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Unknown EXHIBITION Understory as Retold by Trinh & Birds Trinh Mai DATES: MAY 28 - SEP 4 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Rotunda Gallery EXHIBITION Happenstance Jeff Owen DATES: SEPT 2 - JAN 7 YEAR: 2023 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Happenstance - An Unexpected Journey My artist life began as a child sitting in the back seat of a 1957 Chevrolet with a drawing tablet – only the best from the art store – and my favorite #2 pencil. My mother would throw me and all of her drawing supplies into the car and drive all around town looking for interesting buildings, homes, or people to draw. Always on a busy street, cars whizzing by with all the noise that accompanies them; no matter, we were there to draw whatever was out the side window of the car. I’d say my drawings were never much to look at, but I always received tons of “that’s beautiful” or “I wish I could draw like that” from Mom. Sometimes my scale would be off, sometimes my perspective. No problem, Mom encouraged me. Each adventure would top the last – and each finishing with a quick roll up of the window, a buckle of the seatbelt, and a retreat to home where Mom would pull out her recent work and “touch up” her drawing – then – she began to paint. This was the best time. The fumes of oil and turpentine would fill the house. We, my sister and I, would run over and open a window to get some fresh air into the room – Mom was painting! We would watch her paint, and then, for some unknown reason (except for being a kid) we’d find something else to do – until our curiosity sparked us to again go and see how far she had come with her latest “masterpiece.” This was my introduction to art. My art evolved over the years, sometimes taken with painting, sometimes drawing, until that one special day that I discovered welding. My father-in-law, Chet Christison, lived in Fresno. We would visit him and his wife Thelma at least three or four times per year. His workshop, a huge outbuilding on the property, was filled with woodworking tools. Little did I know that he also loved metal. Inside his workshop, in a corner that you could barely get to without disturbing all the feral cats he loved so much, away from everything else, was an oxy-acetylene torch set, and next to it, a small welder. “What the heck is this?” I asked him. “Oh that, you wouldn’t know” he said. “That’s for welding metal.” I asked him if he wanted it, since I could see it had not been used in some time. “What are you going to do with it? You don’t even know how to use it.” I finally got him to give it to me. The welder went into the back of my truck, along with the oxy set. I was determined to put them to good use. I must be able to find something that needs welding... -------------- My technique is brute force, decide-at-the-moment. My creative process emerges with patterns. I incorporate patterns into all of my sculptures. Taking one piece of steel, adding to it, or deleting from it, then ending when the sculpture encompasses all of my creativity, this is what charges up my artistic energies. When my creative force is flowing, I work on a sculpture to completion. It is finished when the creative flow ends. I have been an artist all my life. I am fascinated with engineering and architecture. The shapes of metal, its patterns, textures and grains all entice me to create. My ability to cut and weld metal allows me to create any art I desire. My aspiration is to create sculpture that is unique, something that no one has done before. I resist conformity and mass production. My art is as individual as I am. My art belongs to our present time or any time. My art does not represent reality inspired by the real world. It makes use of patterns representing independent relationships with no reference – “contemporary-abstraction.” I take delight in rummaging through metal scrap yards, finding those particular pieces of steel that stir me in some way or other. I have feelings for inanimate objects. When I see something tossed aside, I ponder why? I wonder where it has been and where it is going. Each piece I touch has its own individual tale. Was it once part of a bridge, supporting travelers to distant cities? Was it once part of a water tower, supplying nourishment to gardens? Was it used to manufacture others, like itself? When I’ve rescued that piece from limbo, it may take me only moments, or possibly many months, to understand within myself what that metal wants, or needs, to become. Only then will I fulfill “its” dream. Jeff Owen 2023 "Lost Horizons" Previous Next

Rotunda Gallery EXHIBITION Close Up / From a Distance: Botanical & Landscape Photographs Joe Ramos DATES: MAY 21 - JUL 31 YEAR: 2022 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Redwood Garden Capacity Unlimited Price About the Venue Please see General Planning Resources for pricing add-ons. With its effortless beauty, create a relaxing atmosphere and entertaining space by adding the tranquility of the entire garden area to your event. Venue Gallery LOAD MORE Other Opportunities Redwood Garden Redwood Garden

