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2022 < View Public Art Projects Colima by Woods Davy 2022 Permanent Art Project Colima, 2010 was purchased by the Museum of Art and History by artist Woods Davy in 2022 and is on view on the exterior of the building near the entrance.

Upcoming Events & Engagement PST ART COMMUNITY HUB About Desert Forest Three organizations—LA Plaza de Cultura y Artes, LA Commons, and the Lancaster Museum of Art and History—have joined Getty as Community Hubs for Art & Science Collide . Helping to bring the initiative to people where they live, the Hubs engage nearby grassroots organizations, public agencies, STEAM educators, and young creatives to develop and present their own programs on the Art & Science Collide themes. Offerings will range from art workshops to habitat restoration projects. RSVP links will be updated regularly. Please click here for our Desert Forest: Life with Joshua Trees Community Hub Eventbrite Collection. Header image credit: Jennifer Gunlock, Joshua Tree Series VII (Detail), 2023, Digital collage, 10 x 6 1/2 inches. Courtesy of the artist. September October A DAY IN THE DESERT November December SEPTEMBER 2024 Up SEPT 21 7 PM-9 PM VIDEO SCREENING FEATURING VIDEO WORKS BY CASEY KIERNAN, DIANE BEST, AND MONROE ISENBERG MOAH:CEDAR Hall A screening of Casey Kiernan’s “I Thought They Were Protected” a powerful video that documents the impact of climate change, development, and fires on Joshua trees. Also, featuring Diane Best’s “Tree Moves,” and Monroe Isenberg’s “Harbinger” performance video. RSVP SEPT 22 9 AM-11 AM WALK-AND-TALK: FIRE RECOVERY & RESTORATION POST 2020 BOBCAT FIRE Devil’s Punchbowl Natural Area Walk-and-talk (with canyon hike option) at Devil’s Punchbowl Natural Area with County of Los Angeles Department of Parks and Recreation superintendents and naturalists Jonathan Numer and Olivia Miseroy, sharing stories about fire recovery and the major restoration effort Jonathan is part of at the Punchbowl. Please note: This event is subject to postponement due to local fire activity or changing environmental conditions. Updates will be provided if postponement becomes necessary. RSVP OCTOBER 2024 Up OCT 03 3 PM-7 PM MOJAVE DESERT TRADING CARDS WORKSHOP Museum of Art and History This engagement invites participants to create their own Mojave Desert-inspired trading card. The workshops are part of Lancaster MOAH's Monthly Young Artist Workshops and will be led by organization partner Art in Residence and supported by MOAH staff. RSVP OCT 12 2 PM-4 PM REGIONAL FLORA AND FAUNA ART WORKSHOP Prime Desert Woodland Preserve This workshop explores the relationship between residents of the Antelope Valley and its flora and fauna. The art workshops are centered around increasing knowledge, exposure, and awareness of wildlife that exists in-between and around existing areas of development/urban sprawl through artistic representations of data and STEAM-based education. RSVP OCT 20 12 PM-4 PM MOJAVE DESERT TRADING CARDS WORKSHOP Prime Desert Woodland Preserve This engagement invites participants to create their own Mojave Desert-inspired trading card. The workshops are part of MOAH Lancaster’s Monthly Young Artist Workshops and will led by organization partner Art in Residence and supported by MOAH staff. RSVP OCT 06 11 AM-1 PM HEY JTREE FALLING IN LOVE, ONE TREE AT A TIME Prime Desert Woodland Preserve Hey JTree (https://www.heyjtree.com ) is an ongoing participatory art research project and mock on-line dating site for meeting Joshua trees. RSVP OCT 13 2 PM-4 PM REGIONAL FLORA AND FAUNA ART WORKSHOP Prime Desert Woodland Preserve This workshop explores the relationship between residents of the Antelope Valley and its flora and fauna. The art workshops are centered around increasing knowledge, exposure, and awareness of wildlife that exists in-between and around existing areas of development/urban sprawl through artistic representations of data and STEAM-based education. RSVP OCT 06 4 PM-6 PM DESERT FOREST: PANEL DISCUSSION & BOOK SIGNING WITH SANT