Search Results

Discover exciting Bay Area art events at our museum in Santa Clara. Immerse yourself in diverse art events bay area and enrich your cultural experience. ART + EVENTS EXHIBITION EVENTS COLLECTION SPECIAL PROJECTS

< Back EVENTS Artist Talk Date Time Cost < Back May 11th, 2024 / 2pm - 4pm Artist Talk 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 Warli: An Art With Geometry (Workshop with Lalima Srivastava) Price Members: $85, Non-Members: $90 Location Triton Museum of Art Dates Saturday, April 25th, 2026 from 11:30AM-3:00PM Duration 1 Day Enroll About the Course Enter this workshop on Warli, an Indian folk art, and learn how to depict daily life scenes with geometrical shapes. With guidance from Lalima, you will learn the following: Sketching the human in various poses (e.g., standing, running, sitting, or dancing) Drawing the Tarpa Dance and the Tarpa Player Basics of sketching a tree and its variations Sketching huts Creating a composition combining all of these elements, in the final parts of the workshop. Materials will be provided for use on the day of the workshop. History of Warli Art Warli art originated in the Thane district of Maharashtra. It is traditionally created by tribal women. The word “Warli” comes from “warla” which means a piece of land or a field. These paintings depict daily life scenes portraying hunting, fishing and farming, festivals and dances, trees and animals. Images of human beings and animals, along with scenes from daily life are created in a loose rhythmic pattern through very basic graphic expressions : a circle, a triangle and a square, and is done only in white. Nowadays, these paintings are made on hand-made paper, usually green or brown, the color of mud-walls with white paint. 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 Your Instructor Lalima Srivastava Lalima is a self-taught contemporary folk artist. Trained as a professional social worker, she encountered diverse folk art forms in their natural cultural settings—an experience that deeply shaped her artistic voice. Among these, Warli art from Maharashtra and Madhubani art from Bihar left a lasting impact on her practice. Based in Sunnyvale, Lalima began her artistic journey in 2014 after moving to the United States. Over the past decade, she has exhibited her work in various galleries and art festivals. Her distinctive style emerges from a thoughtful fusion of Warli and Madhubani styles, reinterpreted through a contemporary lens. She works on multimedia paper using watercolor, gouache, acrylics, and archival waterproof pens. Website: https://www.lalimasrivastava.com/

Cowell Gallery EXHIBITION The Big Red Chair Project Eve Page Mathias DATES: MAY 6 - AUG 13 YEAR: 2023 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "There once was a big red chair in my living room. My sweet old dog, Luna, enjoyed sitting up on the back of it so she could look out the window. Luna passed, and the chair got old, too. Because this chair means a lot to me, I pushed it into my studio. It is a reassurance as I work that mv little one is still there and that there are cherished triends to come. This chair anchored me. It has become a symbol of where my place in the world was during the Covid crisis. Now, when I ask someone to sit in the red chair, it "connects the dots" between those missing moments when was separated from mv friends and loved ones. Then we all emerged and came back together. When it was okay to see folks and the mist cleared, we were allowed to see each other again... I began a project of portraits of my dear female friends. Why only women? I think it was because I missed them the most. I puzzled over this because also treasure my triends who are male, and certainl) would like to paint them. Maybe it is because there is the yearning - the aching of the soul - that I perceive as a part of the female psyche. This was a good place to start because it is where resonate as a female person. But I also missed myself as an individual, a unique human being. During Covid one was only a cipher, not someone interesting. We were all just "Things" with masks who might possibly be a spreader of the disease. or worse, die. We were reduced to robots doing our jobs on a digital platform, being parents who couldn't permit our expressions of love because we were afraid we could make our children sick. I taught at the college level and suddenly had to reduce my persona into a voice on a computer monitor. This is not healthy for a person who thrived by human contact. Thus, the Big Red Chair Project began." Eve Page Mathias https://www.tritonmuseum.org/bigredchairproject "My Queen" Previous Next

< Back Mark Engel AUG 16 - JAN 4 Shifting Terrain 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

JAN 17 - APR 19Cynthia 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. Seams Cynthia Ona Innis JAN 17 - APR 19 Now on View in the Permanent Collection Gallery Plan Your Visit < Back Marquee: Blue Slip , 2024, acrylic paint and ink on fabric and ribbon Overview 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 joining 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. About the Artist 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. Previous Next

< Back Jacqueline Boberg JAN 24 - APR 19 Edge of Silence About the Artist: 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

< Back Cynthia Ona Innis JAN 17 - APR 19 Seams 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. About the Artist: 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 joining 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

< Back Phillip Hua SEP 28 - JAN 12 You Can Never Go Home Again Phillip Hua is a South Bay Area native whose art speaks of the delicate relationship between nature and commerce. As someone familiar with the ever-changing landscape of the Silicon Valley, Hua visualizes this shift in his art using unique processes that combine creative digital and traditional techniques. His work presents a call to be aware of how we're affecting the world around us and to question what our priorities are. This exhibition will include a selection of the artist's 2D works. About the Artist: When I was growing up in San Jose, fields, orchards and wild, undeveloped lots were abundant. In the house that I spent most of my adolescent years in, there was a small personal farm behind our backyard. I could hear crickets when I went to bed. Today, that small farm is now replaced by new housing. The nights are mostly silent. The fields and orchards that I remembered are now office parks and commercial spaces. Where the change has been an economic boon to the Bay Area, I question what was replaced. The tide of redevelopment fueled by the relentless march of tech washed away so much of the beauty of nature. My memories of San Jose no longer align with what it is today. My artistic process is a blend of traditional and digital techniques, revolving around creating photo composites that I print, rework, scan, and digitally rework again. I incorporate dots to represent printing, ink bleeds to represent painting, and squares to represent pixels, influenced by our blended digital and corporeal lives. I draw inspiration from Asian brush painting, technology, and nature. While political, my goal is to always lure the viewer with beauty and color to provoke contemplation. This exhibition draws from over 17 years of work, ranging from portraits that invoke nostalgia and childhood to works that portray the intersection of the environment with the economy. Previous Next

< Back Katherine Young MAY 3 - AUG 3 What Do You Treasure? Katherine B. Young, MD, MFA fell in love with the ocean when she was a small child. She spent a lot of time on the water before going to medical school to train in Plastic and Reconstructive Surgery. After working for 10 years as a plastic surgeon in San Francisco, she fulfilled her dream of becoming a full time artist. She specializes in drawing and painting vast spaces of ocean and sky. Her work has won numerous awards and has been exhibited and collected throughout the United States. She is currently creating an exhibition for the Triton Museum of Art in Santa Clara, CA which addresses the ocean plastic pollution problem. The following galleries represent her artwork: HANG ART in San Francisco, Claire Carino Contemporary in Boston, and The Gallery at Tree’s Place in Cape Cod. She maintains a studio at 1890 Bryant Street in San Francisco, and lives in the city with her husband and daughter. Her artwork and creative process are featured in creativity expert Tina Seelig’s book, Insight Out. About the Artist: My connection to the ocean and art-making began in childhood, growing up in the Tidewater region of Virginia near the Atlantic. Though I initially pursued science—studying engineering and medicine at Duke University and training as a plastic and reconstructive surgeon at Stanford—I ultimately returned to my artistic roots. After a decade of surgical practice in San Francisco, I earned an MFA and committed to a full-time career as an artist. The ocean is both majestic and meditative, a force of awe and tranquility. My paintings and drawings capture its vastness, immersing viewers in its beauty. However, my relationship with the ocean was profoundly altered when I learned about the Great Pacific Garbage Patch—an immense collection of plastic waste polluting the waters I love. This realization compelled me to confront this crisis through my art. 'What Do You Treasure?" emerged from my reflections on our paradoxical relationship with nature. We revere the ocean and its life, yet contribute to its degradation through rampant plastic consumption. This exhibition invites you to examine this contradiction and reconsider the choices we make daily. The paintings and drawings lining the walls evoke the ocean’s sublime power. Many incorporate genuine gold, referencing early Renaissance religious icons and illuminated manuscripts—symbols of reverence and contemplation. The sculptures interspersed throughout the space, however, disrupt this serenity. Cast from discarded plastic and gilded in gold, they serve as objects of reflection, mimicking sacred artifacts yet exposing the false idol of consumerism. These pieces also nod to the economic forces that sustain our dependence on plastic, making change feel daunting but necessary. As you move through the exhibition, allow yourself to experience the ocean’s grandeur, then confront the unsettling reality embedded in the sculptures. What do you treasure most—nature or convenience? The answer to this question carries weight beyond this space. If you choose nature, let that commitment extend into action. Even small steps—reducing plastic use, supporting sustainable initiatives, advocating for systemic change—can have a profound impact. This exhibition is not just a reflection; it is a call to action. The choice is yours. Previous Next

< Back Dean Larson AUG 16 - JAN 4 Urban Visions: Life in Motion Artist Dean Larson was raised in Palmer, Alaska where he first learned painting under the mentorship of Alaskan Artist Fred Machetanz. After graduating from Willamette University in Salem, Oregon Dean moved to Baltimore, Maryland for graduate studies at the Schuler's School of Fine Art and Towson University. In 1997 the artist moved to San Francisco, CA. He has long been associated with the resurgence of the American Contemporary Realist movement. Dean has written books, been featured in numerous art periodicals, has mounted over twenty-five solo exhibitions, and has been featured in over fifty group shows in museums and galleries across the U. S. He is a well-traveled artist who thrives on diversity and is constantly searching for new subjects. He is adept with cityscapes, landscapes, portraits, and interiors. Through the use of compelling compositions and harmonious colors he draws the viewer into his canvases. Dean's commissioned portraits and studio paintings can be found in museums and other public collections in the United States and Europe. Larson also has taught painting (mainly cityscape and landscape) at the Academy of Art University in San Francisco since 2006. He maintains a studio near Mission Dolores, the original Spanish Mission in San Francisco. Larson has painted the portraits of Senator Ted Stevens which hangs in the United States Capitol in Washington D.C. and Senator Mark Hatfield which hangs at Willamette University. Larson's work is also included in the collections of the United States Institute of Peace (USIP), the Alaska State Capitol, Triton Museum of Art and Smithsonian's National Portrait Gallery. For more information visit www.deanmlarson.com , or www.instagram.com/deanlarson07 About the Artist: Dean Larson Urban Visions: Life in Motion Over the past several years two central themes have consistently attracted and inspired my artist’s eye. The first motif is life in the city. Having relocated from Alaska and Maryland to California in 1997, the Bay area and in particular, San Francisco, became an instant source of diverse and compelling subject matter. From Russian Hill to North Beach, from Market Street to Golden Gate Park, the city that changes constantly presents new perceptions and subjects. The focus on what it means to be a contemporary realist is constantly at the forefront when planning new work. It’s never enough to simply copy what’s in front of you. There is a desire to go deeper and search for what is most significant and essential. Intentional soft blurs contrast with hard edges to have objects and figures come forth and recede and fuse to backgrounds within pictorial spaces. With my second subject, figures, I search for accidental moments where people reveal the variety of the human experience and also show glimpses of what it means to be living and working in modern society. Sometimes it is a lone figure and other times there is a group of figures where the relationships between the figures are closely observed, highlighting the gestures of each figure and the group as a whole. The search for mass shapes and abstract patterns that, by working through my painting process, eventually becomes more realistic, unique designs challenge and inspire me to keep painting each and every day. Previous Next

Rotunda Gallery EXHIBITION Seasons of Change Robert-Jean Ray DATES: SEP 18 - JAN 16 YEAR: 2021 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. Previous Next