a point of transformation. Candice Gawne studied art at El Camino College and UCLA and has served as an art educator at MOCA, LACMA, OTIS College of Art and Design, ISOMATA, Los Angeles Union School District, the Cultural Affairs Department for the City of Los Angeles and many other public and private schools and institutions. She is currently a resident teaching artist for the Arts Council of Long Beach. She has original work in many corporate, public and private collections including those of Frederick R. Weisman, The Corning Museum of Glass, Charles and Lydia Levy, Doug Simay, Janine Smith, Dr. Cassie Jones, the Cabrillo Marine Aquarium at the Port of Los Angeles, late actor Robin Williams, dancer Paula Abdul, director Penny Marshall, Stephen Reip and artists Eric Johnson, Lili Lakich and D. J. Hall. Lisa Schulte: Essence of Time Essence of Time (Hidden Beauty) is a body of neon work that began as a form of catharsis for self-taught neon artist Lisa Schulte. During a reflective time in her life, she reflected on what was important to her and what was not. She questioned what things, energies and people needed to be placed in the past to allow her to move forward into the future. Pondering these questions during a walk on the beach, Schulte was captivated by the ever changing beauty of pieces of wood that had drifted onto shore. The changes were infinite; influenced by water, sand, clouds, and, of course, light. With these images in mind, she set out to create a body of work that would transcend that same sense of change and contrast in the human experience. Schulte states: “From beginning to end, life is an extraordinary, beautiful journey full of contrast and contradictions. As humans we are much the same on an anatomical level but uniquely different based on our experiences and influences. Essence of Time is a look at this journey.” The neon artworks were created with different size neon glass tubes that show the strength and gentleness of each piece of dried wood. For Schulte, the “dead” roots, branches, and various other materials used, represent the passage of time and our basic sameness. It also reflects that there is a beauty in all things, regardless of age. The noble gas, argon, reflects how life affects each of us differently; while each piece of glass is pumped with argon, with a small drop of mercury added, the colors of white, which range from the warmer whites to the cooler whites, show that by simply changing color and temperature, a different personality and/or feeling is achieved from each piece. For Schulte, the choice to use only white neon in this body of work is “a symbol of the beginning, the new, a lightness, the good and innocence, just as the wood chosen represents the beauty in aging and strength that lives on.” Born in New York and raised in Southern California, Schulte currently resides in Hollywood and works from her studio in North Hollywood, California. Her work has been exhibited in many galleries across the United States including exhibits at the Museum of Neon Art and commissioned pieces for the Los Angeles County Museum of Art. Images of her artwork have also been published in many online art magazines, several books, magazines and a science text book for 10th graders. Schulte’s neon sculptures are also featured in many private collections. Mud Baron: #flowersonyourhead Mud Baron is a farmer, teacher, activist, artist and social media whiz. As the executive director of John Muir High School’s urban community farm, Muir Ranch, he runs the only hands-on teaching farm of its kind in the Los Angeles Unified School District. The farm makes fresh, organic goods and gorgeous flowers accessible to underserved communities and introduces the love of farming into the public education system. Baron and his students sell at farmers markets, host farm to table dinners and provide original floral designs of increasing popularity. As creator of the Plug Mob, a free seedling program mostly for young students, Baron leverages donations from major gardening companies to help cultivate more school gardens throughout Southern California. It helps in getting the word out that this farmer and dahlia aficionado also has a knack for leveraging social media. He won the Shorty Award (think Oscars of Social Media) in 2012 in the category #Food ; and his Twitter and Instagram accounts @cocoxochitl have some 32,000 followers combined. He is a superstar in the “photos of beautiful flowers” internet community; and that is because Mud Baron is also an artist. His interactive performance-based photography project, #flowersonyourhead , developed from the simple