KHALSA, KELLY HERBINSON, JANE ROGERS, AND GEARY HUND Mojave Desert Land Trust Art, science, and conservation come together as we celebrate the release of Desert Forest: Life with Joshua Trees, a comprehensive collection of essays and artworks on the Mojave Desert’s most iconic plant. RSVP OCT 13 10 AM-12 PM WALK-AND-TALK: FIRE RECOVERY & RESTORATION POST 2020 FIRE George Bones Wildlife Sanctuary Walk-and-talk at George Bones Wildlife Sanctuary (99-acre reserve at West Avenue G and 205th Street West) with County of Los Angeles Department of Parks and Recreation superintendents and naturalists Jonathan Numer and Olivia Miseroy. Large stands of Joshua trees were burned by a fire that occurred one month before the Bobcat Fire and still remain upright. RSVP A DAY IN THE DESERT October 26, 2024 EVENTBRITE COLLECTION Up OCT 26 11 AM-12 PM GUIDED JOSHUA TREE MEDIATION AND PERFORMANCE BY EDGAR FABIÁN FRÍAS Prime Desert Woodland Preserve Edgar Fabián Frías will present a performance and lead a guided group meditation focused on the healing energy of the unique and iconic Joshua tree. Frias’ works are transformative, profound, and playful, often inviting audience participation. Their art explores historical legacies, resistance, resilience, and radical imagination, framed within Indigenous Futurism, spirituality, play, pedagogy, animism, and queer aesthetics. RSVP OCT 26 3 PM-4 PM CURATOR-LED EXHIBITION WALKTHROUGH WITH SANT KHALSA Museum of Art and History Gain insight into the Desert Forest: Life with Joshua Trees exhibition led by curator Sant Khalsa. RSVP OCT 26 12 PM-2 PM PUBLIC CLIMATE FUTURE READINGS BY ADRIENE JENIK Museum of Art and History Artist and ASU professor Adriene Jenik has created a tarot deck for the environmentally minded. Adriene Jenik blends climate sceince and tarot readings. Stop by for a personal reading of your climate future. RSVP OCT 26 2 PM-3 PM CO-CREATING NEW FUTURES FOR JOSHUA TREES PANEL DISCUSSION Museum of Art and History Multidisciplinary panel discussion with Sant Khalsa, Dr. Juniper Harrower, Brendan Cummings, Fred Brashear Jr, Matthew Brandt, and Chelsea Mosher, focused on the intersections of art, science, natural and cultural history, and public policy. RSVP NOVEMBER 2024 Up NOV 09 2 PM-4 PM HEY JTREE FALLING IN LOVE, ONE TREE AT A TIME Museum of Art and History Hey JTree (https://www.heyjtree.com) is an ongoing participatory art research project and mock on-line dating site for meeting Joshua trees. RSVP NOV 09 1:30 PM-3 PM DESERT FOREST: PANEL DISCUSSION & BOOK SIGNING WITH SANT KHALSA, BRENDAN CUMMINGS, J.D., LYNN C. SWEET, PHD, AND SEAN MILANOVICH, PHD Twentynine Palms Book Festival, Old Schoolhouse Museum Discover how the multidisciplinary project Desert Forest: Life with Joshua Trees sheds light on Joshua tree preservation efforts and the intersection of art, science, Indigenous knowledge and public policy. More info at https://www.29pbf.com . This discussion is part of the Twentynine Palms Book Festival. To RSVP for the festival, click here . To RSVP for the panel discussion, click the button below. RSVP NOV 10 10 AM-12 PM WALK-AND-TALK: FIRE RECOVERY & RESTORATION POST 2020 BOBCAT FIRE Near the Juniper Hills Community Center Walk-and-talk in Juniper Hills burn scar with Bryant Baker, Director of Conservation & Research at Los Padres Forest Watch. A chaparral scrublands expert, Baker has done tremendous research on fire recovery in desert-to-mountain transition zones like Juniper Hills, an area where many Joshua trees were destroyed during the Bobcat Fire. RSVP DECEMBER 2024 Up DEC 05 6 PM-7 PM DESERT FOREST: SCIENTISTS SHARE JOSHUA TREE RESEARCH VIRTUAL PANEL DISCUSSION Online via Zoom Scientists Juniper Harrower, Jeremy B. Yoder, Christopher Irwin Smith, Lynn C. Sweet and Daniel Oren Hastings discuss their fascination with Joshua trees and the Mojave Desert, and share their current research on the impacts of climate change RSVP DEC 07 11 AM-1 PM HEY JTREE FALL IN LOVE, ONE TREE AT A TIME Museum of Art and History Hey JTree (https://www.heyjtree.com) is an ongoing participatory