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Sculpture Garden at the Triton Museum of Art Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Mark as Starred Horss, Cerey, Boye, Patricia Sascha S. Schnittman The Morgan Horse , 1966 Bronze Don Rich Untitled , 1994 Bronze Francis M. Sedwick The Sisters, 1948 Bronze Sheldon Schoneberg Untitled , No Date Aluminum Sheathed John Cerney Sunflowers for Vincent , 2022 Acrylic on MDO Plywood Thomas Walsh Atrium , 2000 Bronze Richard Murphy The Littlest Cowboy, 1982 Bronze Francis M. Sedgwick Horse and Rider , 1956 Bronze Harry Powers Boyne , 2004 Bronze Chris Sawyer Cooper’s Joy , 2016 Metal, Paint Harry Powers Vasari , 1983 Cast Concrete Patricia Bengton-Jones Symbol 1 R = Rune, 1990 Italian Marble Sharon Loper Female Figure, Male Figure, Wolf- Female, Wolf - Male , 2001 Bronze Sascha S. Schnittman Torso Fragment, 1946 Bronze Rich, Walsh, Sawyer, Loper Sistes, cowybo, vasari, torso pyrami, rider Download our Sculpture Garden Map Now! Download

To contact the Triton Museum of Art for general inquiries, please contact staff@tritonmuseum.com. All other contact information is found within our website. Get in Touch 1505 Warburton Avenue, Santa Clara, CA 95050 Contact Us Submit Thanks for submitting! General Inquiries staff@tritonmuseum.org Curatorial vcallanta@tritonmuseum.org Education education@tritonmuseum.org Facility Rentals rentals@tritonmuseum.org Donations & Membership admin@tritonmuseum.org

The Triton Museum of Art is a vital community resource that provides accessible exhibition and education programs, which promote a broad range of contemporary California art. Through our multi-faceted programs, we bring together the culturally diverse population of the Greater Bay Area. The Triton's Vision The Triton Museum of Art is a vital community resource that provides accessible exhibition and education programs, which promote a broad range of contemporary California art. Through our multi-faceted programs, we strive to bring together the culturally diverse population of the Greater Bay Area to foster a better understanding of art and its role in building a strong community. Mission Statement The mission of the Triton Museum of Art is to generate community dialogue, enhance cultural understanding, and increase creative and critical thinking through innovative programs and the vocabulary of art. Our Core Values ART Through its exhibitions and collections, the Triton Museum of Art showcases works by California artists that are aesthetically and historically significant to our region and which demonstrate the rich diversity of cultural traditions, influences, and ideas that make up our community. EDUCATION Education is central to the vision of the Museum and integral to the development and design of each exhibition. The Museum offers a learning environment in which curiosity, experimentation, and spirited dialogue are encouraged. Our aim is for each visitor to experience the Museum with enthusiasm, empowered by new perspectives and ideas. COMMUNITY The community is the life force of the Triton Museum of Art. Each exhibition and program is developed with the visitor's experience as a compass. The museum serves as a resource for the community through collaborations with local arts and service organizations, academic institutions, as well as local civic and corporate partners. CAREERS BOARD & STAFF CONTACT FAQ IN PARTNERSHIP WITH Official wine of the Triton Museum of Art