realization that all kinds of people love flowers. He carries exotic, fragrant Muir Ranch-grown bouquets to public places, convincing friends and total strangers to be photographed with, as the name suggests, flowers on their heads. Disarming, intimate and art-historically evocative, this ongoing portrait series proves that flowers are food for the soul and the seeds of change can take root anywhere. Baron states: “If you look at the development decisions that are made by business and local politicians, what we get constantly is a stream of strip malls and concrete. You can’t eat that. Other species don’t eat that, either. What might seem like a trivial Martha Stewart-esque effort, isn’t. With #flowersonyourhead , I’m doing [environmental artist] Andy Goldsworthy but including people into my art.” In the future, Baron would like to develop a charter school with a maker curriculum and is currently working to raise funds to install a new aquaponic system at Muir Ranch. Jamie Sweetman: Affinities As an avid gardener and former biomedical illustrator, the natural world serves as a primary influence on Jamie Sweetman’s artwork. Recently, she has focused on drawing, using monotype on mylar with colored pencil, ink and marker. Sweetman looks for form and structure in the complexity of nature through layered drawings that often merge human anatomy with plant life. This process originated with Sweetman’s experience and studies in human dissection. She states, “The structure of the growth pattern of a wisteria or kiwi vine is similar to the veins and arteries of the human circulatory system. Viewing a cross section of the cerebellum of the human brain reveals the shape of a tree. The similarity continues when you look at tree branches, root systems, river beds viewed from the sky and lightning.” Sweetman also draws on fractal geometry as one explanation for these phenomena. According to Benoit Mandelbrot, "Fractal geometry plays two roles. It is the geometry of deterministic chaos and it can also describe the geometry of mountains, clouds and galaxies." Sweetman earned a Bachelor of Arts degree from the University of California, Los Angeles and a Master of Fine Arts degree from California State University, Long Beach (CSULB). She has exhibited across Southern California and is in several private and public collections including Paramount Pictures and Saxum Vineyards. Sweetman teaches Anatomy for Artists at CSULB and the University of Southern California and Printmaking at Azusa Pacific University. She currently lives and works in Los Angeles. Bruce Love, Ph.D.: 8,000 Years of Antelope Valley History Native peoples are here and were always here, a fact easy to forget if we think of California Indians as living in the past, but it has been only a few generations since California missions moved people from their homelands, and ranchers and farmers took over Native hunting and collecting grounds. Long before the mission period of just 200 years ago, reaching back 8000 years (and possibly 12,000!) the Antelope Valley was home to diverse language groups who practiced long distance trade, social networks, religion, commerce, village life, and all the hallmarks of civilized society including land management and care for natural resources. Evidence from distant millennia is scarce and many times only recognized by trained archaeologists, but traditions and cultures from more recent times are best understood by the Native peoples themselves. This exhibit attempts to bridge that enormous time span and introduce the visitor to the artifacts and the people, the history and the culture, the archaeologist and the Native. The exhibit organizer, Dr. Bruce Love, Antelope Valley resident living in Juniper Hills, has a Ph.D. from UCLA in anthropology and has more than thirty-five years experience in Southern California as well as Mesoamerican archaeology, history, and cultural anthropology. Acknowledgements: Wanda Deal, David Earle, David Em, John Fleeman, Dr. Roger Grace, John Kneifl, Roscoe Loetzerich, Lorence, Stevie Love, Rudy Ortega, Jr., Charlee Reasor, Ray Rivera, Jim Rocchio, Peggy Ronning, Carol Sevilla, Richard Suarez, Del Troy, Charles White, Darcy Wiewall, MOAH Staff, AVC volunteers. May 9 - June 28, 2015 Back to list

