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Coyotes, Whiskey and Fireworks Matt Picon August 12, 2017 - September 23, 2017 “Coyotes, Whiskey and Fireworks” by Matt Picon “Coyotes, Whiskey and Fireworks” by Matt Picon “Coyotes, Whiskey and Fireworks” by Matt Picon “Coyotes, Whiskey and Fireworks” by Matt Picon 1/8 ​ ​ Matt Picon was born and raised throughout Southern California and is currently living and working in El Paso, Texas. With a background in photography and graphic design, his work moved to site-specific interventions and video installations prior to obtaining his Bachelor of Fine Arts in Intermedia at Arizona State University in 2013. He invested in creating relationships between traditional and non-traditional materials and how they communicate form, history and purpose to the viewer. The objects and installations vary on material use, but are mainly constructed of repurposed wood and steel with other conventional materials applied in alternative ways. ​ Sculptures from a recent body of work entitled “Coyotes, Whiskey, and Fireworks,” are based on historical research, observations and personal experiences in the Mojave Desert, specifically the Antelope Valley. Calling Lancaster home during his formative years, Picon found it necessary to revisit and focus on not just his memories of the region but also the stories that came before his own. In response, Picon has created sculptures and installations that address the landscape, suburban development, homesteads, historical forms and personal stories. Back to All Exhibitions

Diane Williams Imagined Hybrid December 7, 2019 - February 9, 2020 “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams “Imagined Hybrid” by Diane Williams Diane Williams is a non-binary immigrant artist from the Philippines whose interdisciplinary work stems from the political and social landscape that surrounds her—specifically the ethnically diverse neighborhoods of Los Angeles. These neighborhoods are a “melting pot,” a testament to the idea that people of diverse backgrounds and identities can live harmoniously. By creating works regarding immigrants and gender, Williams’ work encourages cultural and social understanding by focusing on the duality, hybridity, and ambiguity that exists in diverse cultural narratives and identities. In the series Monsters and Aliens, Williams creates a variety of masks crafted from what she calls “cultural detritus”: shredded paintings and other discarded materials such as fabrics and yarn that have been salvaged from local shops that are traditionally owned, run and supported by immigrants. She wears these masks to signify “other” in her performances and self-portrait photographs. By completely covering the wearer’s face, the mask both takes away their humanity and transforms them into a human/animal hybrid, recalling female monsters from Ancient Greece, such as Medusa, the Sirens, and Chimera. These creatures were considered powerful, evil, and frightening. Williams wants the viewer to question what they fear from strangers and reflect on their own prejudices with respect to race and gender. Diane Williams is an interdisciplinary artist and organizer based in Los Angeles, California. She earned a Bachelor of Fine Arts degree from California State University, Long Beach in 2013 and is currently a 2021 Master of Fine Arts candidate at the University of Southern California. Her work has been featured in select publications and radio interviews including Los Angeles Magazine, LA Weekly, Artillery, Art and Cake, P&A Magazine and KPFK. Williams exhibited in several solo and group shows at the Armory Center for the Arts, Walter Maciel Gallery, The Lancaster Museum of Art and History, PØST, Cerritos College Gallery, Robert and Frances Fullerton Museum of Art RAFFMA, Children’s Museum of the Arts New York, Berkeley Art Center, San Francisco Arts Commission Galleries SFAC and Grafiska Sällskapet Stockholm, Sweden among others. Her art is held in private collections and the public collections of the National Immigration Law Center, Los Angeles and Washington DC headquarters and Azusa Pacific University.

The Kids of AV SEE AND BE SEEN Fall 2020 ​The See and Be Seen exhibition highlights the artwork of each of the students that participated in the Bike and Pedestrian Safety campaign of the same name. Together, See and Be Seen invites students of the Antelope Valley to think critically about transportation and safety through four vital perspectives: Eyes Up, Phone Down; Make Eye Contact; Ride Right In the Bike Lane; and Walk Between the Lines. Remember, you want to See and Be Seen!

What is Black and White and Pink allover? Amy Kaps September 15, 2018 - November 25, 2018 “What is Black and White and Pink allover?” by Amy Kaps “What is Black and White and Pink allover?” by Amy Kaps “What is Black and White and Pink allover?” by Amy Kaps “What is Black and White and Pink allover?” by Amy Kaps 1/3 ​ Photo copyright Amy Kaps and Eric Schwabel 2017 Kaps, an interdisciplinary artist, is in constant dialogue with her surroundings and those who inhabit it. Highly conceptual with the intention of altering perception and provoking thought, Kaps’ objective is to create honestly and question the status quo while reveling in a feast for the senses. Kaps challenges the viewer to decipher the common denominators and recognize the similarities within the differences that connect us regardless of age, race, or gender. What is Black and White and Pink allover? is Kaps’ latest exhibition in her Victus Versus/Striped World series, transforming the MOAH:CEDAR galleries into one of her iconic black, white, and striped installations. A new series of work by Kaps and her longtime collaborator, photographer Eric Schwabel, will also adorn the gallery as well as video installations done in collaboration with lovemando a.k.a. Armand Briones featured in the blackroom Back to All Exhibitions

Bird by Bird Jodi Bonassi January 8, 2022 - March 13, 2022 1/17 ​ ​ The beauty of drawing birds opened artist Jodi Bonassi’s heart to self-reflection and to the mysteries of nature and the universe. The bird soars, linking all the elements together. Earth and sky and water all flow continuously. She looked up, away from the complications of being human. She drew and painted birds on paper and canvas. There were shopping bags accumulated during the pandemic... she re-purposed the bags and drew a bird on each one to symbolize the temporary nature of all things. Birds symbolize freedom and Bonassi wanted to be free. She was accepted to the Parliament of Owls Ayatana Research Residency - a bird residency and bird school for nature artists. She found camaraderie among other artists from all over the world. On Instagram, Bonassi now know artists globally in a deeper way. Nature is a collaborative link that is deeper. She posted on Instagram and received a tremendous outpouring of interest from bird enthusiasts, nature photographers and everyday people who want to create. Beyond patience and the wonderfully relaxing nature of studying the birds, Bonassi found others wanting her to draw the birds they had taken pictures of. This series is a confirmation that we all seek to journey together through creating. Bonassi has felt a serenity and connection to others not previously felt. Thankfully she has a lot of patience as drawing a bird requires deep concentration. Every small thought disappears. You are mindful and free to soar… Back to All Exhibitions

Tessellation World Exhibition Antelope Valley Union High School District November 23, 2020 - January 8, 2021 Jaqueline Mask Susan Villela - Corey Stanis Tessellation World Exhibition Jaqueline Mask 1/25 ​ ​ The Math Literacy students and teachers of Antelope Valley Union High School District in collaboration with MOAH museum are proud to present "Tessellation World." An exhibition that emphasizes the understanding of spatial reasoning, geometric concepts, and measurement in real-life situations that require problem solving, communication, reasoning, and analysis of information and further deepens the connection between art and mathematics. Back to All Exhibitions

Past and Present Julio Anaya Cabanding July 10, 2021 - September 19, 2021 Past and Present by Julio Anaya Cabanding Past and Present by Julio Anaya Cabanding Past and Present by Julio Anaya Cabanding Past and Present by Julio Anaya Cabanding 1/13 ​ ​ “In one room will be all classic works up till Mannerism. All works will represent religion, mythology, and the Creation. In the other room of MOAH’s Cedar location there will be works from Modernism up to a work of Edward Hopper. In this room I will talk about the present through some works which really talk to us about the pandemic situation, poetically.” - Julio Anaya Cabanding The relentless passage of time, its impact, and the constant change have been explained by classical philosophy through the concepts of the "past", the "present", and the "future". It is their linear interchange that generates the unstoppable stream we all experience as life, an ongoing process which we had a chance to reexamine to great extent in the past year and a half of the global pandemic. Such historically unequaled premise prompted Julio Anaya Cabanding (1987), to conceptualize a showcase that will talk about human life history through the exploration of the history of painting, with an accent on the most recent period of lockdowns, quarantines, and social distancing. Channeling his personal concerns and experiences through his vast knowledge and love for the medium of painting, and materializing it through an impeccable conceptual and technical ability, Malaga-born artist is introducing his poetic vision of the Past and Present. Going to his studio during the months of strict lockdowns in Spain, Anaya Cabanding experienced the usually bustling streets of Malaga more desolated and unnerving than he could ever imagine. The lively atmosphere of the coastal Andalucian town was replaced by the uncomfortable emptiness, evoking the ambiance of Giorgio de Chirico's motionless cityscapes basking in the bright daylight of the Mediterranean sun. During the same period, the artist spent long hours, days, weeks, and months, at home with his girlfriend, physically isolated from the rest of the world. Recognizing the atmosphere of the detached subjects in Edward Hopper's work, it was one of his paintings, Room in New York, 1932, that finally moved the artist to envision an exhibition with such percipient concept. Having a chance to create and present an entirely new body of work in an institution such as the Lancaster Museum of Art & History, prompted the artist to reconstruct somewhat of a human life timeline metaphorically narrated through the history of painting. Using his signature trompe l'oeil pictorial interventions on found cardboard, Anaya Cabanding attentively appointed an extensive selection of renowned masterpieces to represent our shared past. Starting from The Origin of the Milky Way by Tintoretto,1575–1580, over Jan van Eyck's portraits of Adam and Eve from the Ghent Altarpiece, 1432, all the way to Rogier van der Weyden's Crucifixión triptych, 1443-1445, the five works in the first, pre-Modernism room reference the creation, mythology, and Christianity. The chronicle continues in the second room where a series of seven landscapes stand for the beauty of untouched nature, which is suddenly interrupted by the presence of what we recognize as a civilized human. Caspar David Friedrich's Wanderer above the Sea of Fog, 1818, one of the most important works of German Romanticism, here stands as the historic turnaround, a metaphorical portrait of humanity face-off with the unbeatable strength of sublime nature. Such monumental anticlimax is sensibly leading to René Magritte's The Key of the Field, 1936, and Giorgio de Chirico's The Return of the Poet, 1911, two depictions of telling surreal scenes that envisioned our recent reality. Continuing over Pablo Picasso's The Yellow Shirt (Dora Maar), 1939, rendering of a seated woman that is physically falling apart as she's nervously waiting to stand up from the seated position, the exhibition wraps up suspended in the anticipation of the aforementioned Hopper's peeping classic. In an effort to accentuate the illusion of the actual museum display, ‘Past and Present’ marks the first exhibition comprising only works painted to the very edges of the found cardboard. Interested in the confusion that painted images can initiate, especially their relationships with the points of view and/or shadows, the presentation also includes his first works which are stepping off the flatness of the wall and into real space. Just as Anaya Cabanding’s practice of painting priceless masterpieces in abandoned spaces or on found cardboard recontextualizes their prestigious aura, repurposing them into a timeline of human life disputes the centuries of their traditional evaluation, giving them more emotive, existential, human value. Text courtesy of Sasha Bogojev (Juxtapoz contributing writer) Back to All Exhibitions