Artist Talks with Brooks Salzwedel and Seth Armstrong Sunday December 16th at Lancaster MOAH

Join The New Vanguard II featured artists Brooks Salzwedel and Seth Armstrong this weekend, Sunday, December 16th for talks with these at Lancaster MOAH.

Brooks Salzwedel’s artist talk will take place at 1 pm followed by Seth Armstrong’s talk at 2 pm. The New Vanguard II will be on view until December 30th and this is a great opportunity to view the exhibition and learn about the works of these talented artists.

Brooks Salzwedel 

Born in Long Beach, Salzwedel creates translucent landscapes that shift in and out of solid and ethereal states. Like fluid worlds suspended in a cycle of perpetual haunting, the imagery often feels loosely real but undeniably hallucinated and invoked. His works play with the depiction of these unhinged natural and hyperbolically unnatural physical states, combining sparse terrains with fictional mountain ranges and shadowy, diaphanous atmospheres. His mixed-media drawing-based works are created using a combination of graphite, mylar and resin, tape, colored pencil, and ink.

Seth Armstrong 

Los Angeles-based painter Seth Armstrong creates paintings that seize time, near-cinematic moments of suspended or implied action. Some offer vast views, and others contracted intimacy, moving freely in and out of public and private spaces to create ambiguous vantage points. Known for paintings that self-consciously capture the act of looking – whether as a voyeur in trespass or a participant in the landscape – Armstrong captures the simultaneity of the city as a place of endless, contingent narratives, jarring interruptions, and suspenseful pauses.

In Lil’ Baja’s Last Ride, Armstrong combines his patented interest in the grittier recesses of urban life with his penchant for humor and a good inside joke, dedicating the exhibition’s title to his recently retired car, the unsuspecting casualty of a freak fire in the MOAH’s parking lot.

Exhibition on view October 20 through December 30 at:
Lancaster Museum of Art and History
665 W. Lancaster Blvd.
Lancaster, California 93534
www.LancasterMOAH.org

New Vanguard II Artist Sandra Chevrier Featured on CBC Arts

Sandra Chevrier, whose latest body of work is on view at the Lancaster Museum of Art and History, was interviewed for a segment on the CBC this past summer. You can visit the CBC website for a short video on Chevrier and a look at this talented artist.

Chevrier’s solo exhibition “Cages and the Allure of Freedom” is on view now through December 30th at the Lancaster MOAH.

 

Interview with Brooks Salzwedel for “Rut in the Soil” at Lancaster MOAH during “THE NEW VANGUARD II”

Brooks Salzwedel’s exhibition “Rut in the Soil” is on view now through December 30th at the Lancaster MOAH during “The New Vanguard II” 

Can you explain your creative approach when developing your installation/solo for the New Vanguard II?

In my most recent work, I present landscapes, some imagined, some inspired by our national parks, touched by man in various states. In many pieces I’ve enclosed the landscapes in a border of negative space by use of graphic shaped rectangular boxes mimicking a foundation, more specifically the borders we put on land; from national parks, city parks, backyards, gardens, to countries and states. By setting the scenes in these shapes it alters the seemingly limitless boundaries of nature and our behavior with it.

Within the pieces are moments that are personal to me, hidden within the trees and brush one will find oil rigs, fire pits, pills, rainbows, animals, palm trees, and other various images make the piece personal to my experiences and create a greater narrative when pieced together.

In 100 years from now, what do you think will be said about the New Contemporary art movement?

I think the current New Contemporary movement is thriving with so many different types of work and materials. It will be seen as a change in the relationship between artists and galleries, artists and other artists, galleries and other galleries, and collaborations. It will be a time of blurred lines between artists’ original work and people altering those works via social media and computer-generated imagery to create their own works. Technology is still relatively new in the art world, that seems to be shown a lot more in artists’ work as well.

What does it mean to you as an artist to have your work be shown at a museum?

To have a solo show in a museum has been one of my top goals since I was a young artist. I never thought it would happen at such an early stage of my career. I feel as though I am able to offer the world feelings they may not have felt before in a space that is made for the viewer to focus on the work and what it means rather than what it is or will be worth.

If your body of work had a signature cocktail or drink, what would it be made of and called?

It would have to be Oaky, strong, and dark. Maybe an Old Fashion. A dark, wood colored whiskey, with a cold cube in the center and it would need a small object, a stir stick in the shape of a nail to combat the natural taste and feel of the liquid.

Favorite part about Lancaster, or something you learned about Lancaster during your time there working on your install for the New Vanguard II?

It’s a surprisingly comfortable, easy drive from Los Angeles. It’s close enough for an easy afternoon and far enough that the museum is able to take risks on the exhibitions, have more fun. Also, the Blackbird Air Park is quite a treat.

There are a lot of amazing artists in the exhibition, and this question may be difficult to answer, but which artists in this show would you want to collaborate with on or steal an artsy secret/technique from that you want to use too?