Who We Are For 60 years, the Triton Museum of Art has been a destination for the community, providing a venue where local artists exhibit their work alongside regional and national artists and where students of all ages learn about art and the creative process. Located across the street from the Santa Clara Civic Center, the Triton Museum of Art collects and exhibits contemporary and historical works with an emphasis on artists of the Greater Bay Area. Over 40,000 people attend the museum on-site annually through its exhibitions, education, and community programs, and over 90,000 people view the museum's satellite gallery and exhibitions annually. Our Roots The Triton Museum of Art was founded by rancher, lawyer, and art patron W. Robert Morgan and his wife June in San Jose, California, in 1965. It was the first non-university art museum in the county. Less than two years after its opening, the Triton Museum moved to its current location within the City of Santa Clara. Exhibitions and programs were held in four pavilions surrounded by a seven-acre park. Due to the tremendous economic and population growth of the Santa Clara Valley during the 1970s, a new facility was built to serve the changing needs of the community. Construction for the current facility was completed in October 1987. The 22,000-square-foot space features high ceilings, pyramidal skylights, and dramatic lighting. The spacious design of the building was created for versatile exhibition presentation as well as an aesthetically pleasing experience for museum visitors.

Beyond the Enhance Button: An iPhone Photography Workshop with Fine Artist Ron Dell'Aquila Ron Dell'Aquila Sunday, October 8th from 11:00am to 2:00pm Go beyond the enhance button and master the camera app on your iPhone with guidance from Fine Art Photographer, Ron Dell'Aquila. About the Instructor: Ron Dell'Aquila Raised in the high-tech environment of Santa Clara Valley, Ron Dell’Aquila has been influenced by both its natural beauty and the electronics industry of Silicon Valley. Ron attended San Francisco State University to study Fine Art Photography and Computer Science and has had a multi-faceted career in the arts and technology ever since. As a Commercial Photographer, Ron worked at Macy’s photo-advertising studio in California and later started his own studio specializing in high-end audio and computer product photography. As a Fine Art Photographer, Ron’s current body of work, Organic Landscapes, combines a strong sense of design, with an appreciation of light and textures. His work as database designer for the Lawrence Livermore National Laboratory, especially the Livermore landscapes, also has inspired and grown his artistic portfolio. Exhibitions: Ron has exhibited his work at the Triton Museum of Art, Pacific Art League Gallery, Intel Corp., Krause Center Gallery, Saratoga Rotary Art Show and Photo Central Gallery. BACK

2025 SALON AT THE TRITON: 2D ART COMPETITION & EXHIBITION For Information on Salon Awards Head over to our Exhibitions page! Exhibitions 2025 Salon at the Triton Selected Artists Joseph Abbati Sonny Abesamis Nicki Adani Chris Adessa Hadi Aghaee John Angell Sriharsha Annadore Michael Azgour Peter Baczek Barbera Bailey-Porter Steve Barbaria Michael Belew Tessie Berger Bruce Beron Jacqueline Boberg Lisa Bostwick Susan Butler-Graham Mague Calanche Marie Cameron Trung Cao Peter Carey Fernando Carnauba Zoe Caron Maura Carta David Casterson Jane Cavala HJ Chae Lin Pei Cheng Stanislava Chening Michelle Chen Lei Chi Saikat Choudhary Jonathan Clark Aina Clotas Gary Comoglio Susan Costes Matt Crick Pauline Crowther-Scott Kathy Dana Dara Donna Davies Dollar Davis Ron Dell'Aquila Eric DeRitis Jemal Diamond Mark Dobrin Lois Donaghey Holly Downing Ulysses Duterte Richard Dweck Sara Kate Eberhart Donna Eck Steve Emery Vera Fainshtein Terri Ford Julia Foug Robyn Freedman Janey Fritsche Jonathan Gaber Kathleen Gadway Luis Garcia Sheila Ghidini Richard Gilles Ellen Konar & Steve Goldband Rinat Goren Fiorenze Gorini Jaya Griscom Tim Guan Raja GuhaThakurta Ellen Gust Annie Haines Deborah Hamon Maricris Briones Hansen Monica Harb Omar Harb Dawn Harmer George Herman The Artist Hines Anna Homchick Denise Howard Gabriel Ibarra Anna Ilievska Jeff Ishikawa William Jackson Karl Jensen Patricio Jimenez Aaron Johnson Scott Johnson Kathryn Kain Cindy Kamm Rebecca Katz Maria Kazanskaya Michael Kerbow Youngmin Kim B. Nicole Klassen Rosalie Lang Shay Lari-Hosain Paul Art Lee Wendy Levine Sydell Lewis Belinda Lima Kathleen Lipinski Helena Ljoljic Carolyn Lord Ben Lovell Melissa Mandegarian Stephen Mangum Kaaren Marquez Mercedes McDermott Suzette McDonough & James Whitehouse Lei Min Kathleen Mitchell Aki Mori Pat Moseuk Anastasia Mukhina Alicia Murphy Yvonne Newhouse Peter Paluzzi Karen Percival Stanley Peterson Mark Powers Jim Promessi Dave Ralston Heather Robinson Benjamin-Akeala Sakagch-Belew William Salit Shubhra Sarkar Darren Sears Deborah Shea Vivian Shults Anna Sidana Timon Sloane Spence Snyder Sandra Speidel Tom Stahl Miriam Sweeney Hwei-Li Tsao Pablo Villacaña-Lara Chiachen Wang Tony Williams Julia Woods Ran Wu Ruthie K. Yamada Bing Zhang Stella Zhang Nu Zhi Juror Info: Pancho Jiménez This year’s guest juror is Pancho Jiménez. Pancho holds an M.F.A. in Sculptural Ceramics from San Francisco State University and a B.A. from Santa Clara University. He has exhibited internationally in London, throughout the San Francisco Bay Area, and nationally at universities, private galleries, and civic spaces. His work is part of the permanent collections of the Crocker Art Museum in Sacramento, the Autry Museum of the American West in Los Angeles, the Triton Museum of Art in Santa Clara, and the University of San Francisco. More information about Pancho can be found in the Competition Instructions above.