art research project and mock on-line dating site for meeting Joshua trees. RSVP DEC 07 5 PM-6:30 PM THERE'S NOTHING HERE EXCEPT EVERYTHING MULTIMEDIA PERFORMANCE BY ROB GRAD Museum of Art and History “There’s Nothing Here Except Everything,” addresses our relationship with the desert, with an emphasis on Joshua trees, not only as a complex and crucial environmental ecosystem, but as a spiritual center with influence that reaches much further than its physical presence. RSVP DEC 29 11 AM-1 PM DESERT FOREST: LIFE WITH JOSHUA TREES BOOK SIGNING WITH SANT KHALSA Museum of Art and History Join us for the closing day of Desert Forest: Life with Joshua Trees at the Lancaster Museum of Art and History. Sant Khalsa, the exhibition's curator and co-editor of the accompanying book, will be present for a special book signing. The event will take place on Sunday, December 29, 2024, from 11 AM to 1 PM. Don’t miss this opportunity to connect with the curator and celebrate the exhibition’s impactful themes. RSVP Life with Joshua Trees Desert Forest: About Desert Forest

back to list Julius Eastman Julius Eastman is an artist, DJ, dad and creative force living in California’s Antelope Valley. He has been actively showing his work, appearing at MOAH, the Modern Tea House, Sagebrush Cafe, and working with the Art Around group in Lancaster. In his paintings the landscape is both subject and object, it’s a pliant and mental thing. A rebel music seems to pulse with psychedelic-street sounds, and symbols maintain a power that Eastman seems to both feed and resist. One could call it cultural landscaping, because Eastman is contemplating a way to negotiate the line between sacred and secular, but doing it in the tones of popular culture; taking, in his way, a black and white world and rendering it in color.

back to list Jayson Bascos Jayson Bascos, also known as “State”, is a local artist whose preferred medium is spray paint. Bascos likes to explore realism and lettering for his subject matter but is never afraid to try different styles. Bascos majored in Chemistry in college, so all his artistic skills were self-taught, with some guidance from his artistic peers. Bascos has been painting for 12 years and is currently working as a tattoo artist and muralist.

back to list Ekundayo Ekundayo’s style is a combination of classic graffiti perspective warping and technical fine art theories. He uses ink, acrylic, gouche, watercolor and carving techniques to create his fine art – somehow recreating the spray can effects of graffiti art without actually using a spray can to paint with. But the most interesting part of Ekundayo’s art is his modus operandi; his desire to turn his dark past into vibrant murals that express all the joys and pains of life. He’s using art as a tool to effect emotional healing in his life.

back to list Nuri Amanatullah Nuri Amanatullah is an Antelope Valley-based painter, illustrator, and designer whose stylized, graphic depictions of flora and fauna are represented in a variety of mediums including illustration and large-scale murals. Employing both traditional techniques and digital media, Amanatullah has designed for Disney, storyboarded for Uber, illustrated for Airbnb, and painted walls at numerous sites around the Antelope Valley including a mural with Antelope Valley Walls in 2018, as well as in Flint, Michigan as part of the Free City Mural Festival. He has also lent his talents to the non-profit Housing Corporation of America for the past three years helping to jump-start and brand a wide variety of art programs at affordable income housing properties. Illustrating animals and plants in a colorfully bold and vibrant style, Amanatullah subverts the idea of the desert as a barren and desolate setting by exploring the intersection of our everyday lives and the natural world. These brief, chance encounters with wildlife take place in the “vacant” spaces between housing and commercial developments, highlighting our own place amongst nature--often at odds with it, and far separated from our surroundings.