I’m not much of a freehand painter, I’m meticulous and detailed and on quite a small scale compared to some other artists. I’d like to collaborate with one of the mural, graffiti artists, maybe Jeff Soto. Not only did we graduate Art Center within a couple of years together I’ve always had a connection to the work, the plants and weathered look in some of his work. I notice Soto has a few larger works, and murals, so the grand scale of his work would push my comfort level.

BROOKS SALZWEDEL
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Interview with Craig ‘Skibs’ Barker for his Installation “Suzy Is A Surf Rocker” at The New Vanguard II

Can you explain your creative approach when developing your installation/solo for the New Vanguard II?

In developing my first solo museum installation, “Suzy Is A Surf Rocker”, I wanted to be very thoughtful and focused with my imagery. I began simply drawing sketches and writing down ideas, as well as collecting objects and ephemera to fill the large amount of wall space I was given. When I had narrowed down the ideas into a definitive, cohesive direction began the process of time management in my studio preparing all of the paintings, objects, photographs, and support pieces. Once I had begun the installation process at the museum the fun really started, but strategic editing had to also take place during the process. I always bring way more of everything than I need for a large-scale installation, and this was no exception! Finally, building what I had envisioned in my mind for months on the MOAH walls was an incredible…and at times exhausting…experience.

In 100 years from now, what do you think will be said about the New Contemporary art movement?

100 years from now I believe what will be said about our movement will be that it has been the most all-encompassing, inclusive movement in history. This movement has the most diverse styles, disciplines, genders, ethnicities, geography, exhibition venues…the list of inclusion goes on and on!  The New Contemporary Movement is the first to have grown up during the internet age…giving an instant platform to artists of all kinds worldwide. This kind of exposure has shone a bright light on artists and styles that would have never seen a glimmer in the past gallery/museum pantheon. This exhibition is a shining example of that fact!

What does it mean to you as an artist to have your work be shown at a museum?

Having my work…and our movement…shown at museums is the realization that all of the hard work of the artists, gallerists, collectors, and fans is being accepted at a whole other level now. Although, it still means almost as much to me to show my work in a local gallery, coffee house, warehouse pop-up, or anywhere that supports current and up-and-coming artists. The wide variety of venues available to new artists has had a huge impact on why The New Contemporary Movement has grown to museum levels.

If your body of work had a signature cocktail or drink, what would it be made of and called?

Oh man!!! I suppose it would have to be some kind of kitschy tropical drink with lots of rum and fruit juice…garnished with pineapple chunks, flowers and a tiny umbrella…and would probably be called “skibs kula’i wai”…loosely translated as “skibs knockout juice”…HA!

Favorite part about Lancaster, or something you learned about Lancaster during your time there working on your install for the New Vanguard II?

Oh, this one is easy…favorite for sure was the people! Not just the people who work in the museum…who were all amazing. The people in the shops, restaurants, bars…everyone was extremely nice and excited to see and meet us while we were out and about in their city.

There are a lot of amazing artists in the exhibition, and this question may be difficult to answer, but which artists in this show would you want to collaborate with on or steal an artsy secret/technique from that you want to use too?

Geez, come on!!!! I guess if I had to narrow down that insane list of talent…I would want to do a collab with Chris Konecki. I think his 3D, mixed media, sculptures, and ambiguously vintage imagery would mix well with my similar aesthetic. I would want to steal some of Jaune’s stenciling techniques…the details and accuracy he creates with that hard edge technique are incredible

 

Artist Talks with Spenser Little and Craig “Skibs” Barker at Lancaster MOAH

Hop in your car and join us in Lancaster this afternoon as Craig “Skibs” Barker will lead a walk-through of his exhibition, Suzy is a Surf Rocker today,  November 25 at 1 pm followed by a walk-thru and talk with Spenser Little at 2 pm.

Craig “Skibs” Barker Bio:

Barker has been immersed in both the punk rock and surf culture of southern California since the early 1980s. His imagery, being informed by the print media and graphics of the subcultural terrain shaping the time period, reflects this upbringing. Influenced and surrounded by punk flyers, album covers and surfing magazines, Barker began testing his artistic skills by initially making flyers and t-shirts for his punk bands and his friends. Barker’s work explores the junctions between past and present, memory and imagination, fantasy and reality, while creating a dialog between image and viewer.

Barker’s most recent paintings infuse his long-standing love for painting and rendering the human female figure with his punk-fueled graphic design aesthetic. Mixing different approaches, techniques and mediums, he creates a sense of memory, personal history and appreciation for the female form. Combining elements of pop culture and literary censorship, he creates layered scenes of voyeuristic playfulness. His artworks feel surreal and partial, yielding results of decontextualization. The way Barker frames his figurative subjects, his compositions feel like spontaneously taken polaroids.

Born and raised in Huntington Beach, Barker has been exhibiting installations and his paintings in places such as Long Beach Museum of Art, Thinkspace Projects Los Angeles and was featured at MOAH in 2014. His work has been included in Newbrow and Juxtapoz magazines.

Spenser Little Bio: 

Spenser Little is a self-taught artist who has been bending wire for the last 15 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.