Search Results

A Singular Evolution: A 20-Year Survey of Marc D'Estout Marc D'Estout JAN 18 - APR 19 Now on View in the Permanent Collection Gallery Plan Your Visit < Back Overview Although Marc D’Estout is now primarily an object maker, his formative art career was rooted in conceptualism and installation. Later his focus shifted to art furniture, which eventually became more conceptual and less functional, until he pivoted to making purely sculptural objects. This exhibition begins at the end of that pivot. Formed in succinct visual dialogues, D’Estout’s minimalist sculptures and drawings often subtly reveal a dark humor or uncanny, subliminal associations. The artist thinks of his current works as sculptural haikus–formalist reductions. In conceiving them, he experiments with imagery in response to observations of social and cultural memes, personal (mis)communication, politics, or pop culture. His life-long love of automobile and aviation design is also integral to his visual language. While concept drives his imagery, D’Estout is equally obsessed with using traditional labor-intensive processes to manifest his vision. He has a deep connection with materials and process, predominantly the challenging skills of hand-shaping and fabricating sheet metal forms. Shaped parts are created primarily by hammering flat metal into a sandbag or over curved metal stakes and sometimes manipulated with other specialized tools. The parts are then joined by welding and finished by filing and sanding seams, most often so expertly as to purposefully give the illusion of a single form. Surfaces are uniquely finished with either paints or patina. The application of D’Estout’s vision through these specific hand-crafted processes is uncommon in the context of contemporary art. D'Estout is also a highly skilled draftsman, and his drawings often play off his sculptural forms or act as studies for them. In yet another body of work, he conjures up sculptures through cleverly repurposing and altering found objects, sometimes combined with new, hand-crafted components. This twenty-year survey of Marc D’Estout’s work is evidence of his commitment to constant evolution in his creative output through his inquisitiveness, intelligence, finely honed aesthetic sensibilities, and mastery of his chosen mediums. About the Artist Marc D’Estout earned an MFA degree from San Jose State University and has had a long career as a multi-disciplinary artist, curator, art director and designer. D’Estout is a Silicon Valley Creates Grant recipient and has also been awarded a Rydell Fellowship in Santa Cruz County. His work is currently represented by Jack Fischer Gallery in San Francisco, and he has exhibited at numerous venues including: San Francisco Arts Commission Gallery; Aqua Miami; University of Hawai’i Art Gallery; Red Gallery at Savannah College of Art and Design; Houston Center for Contemporary Craft; SFMOMA Artist’s Gallery; Palo Alto Art Center; Petersen Museum, Los Angeles; San Jose Museum of Art; de Saisset Museum, Santa Clara University; Richmond Art Center, California; Bedford Gallery/Dean Lesher Center for the Arts, Walnut Creek, California; San Jose ICA; NUMU (New Museum of Los Gatos); and the Museum of Art and History, Santa Cruz—as well as furniture and design galleries such and LIMN and Coup d’Etat in San Francisco and Gallery of Functional Art in Santa Monica. D’Estout’s works have been published in several art and design magazines, newspapers, books and catalogs. He is a featured artist in the Juxtapoz’ Car Culture book, and his work was used for the cover image and featured in the significant Graphis book Products by Design . The Thompson Gallery at San Jose State University produced a 48-page monograph chronicling 2-1/2 decades of Marc D’Estout’s art and design work. In addition to his studio work, D’Estout maintained an active design and teaching career. He most recently held the position of curator for the Museum of Craft and Design in San Francisco. For ten years he served as Director for Art and Design for UCSC Extension. Prior to that he held positions as contemporary art curator and exhibit designer for both the Monterey Museum of Art and the Triton Museum of Art. He has also taught a variety of art and design courses at San Jose State University, Santa Clara University, various community colleges in the Bay Area, and Anderson Ranch in Colorado. D’Estout has also served as a juror and guest curator for numerous galleries and arts organizations throughout California. Marquee: Marc D'Estout, Sneeze , steel and paint Exhibition Images Previous Next