Up Legacy Various Artists Eric Johnson: Legacy A 30 Retrospective Main Gallery Craig Kauffman, Dewain Valentine, John Paul Jones, Tony DeLap, Tom Jenkins East Gallery Lisa Barleson: 3M Jewel Box Jennifer Faist: The Deepest Tales Stay Etched Well Fargo Gallery Andrew Benson Education Gallery R.Nelson Parrish: Meditations on NorCal Top of Stairs Charles Dickson: Legacy A Lifetime Survey South Gallery Legacy takes a close look at how artists spanning different generations influence each other and their communities. Legacy is defined as something passed down by a predecessor; in art, that “something” can range from material techniques to inner wisdom. Legacy is the fruit of passion and dedication that overflows from an individual into the lives of many—legacy is inspiring. Eric Johnson: LEGACY A 30 Year Retrospective Science and engineering have become so complex, even fantastical, that sometimes I forget the very simple, seemingly miraculous, fact – that an equation of symbols can describe, even predict, the phenomena that define and shape the physical world; that there are underlying functions of some dark math waiting to be discovered. Yet, math is only an abstract construct we imposed on the surrounding world. Things are not actually as rigid and perfect as the models that describe them. There's always some deviation, deformity, some slight departure from perfect, however infinitesimal. The “grid” doesn’t really exist. But this can be experienced and explored just as much through art. By looking at any of Eric Johnson’s sculptures individually, this is readily apparent. But looking through the sketches, studies, models, and fully-finished works spanning over thirty years, any visitor of Eric's retrospective will develop a heightened sensitivity to the breadth of ideas that influence an artist, and how they develop and coalesce into an interwoven body of work. How the nascent interest is reiterated and refined. The scope of what challenges and influences an artist in the making of an individual piece is not always apparent from a single work of art, maybe not even to the artist himself. However, stretching out an artist’s work over thirty years models the enormity of the subconscious process at any given moment in art-making. Because at any given moment, you don’t actually know everything you know. Eric's work is great for a retrospective for this very reason. From the first piece of the retrospective’s thirty-year span, Two Towers, you can see ideas that still recur in his most recent works. First, it introduces to the rigid, grid-conforming structures of math (i.e., the rectangular prism), the most minimal distortion to ordered form. It also prompts the viewer to ask about the material – how was this twist formed? Was it carved that way or was it shaped by torsion? Is the process the same for metal as it is for wood? Even early works that seem unrelated to his more recent and developed pieces share common threads or ideas. For example, his early drawings of tea cups, suspended mid-fall, demonstrate both Eric's interest in the laws of nature (in this case, gravity) and the properties of materials (fragility). As Eric became more eloquent with resin, wood and paint, his ability to interlock and weave multiple concepts through a single work bloomed as well. The more recent individual pieces in Eric's oeuvre evoke a variety of forms and ideas. In his composite resin "hearts," allusions range from weathered seashell to solar flare; they look sturdy as vertebra, but delicate as porcelain dish. You also get a fantastic sense of the material itself. As the disks narrow and taper, they reveal how the material behaves under varying thickness. And it takes a master of a material to enable a layman to explore it with commensurate depth. Other works, such as Pasopna, look ossified, yet wilted; organic, yet shaped by a grid; warped, yet structurally sound. Others have even more curious combinations: carapace and fluid-dynamic structures, horns and airplane spars. MOAH’s proximity to the aerospace industry makes this a great place to contemplate these pairings of manufactured and organic, mathematical theory and physical surface. Southern California, too, is an appropriate place to watch Eric infuse Southern California’s Light-and-Space and Finish Fetish movements with biology and deviation, almost like he’s moving backwards, stretching the immaculate surface over equation and bone. -Andi Campognone, Curator Craig Kauffman, Dewain Valentine, John Paul Jones, Tony DeLap, Tom Jenkins Johnson’s exhibition is paired by a group exhibition showcasing work made by his artistic mentors, DeWain Valentine, Tony DeLap, Craig Kauffman, Tom Jenkins and John Paul Jones. DeWain Valentine is best known for using industrial materials such as fiberglass, Plexiglass, cast acrylic and polyester resin to produce large scale sculptures that reflect and distort the light around them. Tony DeLap’s work is known for its illusionistic qualities, influenced by his interest in magic. Craig Kauffman paintings are known for their openness and dynamic use of line and his sculptures are known for their experimental materials and vivid color. Tom Jenkins makes paintings that are drawn using spinning tops and various hand-made mechanical drawing devices. John Paul Jones was