For 58 years, our art museum 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 through art workshops and art lectures. Frequently Asked Questions FAQs 01 How can I make my work known to the Curatorial Team at the Triton Museum of Art? Artists may send examples of their work or exhibition proposals, or share their work with the Triton Museum of Art by email only to vcallanta@tritonmuseum.org . Please send no more than ten images. Please send images as an attachment. Very high resolution images may be difficult to upload. Do not imbed the images in the email. Emails with embedded images will not be opened. Artists may also direct attention to artist’s websites for curatorial review. The Museum will retain on file the addresses and emails of artists of interest for future reference. All inquiries are reviewed and retained on file for future reference, however, due to the high volume of emails, we are unable to respond to all inquiries. 02 I have a beautiful piece of art that I would like to donate. How can I give it to the Triton Museum of Art? Please contact Preston Metcalf, Executive Director, at pmetcalf@tritonmuseum.org 03 Can I contact the Museum for an appraisal or authentication of artwork? It is the policy of the Triton Museum of Art to prohibit its employees from offering valuations, appraisals, or authentications for works of art. We recommend that you use a qualified appraiser or reputable auction house. See below for a selected, partial list of auction houses and appraisal services. Auction Houses Bonhams ▸ www.bonhams.com Christie’s ▸ www.christies.com Clars Auction Gallery ▸ www.clars.com Heritage ▸ www.ha.com Sotheby’s Fine Art Auctioneers ▸ www.sothebys.com Dealer and Appraiser Associations American Society of Appraisers Tel: 703.478.2228 Fax: 703.742.8471 www.appraisers.org Appraisers Association of America, Inc. Tel: 212.889.5404 Fax: 212.889.5503 www.appraisersassoc.org Art Dealers Association of America Tel: 212.940.8590 Fax: 212.940.7013 www.artdealers.org National Antique and Art Dealers Association of America Tel: 212.826.9707 Fax: 212.319.0471 www.naadaa.org

Edge of Silence Jacqueline Boberg JAN 24 - APR 19 Will be on View in the Marquee: Chatter , 2024, acrylic on canvas Rotunda Gallery < Back Overview My work is deeply shaped by experiences growing up in London in the 60’s, when fashion and music were exploding, where clothing became art, and design burst into the everyday. I have a simple aim - to create dynamic, vibrant works that jump on and off the wall. When faced with a blank canvas, I seek out materials that will inspire my internal dialogue. Though I may gather my media, plan a color scheme, and start with a thumbnail of a design, I most often end up following the way the materials balance as they hit the canvas. While earning a living in tech in Silicon Valley and raising two children, I took every community college art course available in my spare time, and sought out teaching artists and mentors to help hone my skills in drawing, painting, and seeing. Artist Statement With thirty years of exploration across watercolor, pastel, oil, and acrylic, I’ve continually sought new ways to express light. A decade in abstract mixed media reshaped my artistic vision, and my recent return to landscapes and still lifes merges contemporary experimentation with timeless observation. My landscapes are born from fleeting moments — a slant of light, a shift in color, a spark of inspiration that demands to be caught in the mind’s eye before it disappears. Working in acrylic allows me to chase that immediacy and not fuss around as the paint dries instantaneously. Each canvas becomes a dialogue between instinct and experimentation, between what I see and what I feel. In the studio, joy lives in discovery — the thrill of pushing paint, of finding new challenges in every composition, of not knowing exactly where a brushstroke will lead. I embrace the possibility of failure as part of the creative process. Like Silicon Valley’s mantra, I believe in failing big and failing often — because each “failure” reveals something unexpected, something truer. My goal is simple: to capture not just the landscape itself, but the energy of the moment that inspired it — alive, imperfect, and full of wonder. Until I move on to the next thing… Previous Next