Up Golden Hour: Images from the Museum of Art & History's permanent collection Various Artists Golden Hour: Images from the Museum of Art & History's Permanent Collection features photographs from the Museum Project, a philanthropic group of artists known for their pioneering of experimental techniques and unique styles. Conceptualized by Robert von Sternberg, the group sought to give back to museums and other institutions that supported contemporary and developing photographers throughout the years. Along with like-minded artists such Darryl Curran, Sheila Pinkel and Nancy Webber, the artists of the Museum Project donated nearly 4,000 prints to the permanent collections of over 100 institutions and museums throughout the United States, Canada, Great Britain, France and Australia. These photographs are excellent examples of the wide range of processes, concepts and themes that Californian photographers explore. Other non-Museum Project artists that will be on display from the permanent collection are Osceola Refetoff, Naida Osline, and Thomas McGovern. January 23 – May 9, 2021 Back to list

My Items I'm a title. Click here to edit me. Tina Dille [object Object] Más Jayson Bascos [object Object] Más Spenser Little [object Object] Más Christopher Konecki and Carley Ealey [object Object] Más MamaWisdom and Sasha Swedlund [object Object] Más Koko and Nuri [object Object] Más Chloe Becky [object Object] Más Kelsey Brown Más Ben Brough [object Object] Más MamaWisdom [object Object] Más Vojislav Radovanovic [object Object] Más Sasha Swedlund [object Object] Más

MOAH's Collaboration with Marriot Hotel I'm a title. Click here to edit me. • Armstrong's F-18 • SOFIA • Lockheed X-59 in Flight 1. In 2007, Armstrong's F-18 conducted the first successful automated aerial refueling demonstration without pilot assistance. 2. The Stratospheric Observatory for Infrared Astronamy (SOPHIA) makes a low pass over NASA's Armstrong Flight Research Center in celebraton of its arrival. 3. An artist's conception shows the Lockheed X-59 in flight. The X-plane's shape is designed to reduce sonic booms and lead to supersonic flight over land. Más •X-31, The World's First International X-Plane •F-8 Digital Fly-By-Wire Aircraft 1. The X-31, the world's first international X-plane, demonstrates controlled flight at high alpha courtesy of its canards and thrust vectoring paddles in the exhaust stream. 2. The F-8 Digital Fly-By-Wire aircraft had its hydro-mechanical control systems replaced by an Apollo Guidance Computer for the first such control system to fly. Más Elevator Lobby Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History Más Front Desk Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History Más 4th Floor Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History Más 3rd Floor Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History Más 2nd Floor Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History Más •SpaceShipOne •Aerial Map of Palmdale (West to East) •B-52 Stratofortress 1. SpaceShipOne is an experimental air-launched, rocket-powered aircraft manufactured by Scaled Composites that has a hybrid rocket motor allowing it to be capable of sub-orbital spaceflight 2. Map of Palmdale 3. The Boeing B-52 Stratofortress is an American long-range, subsonic, jet-powered strategic bomber. The B-52 was designed and built by Boeing, which has continued to provide support and upgrades. It has been operated by the United States Air Force since the 1950s Más •Pancho Barnes •William J. "Pete" Knight •Lt. Col. Jacqueline Cochran •Air Force test pilot Chuck Yeager posing in front of his Bell X-1 1. Born Florence Leontine Lowe, "Pancho Barnes" broke Amelia Earhart’s speed record during the 1930 Women’s Air Derby. She worked as a Hollywood stunt pilot in the early 1930s, and purchased 180-acres of barren land adjacent to Rogers Dry Lake bed and Muroc Army Airfield (later known as EAFB) in 1935. It was here she established Happy Bottom Riding Club, where her hospitality towards the airmen at Muroc eventually lead to her becoming referred to as the “Mother of Edwards Air Force Base.” 2. William John “Pete” Knight, who holds world record for flight speed in a winged vehicle, graduated from the Air Force Experimental Flight Test Pilot at EAFB in 1958. After more than sixteen flights in the X-15A-2, Knight became one of five people to earn astronaut wings by flying an airplane into space. 3. Jacqueline "Jackie" Cochran owner of Jacqueline Cochran Cosmetics, who became a world-class competitive pilot, was the woman to break the sound barrier, she flew a Northup T-38 with Chuck Yeager flying beside her. She also designed the first oxygen mask. 4. Chuck Yeager became a pilot in 1942 during WWII though he had originally joined as an aircraft mechanic. On several occasions he was stationed at Edwards Air Force Base. While at Edwards, he broke the sound barrier by traveling faster than the speed of sound in a Bell X-1 named "Glamorous Glennis" after his wife. Más Aerial Map of Mojave (West to East) Map of Mojave Más Map of Lancaster and Palmdale from West to East Map of Lancaster and Palmdale from West to East Más Aerial Map of Lancaster (West to East) Map of Lancaster Más