a painter, printmaker and sculptor widely recognized for both his figurative and abstract work. All these artists played an important role in the development of Johnson’s professional and personal life. Lisa Bartleson: Q & A with Andi Campognone, MOAH Manager/Curator What is your relationship with artist Eric Johnson? / How did you first meet? Bartleson: Eric is one of my dearest friends and confidants; he is family. Our first encounter was very funny – especially knowing Eric as well as I do now. The first thing he said to me was, “Looks like you swallowed a five dollar bill and it broke out in pennies,” and I thought, “Who is this crazy artist?” It wasn’t long after this encounter that I learned that this crazy artist was Eric Johnson well known for his mastery of resin and mold-making. I was at a place in my career where I wanted to learn how to work with resin. I asked a mutual friend if she would introduce us. I arrived at Eric’s studio with a specific agenda, to learn how to create objects using resin. My first lesson with Eric and likely most important was that there really isn’t room for agendas – particularly when you are learning a new material. I learned that there needed to be openness to the creating process, to surrender any expectations. As a mentor, Eric gave me just enough guidance so that I didn’t fall on my face too hard. For me, this was perfect. The real learning came from mistakes that I made – with the two of us trying to figure a path forward. After mentoring with Eric, I left the studio with far more skills and knowledge than when I started. More importantly, I was left with a better understanding of how to be an artist –what it means to be an artist and how to stand on two feet and be vulnerable in your thinking and strong in your practice at the same time. How has Johnson influenced your studio practice? Bartleson: Often times when I am sanding or having a problem with a piece, I think WWED (what would Eric do)? The answer usually is that I have to pause, go back to 320 sandpaper and rework the surface until it is perfect and ready for the next level. Something that a lot of folks may not know about Eric is that he is fiercely driven. I always try to channel this energy while preparing for exhibitions. Jennifer Faist: Q & A with Andi Campognone, MOAH Manager/Curator What is your relationship with artist Eric Johnson? / How did you first meet? Faist: Eric and I first met through another artist when I attended a show of his work at Simayspace in San Diego in 1996. At the time, I was the gallery director for Susan Street Fine Art in Solano Beach and was working to bring a traveling group exhibition called, “The New Structuralists,” to the gallery. Eric was one of the artists in that show, and I got to know him and his work. We remained in touch and followed each other’s work in the ensuing years. In 2004, I curated a group exhibition at ANDLAB, “Suspension,” which included his work, and in 2005, we were in a two-person show together in Palm Springs entitled, “Less a Thing...” From August, 2006 to April, 2009, I shared Eric’s studio in San Pedro. My husband and I were living in the loft, and I had half of the storefront area for studio space. Eric was using the warehouse area for his studio space, and we shared the resin booth in the yard. How has Johnson influenced your studio practice? Faist: Eric’s studio was the largest space that I had ever worked in. There was room to pin up color swatches and pattern studies. I could hang finished paintings on the walls with room to stand back and look and still have plenty of room for my work table and drying racks. It allowed me to think bigger and make some larger work. Sharing a studio also meant having another artist to bounce ideas off of and get feedback on my paintings. During my time there, Eric was working on “The Maize Project,” so I got to see his casting processes in person for an extended period of time. The social aspect and personal connections made during casting parties and studio visits were also influential. I even had the opportunity to meet some of the trailblazers of “California Light and Space” through Eric, like DeWain Valentine and Craig Kauffman. How does this influence manifest itself in your work? Faist: I think the reason we made good studio mates is that we shared an affinity for resin Finish Fetish artwork, painting/sculpture hybrids and an analogous layering process. Eric exposed me to different kinds of pigments like those used in the automotive industry. I think that allowed me to feel freer to use more metallic and interference pigments in my paint layering process than I had before. Andrew Benson: Q & A with Andi Campognone, MOAH Manager/Curator What is your relationship with artist Eric Johnson? Benson: I worked for Eric as a studio assistant from roughly 1997 to 2000, starting in his Santa Monica studio through the build-out of his first San Pedro studio. At the time I was 17 and had run away from the desert to figure what my purpose was in the world. Eric was as much a mentor, surrogate father and friend as he was my boss -- I even slept on his couch for some time when my precarious living situations fell through. How has Johnson influenced your studio practice? Benson: My time working with Eric impressed upon me a specific