The Theater of Premature Truths Emanuela Harris Sintamarian JAN 24 - APR 26 Will be on View in the Marquee: Hora and how to construct a future: fools and scissors should be handled with care - Commedia dll'arte, 2024-2025, acrylic and gouache on hand cut wood panel Mathias Gallery < Back Overview Emanuela Iuliana Harris Sintamarian is an artist originally from Romania, but currently she lives and works in Oakland, CA. Her work is informed by the relationship between her identity to her sense of displacement, and the ways she has devised to reconcile those incongruous elements. She is interested in perception, memory and the mechanics of motion, their visual translation, and the dichotomies intrinsic to them. She explores the fluidity and tension generated by contradictions: organized chaos and uncontrolled order, machine-like generated imagery, and imperfections, organized chaos and logical absurd. Ema also tends to adulterate the boundaries between representative and abstract. She leverages marks, colors, shapes, and textures to construct an undefined world, rather than mirror reality. Ema's work has been shown in solo and group shows at Sunny Art Center, London, UK; Museum of Contemporary Arts, Constanta, Romania; Museum of Art, Arad, Romania; Triton Museum in Santa Clara, CA; Jack Fischer Gallery, San Francisco, CA; the Delaware Center for the Contemporary Arts, DE; Rosenfeld Gallery in Philadelphia; Niklas Belenius Gallery in Stockholm, Sweden; Institute of Contemporary Art, CA and Angel Orensanz Foundation, New York, NY. She was the recipient of the Leigh Weimer Award, (2021), the Artist Award SVCreates, San Jose, CA (2020), the Golden Foundation Fellowship, Golden Foundation, New Berlin, NY (2018), the Eureka Fellowship, Fleishhacker Foundation, San Francisco, CA (2013), ArtShift Award (2008) and the Silicon Valley Arts Council Award (2010). She is the finalist for the Sunny Art Award (2021), and has been nominated for SECA-SFMOMA-History Art Award, SF, CA Ema received her first MFA in printmaking from University of Delaware, and her second MFA in painting from San Jose State University. She is a Professor Associated at San Jose City College. Artist Statement While a name can be a cosmic prison, identity acts as its guardian. My practice emerges from this paradox. As a Romanian immigrant in the United States, my work is shaped by a continuous negotiation between belonging and estrangement—an evolving dialogue among memory, displacement, and the strategies I have developed to reconcile these incongruities. Each artwork begins as a search for home: an unstable geography constructed through dualism, migration, and the fragments carried forward. I inhabit the liminal space between worlds—one remembered, one lived, and one imagined. From this tension, I create hybrid cartographies that resist literal interpretation. Architecture, ornament, and anatomy converge to form layered visual vocabularies—maps not of territory, but of perception. These works chart absence, transformation, and the act of becoming. By juxtaposing fragmented cultural iconography with abstraction, I construct polyphonic images—fractured allegories of my physical, emotional, and intellectual journey. Loss, displacement, and containment become catalysts for ritualized acts of self-expropriation, transforming absence into generative force. My process is interdisciplinary, spanning painting, drawing, printmaking, three-dimensional works, and muralism. I allow each medium to inform the others, privileging process over predetermined outcomes. I work within a space of “not knowing,” letting questions, rather than answers, guide each decision. I tend to work in series, believing that ideas unfold and evolve through repetition, variation, and recontextualization. Within each series, I alternate large-scale works with more intimate ones, considering how the viewer’s body engages with each—immersed in expansive works, contemplative with smaller pieces. Together, they form a rhythm between immersion and introspection. My approach balances cultivated spontaneity with rigorous research: sketching Romanian textiles, architectural motifs, and anatomical structures, while also responding intuitively to the evolving surface. Through layering, repetition, and erasure, I condense visual information into dense, stratified compositions where control and chance converge. This visual density mirrors the navigation of multiple cultural identities, inviting viewers to engage with ambiguity and multiplicity. Although this series emphasizes smaller, intimate formats, it lays the groundwork for future large-scale, memory-driven pieces activated by the viewer’s movement through space. My ongoing inquiry weaves together two central threads: Memory vs. Perception and Fragmentation. In the gaps between remembrance and invention, I locate the architecture of the self—continuously reconstructed, suspended between belonging and becoming. While informed by personal experience and broader social and cultural contexts, my work is not didactic. I do not provide answers or prescribe interpretations; rather, I invite viewers to inhabit spaces of ambiguity, reflection, and multiplicity. My paintings, drawings, and installations operate as open-ended inquiries—encounters with absence, memory, and fragmentation that encourage contemplation rather than instruction. In this way, my practice embraces complexity and uncertainty, honoring the layered, evolving nature of identity and the ongoing dialogue between self, place, and perception. Previous Next

