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Legacy of Care: 70 Years of Medical Innovation Antelope Valley Medical Center August 2, 2025 - September 28,2025 + Current Exhibitions View Past Exhibitions View Future Exhibitions

Past Exhibitions 40th Annual All Media Juried Art Exhibition MOAH and MOAH:CEDAR June 7 - July 20, 2025 + 40th Annual High School Student Art Exhibition Antelope Valley Union High School District April 3, 2025 - May 18, 2025 + Uncovering Existence: Selections from the Museum's Permanent Collection February 15 - March 16, 2025 + Dream Feelers Thinkspace Projects December 15, 2024 - February 2,2025 + Luminous Mysteries Human Symmetries Nikolas Soren Goodich September 28 - November 24, 2024 + Echoes of Nature Nathaniel Ancheta August 3 - September 15, 2024 + Juried Art Exhibition 39th Annual All-Media Juried Art Exhibition June 1 - July 20, 2024 + 39th Annual High School Student Art Exhibition Antelope Valley Union High School District March 28 - May 12, 2024 + Godeleine de Rosamel Anticipating February 3 - March 17, 2024 + Student Art Show Assemblyman Tom Lackey January 27 - 28, 2024 + More +

Legacy of Care: 70 Years of Medical Innovation Antelope Valley Medical Center August 2, 2025 - September 28,2025 1/0 August 2, 2025 - September 28, 2025 Legacy of Care: 70 Years of Medical Innovation celebrates the history, progress, and enduring community impact of the Antelope Valley Medical Center (AVMC) since its opening in 1955. Through historical objects, photographs, and ephemera from the medical center’s archives, the exhibition highlights AVMC’s evolution over the last seventy years. With an emphasis on the staff and volunteers who have made invaluable contributions to the medical center throughout its history, Legacy of Care features testimonials from current, long-term staff members, as well as historic photographs that showcase the rich legacy of these individuals. In addition to these personal stories, the exhibition spotlights the strides that AVMC has taken in medical innovation, showcasing the advanced technologies implemented by the medical center since it’s opening. Back to All Exhibitions

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Best friends and partners for over two decades, Nay and Julie share an unusual bond. Their unspoken understanding of one another, coupled with their ever increasing desire to challenge the limits of clay create the ideal scenario for collaboration in sculpture. Benefiting by their merged strengths, their concepts evolve into surreal creations revealing a light-hearted, innocent charm and organic nature with a spontaneous quality all their own.

The Lancaster Museum of Art and History (MOAH) and MOAH:CEDAR are excited to announce the Museum’s 33rd Annual All-Media Juried Art Exhibition. The exhibition kicks off with an opening reception celebrating local artists on Saturday, May 5 from 4 to 8 p.m. Beginning at 6 p.m. an awards ceremony will take place where over $1,000 will be awarded to participants. The exhibition will run from Saturday, May 5 through Sunday, June 3. This year’s jurors include local, and regionally recognized artist, Tina Dille, and Director of Los Angeles-based artist marketing firm, Shoebox Projects, Kristine Schomaker. Artists interested in submitting work should note that the Museum will only accept entries online, through CaFE (www.callforentry.org). For those unfamiliar with online submissions, information sessions detailing the process will be available at MOAH on April 25 from 3 to 6 p.m. Participants will have the opportunity to submit their work through CaFE’s online system during these sessions with the assistance of MOAH staff. The entry period for the 33rd Annual All-Media Juried Art Exhibition runs from now through April 27. For more information regarding information sessions and submission guidelines, visit facebook.com/moahcedar. A $2 processing fee will be charged for a single submission with guaranteed acceptance. Each additional submission (up to three pieces total) will charge an additional $5, which will be submitted for jury. The exhibition, will be on view Saturday, May 5 through Sunday, June 3 during MOAH:CEDAR’s regular hours of operation, Thursday through Sunday from 2 to 8 p.m. Community members are invited to view the art and share photos on Instagram using #MOAHJuried2018 . Visitors are also encouraged to vote for their favorite pieces using #MOAHPeoplesChoice , as the artwork with the most votes on Instagram will receive a special prize following the exhibition.