approach to materials and tools that I still carry through my practice even though my work is now primarily digital video and animation. With resin, a synthetic material that carries with it a chemical background and accepted practice -- Eric developed a style of working that had little to do with the instruction labels but developed organically from years of handling, watching and feeling the material. On any given piece, throughout the work, we would engineer makeshift jigs, contraptions and tools to make the work possible. The way that Eric built surface color from the outside in was an approach I had never seen before and it was stunning. Every sculpture was the result of this process that was as much magic as it was chemistry, engineering and practical labor. I learned the way that a radial sander feels in my hand when it's doing the right thing, how to hold steady a slippery piece of hard resin polished to a frosted glass surface while the spinning machine in my other hand removed any imperfections. The best comparison I can think of for the work is that of an artisanal bread maker, learning the art of kneading, fermentation, shaping the dough and knowing through practice what it needs to be absolutely amazing. How does this influence manifest itself in your work? Benson: For my own working process, I've primarily chosen video and animation created with digital tools, but the way I think of the materiality of digital media owes a great deal to the formative years with Eric. I create my work by tweaking, adjusting and manipulating not just pixels, but the processes that generate and propagate them. I spend a great deal of time thinking about and attempting to reimagine how a digital representation is put together, what are all the processes involved and how many times it gets translated along the way. I've learned just enough hard graphics science to dig deeper into these processes, but the core of the work is in the intuitive chasing after the material, finding something that works even when I don't understand it and building tools around those magical results. The quest to feel and manipulate your mysterious medium and to communicate through these means is a rare approach for electronic media in an age of highly polished CGI and slick production, but it's in my veins at this point. R. Nelson Parrish: Q & A with Andi Campognone, MOAH Manager/Curator What is your relationship with artist Eric Johnson? Nelson: My relationship with Eric Johnson is strictly through myth, legend and reputation. I first became aware of his work through the Maize Project when it exhibited at the Torrance Art Museum in 2008. I had recently completed my graduate program and was amazed at the modular production of the work contrasted with his ability to create stunning, unique pieces. I didn’t think it was possible to make stand-alone pieces, in multiples, using mold production. More importantly, I was impressed how the Maize Project was community based, as there is a key component of including all types of people to collaborate in the making of the work. Both the community of collaborators and the modular production, in my mind, are the hallmarks of the piece. I again saw the Maize Project at William Turner Gallery 2012 and was reminded of modular production. It directly influenced me in creating #100 (1A – 20E) and #105 (Light Over the Pacific). Both pieces are comprised of over 90 smaller pieces that are modular and synergetic in nature. How has Johnson influenced your studio practice? Nelson: Possibly the biggest influence of Johnson’s work on my practice is the engineering of his work. I have never been that precise or mechanical in the fabrication of my work. In the past, my process has been more of a “cowboy up” mentality. Just do it then figure out how to do it better, later. The more and more I engage with Johnson’s work, the more I understand how well engineered and planned out his pieces are -- there is beauty in that. More importantly, I realize that while focusing equally on engineering and planning, as well as the art, one can make far superior pieces than just shooting from the hip and grinding it out. In the end, it is a much better system. How does this influence manifest itself in your work? Conceptually? Nelson: This influence has affected the newest progression of my work immensely. As I switched to a bio based resin, have needed to fabricate molds and am now using aerospace aluminum as core material, all of this requires massive amounts of engineering and scheduling. Johnson and his means of production have influenced my workflow. Constantly pushing materials, tools and boundaries in order to get it all right and all done on time. One could say that it is artisanal fabrication and manufacturing, in the best way possible. To have an idea; how something should look and feel sometimes takes years before it is executed properly. That requires a lot of quiet tenacity and patience. I can see that in Eric’s work and it is inspirational. Conceptually, I am a big color and motion guy. I love the way Johnson’s work takes simple pigment and hue yet while static, makes it flow through form and shape -- simple, elegant and stunning. Charles Dickson: Legacy, A Lifetime Survey Charles Dickson is consumed with how things work in a