The Lancaster Museum of Art and History (MOAH) is pleased to announce Imprints , an exhibition that interrogates California’s land use, water rights, and the consumption of natural resources – often at a pace greater than can be replenished. Imprints includes solo exhibitions by six artists: Ann Diener, Charles Hood, Debra Scacco, Serena JV Elston, Sonja Schenk, and Terry Arena. The exhibition will be on view from Saturday, May 11, 2024, through Sunday, August 11, 2024. On the first floor, Ann Diener’s The Invented Land explores the transformation of land in California’s Central Valley from family farms to industrial agriculture. In the atrium, Sonja Schenk’s Light for the Sun II showcases symbolic gestures, no matter how small, can help bring awareness to environmental issues. The Moore Family Trust gallery exhibits Terry Arena’s work, Natural Capital, delving into the critical commoditization of the environment’s renewable and non-renewable natural resources. On the second floor, the north gallery and top of the stairs showcase Charles Hood’s Under/Water photographic installation survey that considers the visual and political statements of the 400-mile-long Los Angeles Aqueduct. The Bozigian Family Gallery features works by Debra Scacco. Misplaced Rain addresses the human desire to control nature in an effort to build capital and sprawl. In the Jewel box lies Serena JV Elston’s pieces which critique colonial, western ideologies, proliferating larger conversations concerning the ways in which these ideologies allow for the exploitation of land and its resources. IMPRINTS SOLO EXHIBTIONS Terry Arena Natural Capital Once considered a “ghost lake” in California, the torrential downpour of rain experienced in 2023 has resurrected bodies of water like Tulare Lake. It was considered one of the largest freshwater bodies west of the Mississippi before it would be depleted of its water in the 19th century through the creation of canals, dams, and ditches that would divert water from the region for agriculture. Lucrative crops like pistachios are planted on thousands of acres of the lakebed. Read More 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. Read More Serena JV Elston Ancient Futurism Artist Serena JV Elston is a transdisciplinary sculptor contemplating the body and its relationship to structures of power like patriarchy, capitalism, and gender. Her research-based practice explores ecology, posthumanism, disability, and embodiment through a post-colonial lens — a historical period or state of affairs representing the aftermath of Western colonialism. Elston critiques the institutional preservation of Western civilization. Read More 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. Read More Debra Scacco Misplaced Rain Artist and curator, Debra Scacco, questions how value is prioritized. Common threads of mapping and storytelling are present throughout her artistic practice. Working closely with cartographers, historians, activists, and scientists, Scacco studies the lines that direct everyday life, including boundaries drawn by policy, infrastructure, and societal perception. Read More Sonja Schenk Light for the Sun II The intersection of the natural world and humankind is key to Sonja Schenk’s artistic practice, which explores this convergence through a variety of forms: painting, sculpture, installation, and time-based media. She is interested in geography, anthropology, the future of humanity and how these elements reflect on modern life. Much of Schenk’s work is site specific, utilizing research of the area to create individualized projects that in her words, “fit[s] a place.” Read More For information on This Valley Is Sacred: The Ancestors Are Speaking, please click the button below. About This Valley Is Sacred: The Ancestors Are Speaking