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

Cul-de-sac Jonathan Crow JAN 10 - MAY 3 Will be on View in the Marquee: Woman and Five Cars, 2025, oil on canvas Cowell Room Gallery < Back Overview Born in Ohio in 1971, Jonathan Crow received his MFA in Filmmaking from the California Institute of the Arts in 2003. Before turning to painting, he spent many years working in the film industry—a background that continues to shape the cinematic atmosphere of his work. In 2013, following a career shift, Crow returned to his early love of drawing. His series Veeptopus—portraits of U.S. Vice Presidents with octopuses on their heads—became an online sensation and was featured in BuzzFeed, The Huffington Post, and The New York Times. Since 2018, Crow has focused primarily on oil painting, developing a body of work that explores the uncanny beauty and quiet tensions of Southern California suburbia. His paintings—at once humorous, unsettling, and deeply observed—draw inspiration from Edward Hopper, Richard Diebenkorn, and the films of David Lynch. Crow’s work has been exhibited throughout the Bay Area and beyond, including Arc Gallery (San Francisco), the New Museum Los Gatos, Marin MOCA, TAG Gallery (Los Angeles), and the de Young Museum. Crow is currently based in Santa Clara, California. Artist Statement When I was a child in the 1970s, my parents drove me from our home in rural Ohio to visit my grandparents in suburban California. I was struck by the mountains, the palm trees, the dusty colors of the hills—and especially the light. Those brief visits left a lasting impression, like an image burned onto film. Nearly fifty years later, I paint those same Californian suburbs. Working in oil, I use their tidy streets and manicured yards as a stage to explore form, color, and the tension between the familiar and the strange. My background in film shapes how I compose each scene—like a still from a forgotten movie—charged with a quiet sense of story. Through these ordinary landscapes, I create images that are at once amusing and unsettling, inviting reflection on race, gender, and what it means to live in this complicated country called America. Previous Next

2023 Salon at the Triton Museum: 2D Competition Winners Thank you to all of the artists who submitted and participated in our 2023 Salon at the Triton Museum of Art: 2D Competition. 2023 Salon at the Triton Museum Recipients Andrew Leone Andy Nguyen B. Nicole Klassen Barbara McLain Bernard Lint Bing Zhang Bismillah Iqbal Brandon Stauffer Brenda York Cathy Locke Chiachen Wang Chieko Shimizu Chris Patio Christie Marks Clark Gussin Dana Mano-Flank Dana Weigand Dave Ralston Deborah Hall Denise Howard Denise Laws Dottie Lo Bue Edi Matsumoto Elaine Heron Elena Mukhina Elizabeth Barlow Enrique Luna Eric Guan Fei Fiorenza Gorini Hadi Aghaee Hana Lock Hanh Tran Hargun M Mann Heather Capen Helen Yang Hwei-Li Tsao James Mertke Jane Yuen Corich Janet Yelner Janey Fritsche Jaya King Jeff Herman Jeff Ishikawa Jemal Diamond Jim Promessi Jonathan Crow Jonathan L. Clark Joy Broom Julia Munger Seelos Julia Woods Julie Grantz Julie Tsang Kavanagh Juliette Berman Jung Han Kim Kaaren Marquez Kanna Aoki Karen Cox Karl L Jensen Katherine Young Kendra Morrison Kevin Bjorke Laura Mchugh Leslie Landers Lin-Ching Peng Lorraine Lawson Lou Bermingham Lynne Auld Maeve Croghan Mariana Moreno-Gonzalez Marie Cameron Marise Zimmermann Marti Somers Mats Olsson Matthew Reynolds Maura Carta May Shei MeiYing Dell-Aquila Melissa Kreisa Mila Kirillova Mina Ho Ferrante Muneeba Zeeshan Ni Zhu Olivia Chen Omar Harb Pat Moseuk Patricia Jones Paul Art Lee Peter Baczek Peter Carey Peter R. Paluzzi Raja GuhaThakurta Richard Dweck Renée Switkes Robert Semans Ron Dell'Aquila Seema Gupta Sena Clara Creston Sharon Pomales Tousey Silvia Poloto Stanislava Chening Starr Davis Stephanie Gieralt Mullaly Stephen Mangum Susan Chan Susan Manchester Susie Wilson Suszi Lurie McFadden Tiffany Wan Trung Cao Youming Cate Yuliia Kolesnytska 2023 Salon Best of Show Winner! Hana Lock Guren , 2022, Ballpoint Pen, Acrylic, Watercolor, Ink and Gold Foil on Wood Panels, 24" x 72" Painting First Place Cathy Locke Tea Leaves , 2022, Oil, 25" x 31" Second Place Julie Kavanagh Girl with Dahlias , 2021, Oil on Panel, 28" x 24" Drawing First Place Tiffany Wan Serenity , 2023, Graphite, 20" x 26.25" Second Place Youming Cate Girl with Pearl Necklace , 2023, Pastel on Paper, 27.5" x 21.5" Photography First Place Elaine Heron Mongolian Hunter and His Eagle , 2022, Photography, 20" x 24" Second Place Ron Dell'Aquila Storefront Conversation , 2023, Photography, 20" x 30" Mixed Media / Printmaking First Place Peter Baczek Flying Buttress , 2022, Etching, 25" x 21" Second Place Brenda York A Conspiracy Of Happenstance And Moondust, 2023, Mixed Media on Canvas, 30" x 48" Director's & Curator's Choice Director's Choice (Preston Metcalf, Executive Director and Senior Curator): Katherine Young, The Sacred Sea Curator's Choice (Vanessa Callanta, Curator): Stanislava Chening, Sonya Curator's Choice (Bryan Callanta, Curator of Digital Programming): Chieko Shimizu, AMAVI Director's Choice Preston Metcalf, Executive Director and Senior Curator Katherine Young The Sacred Sea , 2023, Mixed Media--Oil and Gold Leaf on Wood Panel, 60" x 60"