mechanical, creative, spiritual and political context. As a Sculptor he embraces many mediums, he explores the nature of the materials he uses in order to understand and challenge their properties in traditional and unique applications. At the core of this process Dickson inquires, “How do I learn to speak through the materials, to discover the truth about the materials and express the beauty of my artistic vision?” Dickson’s obsession with finding the truth of a form has been documented in his 45 year homage to the African American woman. Rather than work from an imagined form, he realized early in his career, that he had to undress it, to uncover the truth of its essence. Dickson’s work with black nudes was also the precursor for a much larger artistic dialogue on the politics of beauty and how the consequences of slavery reverberated in contemporary society that has extended throughout his entire career. Dickson states, “This dialogue propelled me to immerse myself into the artistic heritage of Africa, searching for the language, tools and symbols, to recreate and recover the enormous spiritual influence and indigenous beauty this tradition has had on the world. It has also encouraged me to develop works reflecting the unique circumstances of the African American experience that traces back to its African origins.” Charles Dickson is a self-taught artist born in 1947 in Los Angeles, CA. He has public works of art at the Watts Towers, Los Angeles Metro Rail Green Line in El Segundo, Hope and Faith Park in South Los Angeles and the City of Costa Mesa Performing Arts Complex, among others. He is currently an artist in residence at the Watts Towers Arts Center Campus and the Caretaker of the Watts Towers of Simon Rodia with LACMA’s preservation program. He is also working with the Los Angeles Neighborhood Land Trust and Offices of The Trust in Public Land LA River Center to create sculptures within the community. Dickson lives and works in South Central Los Angeles, CA. January 24 - March 15, 2015 Back to list

< Back Naida Osline Naida Osline is a photographer and filmmaker whose work merges conceptual and documentary practices. Balancing studio control with the unpredictability of public spaces, her imagery blurs the organic and synthetic, creating thought-provoking visuals. Since 2009, Osline has explored psychoactive plants in a long-term project examining their connections to creativity, morality, economics, legality, addiction, and spirituality. Naida Osline is a photographer and filmmaker whose work blends conceptual and documentary practices. Working with a non-linear approach, she often develops multiple projects simultaneously, allowing them to overlap and inform each other. Her working environment includes the controlled setting of the studio as well as the unpredictable conditions of public spaces. Osline’s photographic practice blurs the line between the organic and synthetic, creating imagery that is both captivating and thought-provoking. Since 2009, Osline has been developing a long-term project centered on growing, documenting, and altering psychoactive plants. This project examines these plants' complex relationship with human creativity, morality, economics, legality, addiction, and spirituality. The subject matter has manifested into different bodies of work that invites viewers to rethink their perspectives on these plants and to reflect on the lasting significance they have had, and continue to have, on human history and culture. Previous Next

Your Myth Here < Back Previous 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. Utilizing mass production and 3D modeling, Tausik Ryder transcends the limits of the hand-tool oriented medium and creates his sculptures through an industrial CNC (Computer Numerical Control) machine tool. Each individual piece is created with the digital cutting tool and is refined and assembled by hand. Through technology-assisted art, Tausik Ryder challenges the ways in which artists can interact with conventionally analog processes while bringing forth conversations concerning mass media, automation, and artificial intelligence. Next

back to list Christopher Konecki and Carley Ealey Konecki is self-taught artist and constantly experimenting. He is known for completing large scale aerosol murals, fine artwork including paintings and miniature sculptures, as well as various public and private site specific installations. Konecki's work is explorative of social consciousness, generally irreverent, and focused on subjects that are both serious and absurd. His use of found and 'repurposed' objects in his work advocates the reassessment of typical ideals of function and beauty. Elements of nature often collide with harsh urban landscapes and elements of street art and graffiti, symbolizing the ongoing struggle between the harmonious coexistence of these two competing monumental forces. Fine artist, muralist, photographer, and writer with a few hundred other secret talents, Carly Ealey has a knack for all things creative. With a natural inclination to painting the familiar figures of women in her work, Ealey prefers acrylic ink on wood panels when painting small, and spray paint when working on murals. However, she also incorporates her photography from time to time on a larger scale via wheatpaste.