September 16 - December 17 The Lancaster Museum of Art and History (MOAH) is pleased to announce Framework , an exhibition that explores wood’s inherent versatility and enduring creative integrity. Framework highlights the work of seven artists: Charles Arnoldi, Angela Casagrande, Susan Feldman, Terry Holzgreen, Dan ‘Nuge’ Nguyen, Valerie Wilcox, and Douglas Tausik Ryder, each of whom bring their own unique artistic processes to the medium. The exhibition will be on view from September 16, 2023 through December 17, 2023. Charles Arnoldi: Master of Ceremony is a survey of the artist’s wood works, which explore the medium’s ability to define positive and negative space, utilizing color and form. Angela Casagrande’s The Body is a House for Thoughts is a mixed-media work that reconstructs time and memory though photographs and found material. Susan Feldman’s MOC (My Own City) and Valerie Wilcox’s Constructs , focuses in on wood’s architectural associations, repurposing wooden elements and fragments to generate a new narrative. Dan ‘Nuge’ Nguyen and Terry Holzgreen deconstruct wood’s structural qualities and redefine its organic characteristics. Douglas Tausik Ryder’s Your Myth Here utilizes artificial intelligence and newer means of production to create wooden sculptures that examine the relationship between ancient myth and mass media. Each of the artists in Framework explores the unique relationship with this fascinating material, examining how this timeless medium continues to help us meet our most pressing societal challenges today. An opening reception will be held on Saturday, September 23, 2023 from 2 to 4 PM. Framework Exhibition Angela Casagrande The Body is a House for Thoughts To Angela Kahoali’i Casagrande, the camera is her third eye. Her lens-based process creates a visual assemblage of reconstruction and remembrance. For Casagrande, photography is a tool that encapsulates a moment in time, forging it into a tactile record of memory. From this, she retells the stories of personal and familial narratives utilizing a variety of photographic methods and mixed media. Read More Charles Arnoldi Master of Ceremony Charles Arnoldi is a multi-disciplinary artist whose varied body of work includes traditional oil paintings on canvas, bronze sculpture, monoprints, lithographs, “chainsaw paintings,” aluminum paintings, and polyethylene wall reliefs. Nurtured in Los Angeles’ burgeoning art scene in the late 1960s, Charles Arnoldi started his art career in Downtown Los Angeles and would move to Venice Beach alongside experimental Light and Space artists like Peter Alexander and Billy Al Bengston. Read More Dan "Nuge" Nguyen Selected Works Dan ‘Nuge’ Nguyen’s artistic practice seeks to explore the relationship between structure and fluidity. Utilizing wood as his primary medium, Nuge creates works that defy the physical qualities of the material while still preserving its warmth and tactility. These vibrant sculptures are visually dense, combining color and organic forms into a single composition. Read More Douglas Tausik Ryder Your Myth Here Douglas Tausik Ryder has always had the desire to push the creative boundaries of sculptural art through technology. Inspired by innovation, the artist combines the conventional form of woodworking and contemporary technology, bringing a 21st century conversation to traditional wood working and sculptural practices. Read More Susan Feldman MOC (My Own City) Susan Feldman’s artistic practice centers around architecture and the idea of home, primarily working with found wood and other mixed media. Her art practice is often inspired by her meditation practices and contextualizes this process through the physical act of “rising up.” Read More Terry Holzgreen Branching Out Straying away from traditional notions of woodworking, cabinetmaker and self-taught artist Terry Holzgreen, creates both functional and sculptural wooden works. His works are a visual compilation of the uniqueness and variety of lumber. Wood fragments from different tree species are arranged into a multitude of shapes, turning into a collage of texture, form, and natural wood color. Read More Valerie Wilcox Constructs Using a myriad of salvaged and repurposed materials, artist Valerie Wilcox creates compositions that explore the associations and contradictions between abstract shapes, mark-making, and painting. Wood, plaster, paint, textiles, cardboard, and other architectural media are sourced, then assembled into abstracted arrangements. Read More

ACTIVATION January 22 - April 16, 2022 The Lancaster Museum of Art and History is opening its latest exhibition season, Activation, a series of solo exhibitions from artists Mark Steven Greenfield, April Bey, Paul Stephen Benjamin, Carla Jay Harris, and Keith Collins. The opening reception for Activation will be held on Saturday, January 22, 2022 from 4 to 6 p.m., in tandem with What Would You Say? Activist Graphics from the Los Angeles County Museum of Art, the second exhibition in its Local Access series. The exhibitions will remain on view until April 16, 2022. Lee mas April Bey Lee mas Carla Jay Harris Lee mas Keith Collins Lee mas Mark Steven Greenfield Lee mas Paul Stephen Benjamin Lee mas Sergio Hernandez Lee mas What Would You Say?