Upcoming Exhibitions at the Triton Museum of Art. Upcoming Exhibitions CURRENT UPCOMING PAST EXHIBITION Seams Cynthia Ona Innis JAN 17 - APR 19 EXHIBITION The Theater of Premature Truths Emanuela Harris Sintamarian JAN 24 - APR 26 EXHIBITION Edge of Silence Jacqueline Boberg JAN 24 - APR 19 EXHIBITION Cul-de-sac Jonathan Crow JAN 10 - MAY 3

We invite you to read selected novels about art or famous artists before we meet, and then join us on the first Wednesday morning of each month, for an art history presentation about that month’s novel, the portrayed artist, and related art, as presented by Triton Museum Executive Director Preston Metcalf and Triton Museum Associate Curator Vanessa Callanta. Book Club Monthly meetings on the first Wednesdays of each month 9:30 - 10:30 AM PST at the Triton Museum of Art. (doors open at 9:00 a.m. for coffee and donuts; presentation begins at 9:30 a.m.) We invite you to read selected novels about art or famous artists before we meet, and then join us on the first Wednesday morning of each month, for an art history presentation about that month’s novel, the portrayed artist, and related art, as presented by Triton Museum Executive Director Preston Metcalf and Triton Museum Associate Curator Vanessa Callanta. Learn how the novel does — or doesn’t — comport to the actual history of its subject, and hear more about the artwork and the artists’ times in which they were created. Admission to the monthly book club art history lectures is free for Triton Museum of Art Members ($5 donation requested for non-members), and all are welcome, whether you have actually read the book or not. Coffee and pastries will be served. Discussions are held safely distanced & in person at the Triton Museum of Art Free for TMA members, $5 suggested donation for non-members Take a look at what we'll be reading for 2025! DOWNLOAD This Upcoming Month's Book: The Hobbit by J.R.R. Tolkien December 3rd, 2025 In the aftermath of WWI, English writer and philologist, J.R.R. Tolkien created a series of literary masterworks, including The Hobbit and Lord of the Rings, in which he created imagined worlds as commentary on the state of war-torn humanity, and thus became the father of modern fantasy. Becoming one of the best selling series of books ever, Tolkien’s imagined worlds not only redefined fantasy literature, but became the inspiration for a new wave of visual fantasy artists for the next hundred years. In this lecture, Triton Curator Vanessa Callanta will show us the rise of Fantasy art inspired by Tolkien, and expanded upon by artists such as Frank Frazetta, Boris Vallejo, and many others in the 20th, and now 21st Centuries.

Check out our most recently posted videos below, including our last recorded Book Club lecture! To watch all of our videos, click the link the our Drive below. View More VIDEOS Last Lecture: September 3rd, 2025 Dracula by Bram Stoker Presented by Vanessa Callanta In this month’s Book Club lecture, Triton Museum of Art Curator, Vanessa Callanta, took us down into the shadows to talk about vampires in Bram Stoker’s novel, Dracula and its relationship to the rise of gothic art. Dracula is arguably the most popular vampire figure of the modern era, whose likeness has appeared all throughout gothic and gothic-adjacent media.