back to list Victoria Cassinova Victoria Cassinova is a Los Angeles-based visual artist whose work ranges from murals and graphic art to illustration, drawing, and painting. Solo and group exhibitions of her work have been presented at galleries such as Thinkspace Projects-Los Angeles,Vertical Gallery-Chicago, Band of Vices-Los Angeles, Bernice Pauahi Bishop Museum-Honolulu and Spoke Art- San Francisco, among others. Cassinova’s work has also served as an integral contribution to many social justice collaborations, including Blackout for Human Right’s annual MLK NOW event, We Rise Exhibition, Sons & Bros., Truth Initiative and more. Branded works include Urban Outfitters, Condè Nast with Proactiv & Teen Vogue, Netflix, TIME Magazine, Disney, CNN and Adidas.

3rd Floor Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History 1/1 1 - Lockheed C-121 Constellation Photographic Print 2012.999.67 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) The Lockheed C-121 Constellation is a military transport version of the Lockheed Constellation. 2 - Anthony W. "Tony" LeVier Photographic Print 2012.999.66.01 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Tony LeVier's test flying was instrumental in proving the Lockheed P-38 Lightning design. He and chief engineering test pilot Milo Burcham alternated flying dive tests to observe the design's performance at transonic speeds. To demonstrate the reliability of the design in the hands of a skilled pilot, he performed aerobatic shows for students at the Polaris Flight school at War Eagle Field in nearby Lancaster. 3 - Fairchild C-123 Provider Photographic Print 2012.999.68 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 4 - Jesse Jacobs Photographic Print 2012.999.69 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 5 - X-13 Vertijet Photographic Print 1988.05.380 MOAH Permanent Collection Gift of Perry Row 6 - Arthur "Kit" Murray Photographic Print 2012.999.47.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Air Force test pilot Arthur "Kit" Murray, posing in front of the Douglas X-3 Stiletto at Edwards Air Force Base, 1956. Murray was the first test pilot to be permanently assigned to Muroc Army Air Field (later, Edwards Air Force Base). Other test pilots, such as Captain Chuck Yeager, were assigned to Wright Field and traveled to Muroc as necessary. 7 - Thomas C. McMurtry Photographic Print 2012.999.64.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Thomas McMurtry was a former U.S. Navy pilot and Lockheed Corporation consultant before joining NASA in 1967. McMurtry was Associate Director for Operations at NASA Dryden from July 27, 1998, and also served as Dryden's acting Chief Engineer from February, 1999 until his retirement. In 1982, McMurtry received the Iven C. Kincheloe Award from the Society of Experimental Test Pilots for his contributions as project pilot on the AD-1 Oblique Wing program. In 1998 he was named as one of the honorees of the Lancaster, CA, ninth Aerospace Walk of Honor ceremonies. In 1999 he was awarded the NASA Distinguished Service Medal. 8 - Chuck Yeager Photographic Print 2012.999.52.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 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. 9 - Space Shuttle Columbia Photographic Print 2012.999.37.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO)