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WEDDINGS & PRIVATE EVENTS The Basics: Event Hours of Availability: 4:30PM to 11:00PM (Triton) 8:00AM to 11:00PM (Jamison-Brown House) Rental Hours of Availability: (Event hours + set up & breakdown)* 2:30PM (upon approval) - 12AM Jamison-Brown House events: Flexible depending on staff availability; inquire with Facility Rentals Coordinator *(Delegation of setup + breakdown is the responsibility of the rental party) Decorations: The Triton has specific guidelines for decorations to preserve the integrity of our artists' works. Please see full facility guidelines below for more information. Pricing: Pricing varies depending on the venue, duration, and any add-ons you choose. View full pricing options below. City of Santa Clara Business Licenses: ( Required for all 3rd party vendors hired for any event) All 3rd party vendors hired to work the event must provide us with an up to date City of Santa Clara Business License number. For more information, visit: https://www.santaclaraca.gov/business-development/business-services/business-tax-license Certificate of Liability Insurance: We require renters to Renters provide a one day event liability insurance in the amount equal to at least $1,000,000.00. PRICING INCLUSIONS GUIDELINES PERMIT INFO FLOOR PLANS 1/2 CONTACT US We want to know more about your event! Fill out our inquiry form and our Facility Rentals Administrator will get in touch with you. Stay in touch with our Socials to stay up-to-date on what we've got going on. INQUIRY FORM

Disclaimer: Event galleries are subject to exhibition scheduling. WEDDINGS & PRIVATE EVENTS CORPORATE & ORGANIZATIONAL EVENTS

Be a part of this exhibition in your own way by posing on Eve Page Mathias' Big Red Chair, just like the women shown within this exhibition. Be your own piece of art and lounge on the chair, snap a quick photo, and upload your image using the link provided above. "The Big Red Chair Project" Upload Here The pandemic has been a very difficult time for many of us. With having to adjust our lives to stay safer and healthier, that often meant spending time apart from the people we love. For artist and retired educator Eve Page Mathias, the pandemic gave her time to reflect on herself and to look forward to seeing those absent from her life. During this time, her "Big Red Chair Project" was born and it allowed her to reconnect with those friends and colleagues she missed dearly. This exhibition is a series of large paintings - portraits of women meaningful to the artist. Be a part of this exhibition in your own way by posing on Eve Page Mathias' Big Red Chair, just like the women shown within this exhibition. Be your own piece of art and lounge on the chair, snap a quick photo, and upload your image using the link provided above. Or send photos directly to admin@tritonmuseum.org

PRICING AND BUNDLES PRICING PDF GUIDELINES PERMIT INFO INCLUSIONS Important note for indoor events: Gallery availability is subject to the exhibition schedule. GENERAL PRICING: The Triton Museum (Only) Rate: $475.00 per hour Duration: 5 hour event minimum Cleaning deposit: $400 Capacity: 300 mingling / 150 seated Historic Jamison-Brown House Rate: $200 per hour Duration: 4 hour event minimum Cleaning deposit: $300 Capacity: 50 mingling / 30 seated Sculpture Garden & Redwoods (Add-on to Triton or JBH only) Rate: See bundle rates Duration: Same as main venue. See guidelines for outdoor event requirements. Important note for outdoor events: Special Event Permits are required by the City of Santa Clara and cost between $350-600. Special Event Permit applications need to be submitted to the City of Santa Clara office 60 days prior to the event. BUNDLE PRICING: Museum + Gardens Rate: $525 per hour Duration: 5 hour rental minimum Cleaning deposit: $400 Capacity: 300 mingling / 120 seated (museum) | Inquire (gardens) Jamison-Brown House + Gardens Rate: $275 per hour Duration: 4 hour rental minimum Cleaning deposit: $300 Capacity: 50 mingling inside JBH / 30 seated inside JBH | inquire (gardens) Museum + JBH + Gardens (Full Venue Buyout) Rate: $575.00 per hour Duration: 6 hour rental minimum Cleaning deposit: $500 Capacity: Inquire with Facility Rentals Coordinator

< Back EVENTS Tequila Tasting Date Time Cost < Back May 10th, 2024 / 6pm - 8pm Fundraiser Event This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Previous Next

< Back Street Photography Workshop with Eduardo Rufeisen Price Members: $90, Non-Members: $95 Location Triton Museum of Art Dates Saturday, January 31st, 2026 from 9:30AM-12:30PM Duration 1 Day Enroll About the Course Discover how to transform everyday moments and urban scenes into powerful visual stories. Join us at the Triton Museum for a hands-on workshop that introduces the foundations of photography through the lens of Street Photography — a genre rooted in curiosity, timing, and the art of seeing. Explore how to observe the world with intention, recognize meaningful moments as they unfold, and translate the pulse of the streets into expressive images. Under the guidance of educator and award-winning photographer Eduardo Rufeisen, this workshop will help you develop both your unique perspective and technical confidence with inspiration from a museum setting. Objectives : Learn fundamentals of Street Photography, composition, lighting, storytelling through imagery, camera handling in public spaces, and ethics/etiquette. Develop your artistic voice and visual narrative. Leave with a better eye for candid moments, improved technical control, and greater confidence to document life on the streets authentically. Content: A Brief History of Street Photography: Understand how the genre emerged and why it continues to shape visual culture today. Influential Photographers and Approach: Study key figures such as Henri Cartier-Bresson and learn how their methods can inform your own way of seeing. Photography Fundamentals: Aperture, shutter speed, ISO, focusing techniques, and how to work quickly in dynamic environments. Composition and Visual Storytelling: Learn how framing, perspective, and spatial awareness transform ordinary scenes into compelling images. The Heart of Street Photography: Train your eye to recognize candid moments and emotional resonance within everyday life. Inspiration and Mindset: How to notice what others overlook — and develop your personal photographic style. Ethics and Confidence: Respectful and mindful approaches to photographing in public spaces. Urban Photo Walks and Assignments: Guided shooting sessions around the Triton Museum to put techniques into practice and encourage creative exploration. Materials Required: Please bring your own device. Any camera is welcome — DSLR, mirrorless, film, or even your smartphone! If using a camera, a digital camera is preferred for instant review. If using a smartphone, please bring a phone with camera capability. If possible, download the “Leica LUX"- Pro Manual Camera” phone application for a more controlled photographic experience. The entry level for this application is free. Attire: Please wear comfortable clothes and walking shoes, especially for participating in the photo walks around the museum. FAQ: Cancellations: The Triton Museum may cancel a class, camp, or workshop due to weather, health, an emergency, or low attendance. In those cases, the registered attendee will be notified of the cancellation as soon as possible and will be offered a refund or credit for the class. Photography Policy: The Triton Museum reserves the right to use photographs taken during classes and workshops for publicity and media purposes. This includes but is not limited to the Triton website and social media. If you do not want yourself or your child included in these photographs, please notify Triton staff at the time of enrollment. Questions? Please contact education@tritonmuseum.org Skill/Age Limit: For ages 18 and over. Open to beginner-level and intermediate photographers. Any camera is welcome! DSLR, mirrorless, film, or even your smartphone (digital camera preferred for instant review, or smartphone with camera preferred) Your Instructor Eduardo Rufeisen Eduardo Rufeisen is an award-winning filmmaker and educator. His films and documentaries have participated and won multiple awards in the United States, Canada, Germany, England, France, Italy, Portugal, Belgium, Romania, Israel, India, Russia, and Brazil. Eduardo Rufeisen has a Bachelor of Science Degree in Economics from the prestigious South American University, UNICAMP (Universidade Estadual de Campinas), a Graduate degree in Marketing from the Escola Superior de Propaganda e Marketing in São Paulo, Brazil, and a Master’s of Fine Arts degree (MFA) in Motion Pictures and Television from the Academy of Art University in San Francisco, California. Currently, he runs his own film production company and teaches film studies and production at 5 colleges in Northern California. Website: https://eduardorufeisen.wixsite.com/portfolio

< Back Triton Talk: How I Use AI - A Writer's Perspective with Guy Kawasaki Price Free Location Triton Museum of Art Dates January 29th, 2026 from 7:00PM-8:00PM Duration 1 Day Enroll About the Course As an author based in Silicon Valley, Guy Kawasaki has written on a multitude of innovative topics since 1987. Through books such as The Macintosh Way and Think Remarkable , his writing focuses on the tactical and practical in order to empower and inspire. In this upcoming lecture, Guy will share his perspective on the utilities of AI in writing and creative expression. This Triton Talk is part of a lecture series that focuses on the intersection of Art, Science, and Technology. Join us at the Triton Museum for this exciting installment! Questions? Please contact education@tritonmuseum.org Your Instructor Guy Kawasaki Guy Kawasaki is the chief evangelist of Canva, host of the Remarkable People podcast, author of Wiser Guy, Think Remarkable, and sixteen other books, and adjunct professor of UC Santa Cruz. He was the chief evangelist of Apple, trustee of the Wikimedia Foundation, and brand ambassador of Mercedes-Benz. Kawasaki has a BA from Stanford University, an MBA from UCLA, and an honorary doctorate from Babson College. Website: https://guykawasaki.com/

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Seams Cynthia Ona Innis JAN 17 - APR 19 Will be on View in the Marquee: Blue Slip , 2024, acrylic paint and ink on fabric and ribbon Permanent Collection Gallery < Back Overview Cynthia Ona Innis is a visual artist based in Berkeley, California. She holds a BA from the University of California, Berkeley, and an MFA from Rutgers University. Her work is included in the permanent collections of the San Jose Museum of Art, Berkeley Art Museum and Pacific Film Archive, Crocker Art Museum, and the Fine Arts Museums of San Francisco, among others. Innis has been recognized with numerous awards, including a 2025 Pollock-Krasner Foundation Grant, a James D. Phelan Award, a MacDowell Fellowship and a Sustainable Arts Foundation Award. She is represented by Walter Maciel Gallery in Los Angeles. Artist Statement My work begins with painting, then moves through disassembly and reconstruction—an ongoing exploration of connection and division. Where there is a seam, two or more things converge. These seams mark the j oining of materials as well as the meeting of times, places and states of being. Moments such as sunrise and sunset, moonrise and nightfall fold into one another, revealing how change itself creates continuity. In a fractured world, the seam becomes both metaphor and method: a site where rupture and repair coexist. Seams explores the interplay of light, landscape and weather as a way to map perception and memory. The shifting glow of the sun, the stillness of the moon and the vastness of the night sky form a temporal and spatial framework for orientation and reflection. Informed by distinct weather patterns of coastal California, the marine layer, coastal fog and rays of light emerge as visual language that mirrors the mutable rhythms of the natural world. My approach to abstraction is rooted in a physical, process-driven practice. Pigments are poured directly onto fabric, or bleached to remove color, to create a dialogue between accumulating and editing, masking and unveiling, presence and absence. Materials such as cotton, canvas, nylon, and silver lamé hold equal weight to the pigments. Cut, reassembled and stitched, the surfaces echo tectonic movement and natural cycles of fragmentation and repair. Recent wall installations expand this practice through scale and suspension and the responsiveness of materials. Often beginning with recycled or discarded textiles, painted and sewn fabric panels are attached to wooden supports allowing them to hang freely and respond subtly to air and motion. In Fixing on a Horizon , multiple horizon lines reference sunrise and sunset as shifting points of equilibrium and orientation, while Blue Slip traverses gradients of blue, from pale to near-black that evoke twilight’s liminal expanse between clarity and obscurity. Across these works, stitching, knitting, layering, and suspension become meditations on connection and fracture—memory and material, permanence and impermanence. The resulting surfaces reflect the layered experiences that shape how we see and move through the natural world. Previous Next

AUG 16 - JAN 4Mark Engel is a figurative painter whose practice investigates the body as a site of transformation, perception, and psychological depth. Drawing on themes of connection, involution, and the fluid nature of selfhood, Engel constructs layered compositions that merge the figure with elements of landscape, gesture, and abstraction. His paintings explore the tension between form and dissolution, using fragmentation and distortion to reflect transitional states and the porous boundaries between interior and exterior experience. Engel’s approach is rooted in process and intuition. Each composition unfolds through cycles of addition and subtraction, allowing unconscious associations and emotional resonance to emerge. By balancing structure with flux, his work invites reflection on the instability of identity in a world shaped by constant change and relational complexity. He has exhibited widely in solo and group exhibitions, including Shapeshifters at Know Future Gallery, Constellations at Vargas Gallery, and group shows at Baton Rouge Gallery Center for Contemporary Art, Limner Gallery in New York, and 33 Contemporary Gallery in Chicago. His work has been featured in Create! Magazine, Artsin Square, and Curatory Magazine. Engel is a professor at Mission College in Santa Clara, California, and has contributed to arts education through teaching residencies and faculty exhibitions. His ongoing exploration of the figure offers a visual language for the complexities of becoming. Shifting Terrain Mark Engel AUG 16 - JAN 4 Now on View in the Permanent Collection Gallery Plan Your Visit < Back Marquee: Shifting Terrain , 2024, acrylic and spray paint on canvas Overview Mark Engel is a figurative painter whose practice investigates the body as a site of transformation, perception, and psychological depth. Drawing on themes of connection, involution, and the fluid nature of selfhood, Engel constructs layered compositions that merge the figure with elements of landscape, gesture, and abstraction. His paintings explore the tension between form and dissolution, using fragmentation and distortion to reflect transitional states and the porous boundaries between interior and exterior experience. Engel’s approach is rooted in process and intuition. Each composition unfolds through cycles of addition and subtraction, allowing unconscious associations and emotional resonance to emerge. By balancing structure with flux, his work invites reflection on the instability of identity in a world shaped by constant change and relational complexity. He has exhibited widely in solo and group exhibitions, including Shapeshifters at Know Future Gallery, Constellations at Vargas Gallery, and group shows at Baton Rouge Gallery Center for Contemporary Art, Limner Gallery in New York, and 33 Contemporary Gallery in Chicago. His work has been featured in Create! Magazine, Artsin Square, and Curatory Magazine. Engel is a professor at Mission College in Santa Clara, California, and has contributed to arts education through teaching residencies and faculty exhibitions. His ongoing exploration of the figure offers a visual language for the complexities of becoming. About the Artist I use the human figure as a central motif to explore themes of connection, transformation, and involution. My work revolves around the ever-changing motion of selfhood and explores the dynamic interplay between external forces and internal experiences. Process is an essential component in my work, and I build compositions that combine the figure with landscape, fragmentation, distortion, and gesture to reflect transitional states. Relying heavily on intuition, I feel my way through each composition by adding and subtracting elements to arrive at an image that is broader than my conscious awareness and infuses the work with a deeper level of meaning. I strive to find a balance between retaining form and dissolving into abstraction to capture the fluid nature of becoming and soften the boundaries between self and other. Previous Next