Collateral Damage “collateral damage n. : injury inflicted on something other than an intended target; specif : civilian casualties of a military operation” -Merriam-Webster Dictionary "Collateral Damage is an immersive installation that speaks of the damage and harm in nature that we, humans, are causing unintentionally. As the gardeners of our environment and lives, we need to become aware of our destiny, while sharing the responsibility and love for nature and all life as an indivisible global network that needs sunlight, air and water to continue its survival. The impermanence of our own existence is immersed and inseparable from this blue island, in the black lonely universe. The immersive and interactive aspects of the installations intend to bring an awareness to the warning signs of unintended destruction of the ocean, coral reefs and water resources via playful interactions with different kinds of beauty, set up in a possible post-apocalyptic plastic-fantastic-future." -Snezana Saraswati Petrovic

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The Lancaster Museum of Art and History (MOAH) and MOAH:CEDAR are thrilled to announce the 36th Annual All-Media Juried Art Exhibition. In this annual exhibition, artists of all ages and experience levels from around the Antelope Valley and the 5th Supervisorial District of Los Angeles County are welcomed to participate.

As global warming and climate change continue to wreak havoc on the earth’s ecosystem, Los Angeles-based artist, Stephanie Sydney, examines the behaviors and attitudes of human nature and their direct contribution to the destruction and decay of the natural world. Through her carefully constructed digital collages, she combines her knowledge of painting and digital design. These collages are created through the use of Photoshop where she manipulates and layers images on top of one another. Through this layering of images, Sydney examines her fascination with the idea of juxtaposition between extreme concepts like life and death, strength and fragility, chaos and order, among others. Originally trained as a painter, Sydney views her photography as a canvas and Photoshop as her paintbrush, using the program to manipulate the size, color, and shape of her chosen images. The result reveals a surrealist interpretation of reality whose visual associations compel the viewers to question the relationship between the individual images and the overall message presented. These optic explorations of the natural world and urban blight reconstruct her spontaneous snapshots of everyday life into a meaningful investigation into the effects of global warming. Stephanie Sydney is a London-born artist who currently resides in Venice, California. She works in several media including mixed media, assemblage sculpture, installation, performance art, photography, digital, and digital collages. Her work is in several collections including Banque BNP Paribas and Morgan Stanley in New York. She has had solo exhibitions at Brand Library Art Gallery in Glendale, California; Gallery 825 in Los Angeles; Crafton Hills College Art Gallery in Yucaipa, California; and Villa di Donato in Naples, Italy. Sydney’s work has also been shown at Gallery FotoNostrum, Barcelona, Spain; and Raleigh Towers in Los Angeles, California; Launch LA and the Korean Cultural Center, Los Angeles, California; Site: Brooklyn Gallery, New York; San Diego Museum of Art, and BG Gallery in Bergamot Station, Santa Monica, California.

Sonja Schenk is an artist based in Los Angeles. She began as a video artist and has since turned to painting and sculpture. She has participated in group shows at the Vincent Price Art Museum, the Berkeley Art Center, Tarfest LA, and Cerritos College Art Gallery. Her work has been featured in NY Arts Magazine, the Eastbay Express, the San Francisco Chronicle, Forth magazine, and at rhizome.org. She has had shows in Northern California, Los Angeles and has been invited to do a site-specific work at a museum in Switzerland, her first show outside the U.S. Noah Thomas' exploration of sound is influenced by landscape and by an internal landscape/soundscape embodied in the construction of ‘place.’ Thomas’ improvisational practice currently uses the analogue manipulation of sound from a variety of sources, looped digitally and offset in time to create a sense of space/place. The instruments he uses include trumpet, cedar flute, conch, keyboard, Theremin, tonal percussion instruments, sound toys and natural objects. Thomas used a variety of these instruments to interpret Sonja Schenk’s paintings and sculptures during the opening reception. Just as the physical landscape delivers a wide range of sensory cues, clues and delights, so do Thomas’ soundscape. Together with Sonja Schenk’s works, which stack and crumble, rise and fall like the terrain, they become a new construction of place.

A naturally occuring ring of trees is called a Cathedral. In the center is the oldest, largest tree that drops seeds, which become seedlings and eventually large trees around the center tree. There is a natural ring of redwood trees (200 plus feet tall) where I lived in the Santa Cruz mountains. In the center of the ring was a ‘mother’ tree that had been struck by lightning and was charred black. Before the ‘mother’ tree was struck by lightning, it had dropped seeds in a ring around it, which grew to be huge giants. I have been fascinated by the fact that within a ring of trees, after the center ‘mother’ tree dies (struck by lightning or otherwise killed) the trees around it send glucose via the roots to the dying tree and keep it alive sometimes for decades. I invite visitors to enter the ring of trees, created with gossamer silk chiffon panels and hope to create a tranquil and contemplative, immersive environment.