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The Lancaster Photography Association (LPA) is a non-profit organization formed in the 1960s by local photographers who wanted to share their love and enthusiasm for photography. LPA promotes education, information, inspiration, and opportunity for all persons interested in photography and that supports the philanthropic endeavors in the community through photography. The exhibition, Living in the Mojave, centers around the entire breadth of life and experience present within the Antelope Valley. Featuring: Bob Fields,Carol Moss, Christine Wilkins, Darren Cole, Dean Webb, David G. Wilkins, Fran Marroquin, John Geldermann, Kathryn Newman, Lidia Csernyey, Oran Z. Belgrave Sr., Robert A. Miranda, Shirl Airov-Bieling, Terry E. Dickerson, Thomas Van Langenhoven, Tom Jordan

Artist Talk | Saturday, January 13 from 12:30PM-2:00PM Featuring Melissa Reischman and moderated by art historian Betty Ann Brown with poetry recital by Cindy Rinne. Artist Melissa Reischman's body of work explores the dichotomy between light and dark in her two-dimensional abstractions of nature. Reischman explores the psychological and esitential states of being through visual metaphor. Through contrasting elements, Reischman scales through different emotional states to capture her internal and external world. From charcoal, oil paint, paper, panels, and canvas her abstractions investigate astmosphere and form. The images seen throughout her pieces are inspired by her encounters with the natural world, memories, and personal mythologies. For Reischman, some of her works are deeply autobiographical, often reflecting her feelings and reactions in a particular moment of time.

Participating Schools include Highland HS, Lancaster HS, Knight HS, and Quartz Hill HS

Curated by Juri Koll, the artists in this show use watercolor, inks, and other liquid media for a variety of reasons - some love the risk of not being able to alter the result once it hits the paper. Others have a more formal reason for the process. Some use the medium as a contemplative, almost reverential experience, or for "quiet meditation or being present in the moment," as Shana Nys Dambrot says. All these motivations inspire these works and engage the audience with the here and now, regardless of when the work was completed. Many of the artists have been influenced in some way by Japanese Sumi painters or modern artists such as Sam Francis. The Sam Francis Foundation sponsored the catalog, a copy of which has become part of the Sam Francis archives at the GETTY Museum Research Institute Library.

The Lancaster Museum of Art and History (MOAH) and MOAH:CEDAR are excited to announce the Museum’s 38th Annual High School Student Art Exhibition! Hosted by MOAH:CEDAR, an institution that has a long standing history of being recognized as the community hub of art and culture. This highly anticipated event promises an unforgettable opportunity for students and community members alike. The opening reception will take place on Thursday, March 30 from 5-7 PM with an awards ceremony at 6 PM. The exhibition will remain on view through April 30, 2023. The gallery will be open to the public during MOAH:CEDAR’s hours of operation. Media categories featured in the exhibition include: painting, drawing, ceramics, digital and film photography, 2D and 3D and mixed media.

Follow the Sun is an exhibition of palette knife oil paintings that draw from the quiet vibration, beauty and drama of color and light as the sun moves across the sky from sunrise to sunset, in the city and by the sea, with changing atmospheric conditions. The dreamlike yet familiar landscapes are heavily influenced by environmental conditions – moments captured on a crystal-clear day, in dense fog, or swirling with smoke from wildfire or pollution. White light from the sun is comprised of all colors of the rainbow. The science of light explains why we see different colors under various conditions. During the day the sky generally appears blue to gray-white, and during sunset or sunrise looking toward the sun the sky can be red, orange, or yellow. This is because light waves that appear as color to our eyes hold different properties. Blue light waves are short and scatter easily. When the sun is above us - closer to us, the sky appears blue. Yellow and red light waves are long and not easily scattered so when the sun is farther away from us as it is at the horizon, the sky can appear yellow, orange, or red. “City of Angels” is a painting that sizzles with heat as the sun begins to rise in Los Angeles. Red, orange, and yellow light waves pass through the heavy urban atmosphere. “Into White” takes the viewer along with a jet landing in cool, dense fog. The sky is blue-white as all the light waves are being scattered away by water droplets in the atmosphere. In the painting “Phenomenon”, which depicts a natural occurrence that takes place twice a year at several locations in New York City when the sun sets directly between the buildings, the setting sun, close to the horizon, gives off a yellow and orange glow. “Stand By” with its deep pink cast takes the viewer to the runways at Los Angeles International Airport at the end of sunset, the sky is thick with atmospheric particles and the red light waves penetrate the dense layers from the distant sun. The exhibition invites the viewer to immerse themselves in the atmospheric nuances of color, contemplate the color of light, reflect on the feeling of watching a golden sunrise, looking toward the sun on the bright blue-sky day, and gazing at a blood orange sunset, and serve as a reminder to stop, look up at the sky for a moment and revel in the wonders of color and light.

Uncovering Existence: Selections from the Museum’s Permanent Collection highlights selected works in the Lancaster Museum of Art and History’s (MOAH) permanent collection, showcasing a diverse range of artworks acquired by the museum over the past three decades. The exhibition presents work in a variety of artistic media and methods, ranging from abstract and representational painting, to photography, sculpture, and ceramic. Uncovering Existence features the work of 35 different artists at various stages of their artistic careers including: Abel Alejandre, Adrian Anguiano, April Bey, Perez Bros., Brooks Byrd, Lavialle Campbell, Doctor Eye, Lanise Howard, Suda House, Cynthia Ona Innis, Jorge A. Jimerez Jr., Christine Kline, Gary Lambert, Kevin Kowalski, B. Robert Moore, Mahtab Mohammadi, Sheila Pinkel, Elyse Pignolet, Melanie Walker, Samuelle Richardson, Melissa Reischman, Christopher Russell, Jim Seargeant, Katherine Stocking-Lopez, Jane Szabo, George Van Saake, Vyal Reyes, Amir Zaki, Manuel Zamudio, and Stevie Love, as well as, the 2024 All-Media Juried Exhibition winner Francis Robateau. The exhibition showcases the breadth of artists and pieces in MOAH’s permanent collection and addresses themes of memory, identity, and personal history. Through the works in the show, viewers can examine the vital role that the museum’s collection plays in preserving and interpreting cultural narratives in order to encourage dialogue about representation, inclusivity, and a deeper understanding of the human experience. By sharing diverse stories and perspectives, the museum remains relevant and engaged, ensuring that cultural heritage is honored and shared with future generations.

The Lancaster Museum of Art and History (MOAH) and MOAH:CEDAR are thrilled to announce the 40th Annual All-Media Juried Art Exhibition. The exhibition will celebrate participating artists with an opening reception on Saturday, June 7. The opening reception will begin at the gallery in MOAH:CEDAR from 4-6 PM. Afterwards celebrate with us at the Award Ceremony at the Lancaster Museum of Art and History from 6-8 PM. At the Award Ceremony over $1,000 will be awarded to participants by the Lancaster Museum and Public Art Foundation and various small businesses, community organizations, public officials, and other sponsors. The exhibition will run from Saturday, June 7 to Sunday, July 20, 2025. Learn More Meet The Jurors Photo credited to Stacey Meineke Photo Stephanie Sherwood Artist and Curator Stephanie Sherwood is an artist and curator living in Los Angeles. Her artwork has been shown internationally and in the United States, including the Los Angeles Municipal Art Gallery, LA Artcore, The Brand Library and Art Center and DAC Gallery. Sherwood’s work and curatorial projects have been included in several publications including Artillery, Art and Cake, ArtHabens Contemporary Art Review, LA Weekly, MurzeMagazine and Voyage LA. Steven r. CALZADA Artist and Educator Steven R. Calzada, an accomplished artist and educator in the Antelope Valley Union High School District since 2000, is known for his innovative curriculum and commitment to student creativity, earning multiple accolades, including Teacher of the Year. A UCLA Fine Arts graduate, he studied under renowned artists Chris Burden, Charles Ray, and Jorge Pardo. He actively exhibits locally and leads professional development initiatives, fostering collaboration among educators. Samantha Herrera Curator of Exhibits, Ontario Museum of History & Art Samantha Herrera, Curator of Exhibits at the Ontario Museum of History & Art (OMHA) earned her B.A. from the University of California, Riverside. Starting nearly a decade ago as an art preparator, she has been key in developing and installing numerous exhibitions, utilizing her extensive institutional knowledge and curatorial insight. Sam is committed to promoting the Inland Empire’s arts community and fostering connections with artists from outside the region.

Using her hands as her tool, Aazam Irilian’s paintings are created through combining acrylic inks, fabric dyes and oil on canvas. She begins every painting in a state of not knowing and by pouring the paint onto the canvas. This technique allows the paints to stay fluid longer and bleed into each other slowly over time—hence, the tonal variations and transparency of the colors, which create a sense of depth within the space. This results in fluidity and translucency on the surface, which are complemented by organic lines to create movement and form.

“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)

Presented in collaboration with Thinkspace Projects, Los Angeles Spenser Little is a self-taught artist who has been bending wire and carving wood for almost 20 years, allowing his creativity to morph into images that range from simple wordplay to complex portraits. He has related his wire work to a mixture of playing chess and illustration, as the problem-solving component of the work is what continues to inspire himself to create larger and more complex pieces. Some works contain moving components and multiple wires, but mostly the pieces are formed from one continuous piece of wire that is bent and molded to Little’s will. He has left the wire sculptures all over the world, in locations that range from the Eiffel Tower to the bottom of caves, their location selected with little discernment, only for the piece to be finally realized at the moment that someone discovers the surprise piece of art. Little has taken part in numerous POW! WOW! mural festivals in the past few years, which has exposed his work to an entire new audience via their network of art sites/blogs and having his work shared all over the world including the likes of the Antelope Valley (Lancaster, California); Long Beach, California; Rotterdam, The Netherlands; Honolulu, Hawaii; Israel; and San Jose, California. Regarding his new body of work, Spenser shares “To me, all art is a form of illumination devices. For this exhibition I have built a new series of mixed-media kinetic lamps. The lamps serve as bright facades for inner, hidden chambers. Looking through their constantly closing and opening doors, viewers are offered a peak at what makes them tick. Like the different layers we develop throughout our lives, we only allow certain people to see our most inner workings, while the majority are only able to see our polished exteriors. The lamp building process begins with the wood carving of the central character's head. I then weld a round bar frame for the outline of the body. I don’t put much forethought into where the design will go, aesthetic or engineering wise, which allows me to adapt any spontaneous idea during the build. Once I have the legs and body welded out and sized to the wooden head, I begin to problem shoot the kinetic portion of the build. Which is the unnatural part for my purely sculptor’s brain. Once all of the kinetic components are complete, I clean and bake the paper skin on the lamp, allowing them to come to life.” www.thinkspaceprojects.com

On Saturday, January 30, MOAH:CEDAR’s exhibition, Smaller Footprints, opened as part of the Lancaster Museum of Art & History’s (MOAH) award-winning Green MOAH Initiative. This exciting exhibition, which featured international artwork that addressed the subject of climate change, marked a partnership between the Museum and the Women Eco Artists Dialog (WEAD), a group of arts professionals working with environmental and social justice issues. Smaller Footprints showcases work that reflects the life-altering effects of climate change and its impact on water, food, human health, social justice, and species loss. The exhibit was curated by Linda Weintraub, WEAD member and prominent American eco-art writer/educator; WEAD cofounder/chair Susan Leibovitz Steinman; and MOAH/Cedar administrator/curator Robert Benitez. Smaller Footprints is a celebration of the 20th anniversary of WEAD’s distinguished history. Of the inspiration behind the exhibition, Weintraub states, “Impending climate calamity impinges upon all humans and all forms of life. Smaller Footprints promises to leave larger imprints upon the sensibilities of all viewers.” Smaller Footprints Juried Artists: Celia Anderson, Krisanne Baker, Laura Spalding Best, Lisa Breznak, Sandra Camomile, Reenie Charriere, Katie Craney, Nicole Dextras, Pascaline Doucin- Dahlke, Danielle Eubank, Nancy Gesimondo, Angela Gonzalez, Gina Herrera, Elizabeth Kenneday, Water Kerner, Artists Formerly Known As Women, Laura Larson, Olga Lebedeva, JJ L’Heureux, Joanne Mattillo, Sandra Mueller, Leslie Morgan, Aline Mare, Christine Neill, Anna Olsson, Paula Ortega, Katharine Owens, Meike Paniza, Bonnie Peterson, Alice Raymond, Robin Repp, Yolanda Reyes, Fabiola Rodriguez, Ilse Schreiber-Noll, Seda Saar, Soraya Sharghi, Jessica Stalvey, Lorna Stevens, Suzy Sureck, Ruth Wallen, Riva Weinstein, Tammy West, Elizabeth Wood, Shai Zakai. WEAD Board Participating: Krista Anandakuttan, Christina Bertea, Hagit Cohen, Verona Fonte, Michele Guieu, Isabella La Rocca, Carol Newborg, Sharon Siskin, Susan Leibovitz Steinman, Andree Thompson, Mary White, Raheleh Minoosh Zomorodinia.