< Back California Society of Printmakers AUG 30 - JAN 11 Expanding the Field; New Ideas in and Beyond Print The California Society of Printmakers is America’s oldest non-profit, member-run, printmaking organization. This exhibition will be a curated selection of works from artists across the United States; this is an opportunity for the selected artists to showcase their most innovative and evolving creations. In the national call for artists, entrants are highly encouraged to conceptualize works beyond the traditional bounds of printmaking - to embody structures that expand beyond the paper’s edge, extend off the wall, interlocks, and even express in multiples - telling a great story. Artist Statement: For this exhibition, Expanding the Field; New Ideas in and Beyond Print, artists have been invited to submit work that incorporates any form of hand pulled printmaking, with end results including, but not limited to: large scale print work, innovative/experimental print techniques, modular assemblages, installation, sculptural elements, art book constructions, two-dimensional prints, and more. The juror for this exhibition, Monique Martin, is an internationally recognized, multidisciplinary artist from Saskatoon, Canada with a 25-year exhibition history who has exhibited her artwork in hundreds of significant solo, invited, and juried exhibitions in numerous countries. Previous Next

< Back Knife Painting the Wild in Acrylics (Triton Online: Winter 2026) Price Members (6 Weeks): $120 Members (8 Weeks): $160 Non-Members (6 Weeks): $140 Non-Members (8 Weeks): $180 Day Pass: $21 (Members), $24 (Non-Members) Location Online Dates Thursday Evenings from January 8th through February 26th from 6:00PM-8:00PM Duration 6 Weeks, 8 Weeks Enroll About the Course This 8-week art session focuses on knife painting with acrylics. While a reference will be provided each week, students are encouraged to use their own references on any given subject. Join in on Knife Painting the Wild and create some new art to enjoy this Winter, or purchase the class as a gift for a friend/family member! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: January 8th - Marlin Week 2: January 15th - Great White Week 3: January 22nd - Crashing Waves Week 4: January 29th - Whitewater Week 5: February 5th - Hippos Week 6: February 12th - Wildebeest Week 7: February 19th - Pelicans Week 8: February 26th - Kodiak Recommended Materials List: For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com 6 count of 11”x14” Canvas Panels or Stretched canvases or 6 count of 16”x20” Canvas Panels or Stretched Canvases Metal Palette/Painting Knives (At least three different sizes/shapes) Palette Paper Pads or rigid “Peel Off” Plastic Palette. 5mm Mechanical Pencil with HB Lead or HB Pencils with Sharpener White Vinyl Eraser and Tombow Mono-Zero Eraser White All-Stabilo Pencils 18oz. Bottle of Satin Glazing Liquid (Golden) Brushes (Either short or long handle depending whether you work from an easel or a table top easel) #1 , #4 , #6 Round Synthetic Brushes #6 , #8 , #10 Filbert Synthetic Brush (#12 Filbert optional) #4 , #6 , #8 Flat Synthetic Brushes #2 , #4 Bright Synthetic Brushes (made from Taklon Nylon) Wet Ones Wipes, Paper Towels, Water Container. Recommended Acrylic Colors: Titanium White, Mixing or Zinc White, Titan Buff, Ivory or Mars Black, Paynes Grey, Raw Umber, Burnt Sienna, Raw Sienna, Sap Green, Permanent Green Light, Hooker’s Green, Phthalo Green, Chrome Oxide Green, Phthalo Blue, Ultramarine Blue, Cerulean Blue, Permanent Light Blue, Yellow Green, Turquoise, Cobalt Blue, Cadmium Red Medium, Permanent Red, Alizarin Crimson, Dioxazine Violet, Deep Violet, Cadmium Yellow Light, Cadmium Yellow Medium, Naples yellow, Cadmium Orange, Portrait Pink, Manganese Blue (optional), Burnt Umber (optional), Cadmium Red Light Questions? Please contact education@tritonmuseum.org Your Instructor Jeff Bramschreiber Jeff Bramschreiber has been drawing and painting for over forty years, and while he is primarily a pastelist, he also frequently works in acrylic, watercolor, silverpoint, most dry media and even airbrush. His artworks hang in private collections throughout the United States and Europe and have received many awards. A local art advocate, he has served as an art club president, (East Valley Artists and Santa Clara Art Association), as a board member for the Triton Museum, as a juror with nearly fifty shows to his credit, as treasurer and lecturer for Silicon Valley Open Studios, as a demonstrator and lecturer for many of the Bay Area art clubs, colleges and museums. Jeff also worked at University Art San Jose for 21 years before its closing in 2018 as an assistant Manager, Frame Designer, and Community Art Liaison. Mr. Bramschreiber has also helped coordinate, organize, and participate in numerous local art shows, group shows and events throughout his career. Currently he is an exhibiting and “live paint” artist at Kaleid Gallery in Downtown San Jose; Jeff is also an art instructor for the Triton Museum of Art, The Rosicrucian Egyptian Museum, and The Villages Arts and Crafts Association. Website: https://bramschreiberstudios.smugmug.com/

Warburton Gallery EXHIBITION Identity Theft and Beyond Chukes DATES: JAN 20 - APR 14 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My creative journey started in Northern California in the early 1960’s. I was born in Vallejo, California and my family moved to San Jose, California when I was a year old. I grew up during the Civil Rights and Black Power movements, amidst the free-thinking Flower Children, Vietnam War, the killings of Black Power leaders and the assassination of a U.S. President. Even while all this was happening right at my doorstep, my childhood was a wonderland of creativity with no one in authority censoring my artistic freedom and thoughts. My parents did an incredible job of keeping our family safe yet always informed us of the impending dangers from the world around us! As I grew older, I began to understand the importance of a using my art as a meaningful educational and historical tool. The concept of the Identity Theft body of work started in 2016 where I witnessed and experienced the unprecedented televised violence on people of color. My social conscious could not be restrained and soon after my artistic instincts kicked in. I began to create this work based on a multitude of dreams and visions. As an African American living and working in Southern California, I am bound to my African roots. Each work of art expresses the importance of understanding my history, and the origins of creativity and knowledge. This exhibition counteracts the negative stereotypes that have led so many races to believe they have contributed nothing of importance to humanity. As I look back at my own family history, as well as researching world history, I reflected on what I have and have not been taught about myself, and other people and cultures of the world. This work is my artistic representation of what happens when people or nations of people are stripped of their indigenous identity and re-taught a history that historically filters the truth and presents an incorrect version of past and present injustices. This filtered history, as I call it, is being used against us as a weapon of self-destruction. Our existence on this planet depends on our perceptions and understanding of one another. An incorrect version of history should be viewed as a crime against humanity. The art in this exhibit reflects my truth! Here we are in the 21st century and it feels as if the world is going backwards. In today’s societies, vast numbers of people are becoming increasingly fearful to speak up and act against senseless hate crimes and injustices. Like so many others, I too have been personally victimized by racial ignorance. Instead of reacting through violence, I have chosen to use my artistic voice to speak out against hate. This exhibit also includes new and unseen works that is a continuation of Identity Theft. We must start conversations that include all voices and races. There is no time limit in creating the truth! I use the power of my art to express my voice! Chukes, Time Traveler , 2023, ceramic. Previous Next

Permanent Gallery EXHIBITION Poetic Sentiment, Chan Spirit Chun-Hui Yu DATES: MAR 13 - JUN 6 YEAR: 2021 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next