AUG 30 - JAN 11Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. Our Stories Live Underground Priyanka Rana AUG 30 - JAN 11 Now on View in the Rotunda Gallery Plan Your Visit < Back Marquee: Reeds , 2023, Douglas-fir and anodized aluminum Overview Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. About the Artist It took me a long time to own that I am an artist. Beginning my sculpture practice late in life, I discovered in wood a collaborative partner willing to tell stories—both mine and its own. The title of this exhibition, borrowed from Terry Tempest Williams' "When Women Were Birds," speaks to the hidden narratives that live beneath the surface, waiting for the right conditions to emerge. This exhibition spans several series from my practice, exploring themes of memory, nostalgia, and destiny while reflecting on healing, human behavior, and our relationships with the natural world. It bridges the cultural heritage of my Indian origins with the multicultural fabric of my Bay Area home. In our increasingly disconnected world, trees offer profound lessons about interdependence—their underground networks remind us that isolation is an illusion, that we are constantly in relationships through unseen connections. As you encounter these works, I invite you to pause and reflect: Which of your own stories live underground? What narratives are waiting to be revealed? These sculptures ask for slower looking, deeper listening, reminding us that the most profound stories—like the most resilient forests—grow their strongest connections underground, in the dark, patient spaces where transformation quietly takes root. Previous Next

AUG 30 - JAN 11Born in China, Qiuwen Li moved to the United States to pursue her education in Design, earning a BFA in Graphic Design from St. Cloud State University and a MFA in Visual Studies with a concentration in Graphic Design from the Minneapolis College of Art and Design. Now working as an Assistant Professor of Graphic Design at Santa Clara University, Li’s teaching and research focuses on the integration of typography, data visualization, and graphic design. Incorporating her knowledge and expertise into her art, Qiuwen Li seeks to delineate, deconstruct, and reconstruct the assumptions of multilingual communication and reframe them as more contingent on idiosyncratic understandings. Echoes in Color Qiuwen Li AUG 30 - JAN 11 Now on View in the Digital Gallery Plan Your Visit < Back Marquee: Old is The New New , Colorography Overview Born in China, Qiuwen Li moved to the United States to pursue her education in Design, earning a BFA in Graphic Design from St. Cloud State University and a MFA in Visual Studies with a concentration in Graphic Design from the Minneapolis College of Art and Design. Now working as an Assistant Professor of Graphic Design at Santa Clara University, Li’s teaching and research focuses on the integration of typography, data visualization, and graphic design. Incorporating her knowledge and expertise into her art, Qiuwen Li seeks to delineate, deconstruct, and reconstruct the assumptions of multilingual communication and reframe them as more contingent on idiosyncratic understandings. About the Artist In my designs, graphic elements (shapes, colors, forms, and type) are constructed, deconstructed, and then reconstructed to create a richer experience and extend their meaning. As a designer, I understand the need for legibility, but I am more concerned with communicating something more visceral, expressive, and imaginative. My work engages viewers in a way that evokes playing games and figuring out puzzles; they simply can’t get enough of it, and that’s a good thing, because that’s the key to engagement. Previous Next