TRITON MUSEUM OF ART Banner Artwork: Tom Lieber, Untitled #7 , 2007, watercolor on paper, Currently On View EXHIBIT Energies Through January 30 EXHIBITION Nathan Oliveira: Variations on Form Through April 19 EXHIBITION A Single Evolution: A 20-Year Survey of Marc D'Estout Through April 19 EXHIBITION Portals & Passages: An evolution of paintings, sculptures, and social magic Through April 27 Interested in a Membership? JOIN TODAY Classes & Workshops Lecture Triton Talks: Surgery and Art History with Dr. James Chang Dr. James Chang March 13th, 2025, 7:00PM-8:00PM ON VIEW Lecture Triton Talks: Images From the James Webb Space Telescope by Andy Skemer Andy Skemer February 13th, 2025, 7:00PM-8:00PM ON VIEW Lecture Triton Talks:"Energies" by Khatantuul Zorig and Kyle Dell'Aquila Khat Zorig and Kyle Dell'Aquila January 30th, 2025, 7:00PM-8:00PM ON VIEW Art Class Triton Online: Explorations in Drawing Jeff Bramschreiber Friday Evenings, 6:00PM-8:00PM; January 17 through March 21 ON VIEW View More Join Our Newsletter Today! JOIN TODAY Plan Your Visit The Museum provides free parking and free admission to our exhibitions, as well as many of our community events. Call us ahead of time if you have any questions or concerns regarding accessibility before visiting our museum. Getting Here Driving: Public Transportation: Warburton Ave is just off of El Camino Real, accessible from Scott Blvd., Lincoln St., and Monroe St. See map below. Bus: The Triton is a 5-min walk away from the Monroe & Warburton bus stop. See local bus routes for more information, Caltrain: Plan to arrive at Santa Clara Caltrain station. From there, it is a 30-min walk to the Triton. You may also take the 59 or 21 bus from the Santa Clara Transit Station (across from Santa Clara Caltrain) and it is a 5-min bus ride. Check local public transport routes for schedules as they may be subject to change.

Nathan Oliveira: Variations on Form Nathan Oliveira JAN 11 - APR 19 Now on View in the Rotunda and Cowell Galleries Plan Your Visit < Back Overview Born in Oakland, California, Nathan Oliveira was a leading artist in the Bay Area Figurative Movement. Oliveira earned his bachelor's and master's degrees in fine art from the California College of Arts and Crafts (now California College of the Arts) in San Francisco. He was a professor of art at Stanford University for 32 years. The artist created representational works influenced by the abstract expressionist style and is widely recognized for his solitary figures. Aside from this subject, the artist also depicted animals, notably birds of prey, nudes, masks, and faces. Oliveira created his artwork in various mediums including painting, drawing, printmaking, and sculpture. The Triton Museum of Art is pleased to present a collection of the late artist's works, curated by his son Joseph Oliveira, for view in two of our exhibition spaces. This selection of artwork will include works on canvas and paper as well as sculptures. The Triton Museum of Art would like to extend its thanks and appreciation to Joseph Oliveira for making this exhibition possible. About the Artist By John Seed Oliveira’s invented forms live just outside the realm of possibility. The artist Nathan Oliveira (1928-2010) liked to say that he thought of himself as an abstract artist whose work “had to be about something.” That “something,”—most often a human figure, but sometimes an animal, wing, head or mask—was the physical manifestation of Oliveira’s poetic imagination; an invented form that lives just outside the realm of possibility. Over the long span of his career, Oliveira worked in a variety of media including painting, drawing, lithography monotype and sculpture, challenging himself to create forms with an air of mystery that allowed room for his viewers to find their own meanings. “I set it up to the degree that it gives you something recognizable to interact with,” he once offered, "and if you’re creative, you create your own metaphor.” The works on view at the Triton Museum, selected from the artist’s estate by his son Joseph, will present examples of Oliveira’s evocations of form in both two and three dimensions. In the Cowell Room Gallery oil paintings ranging from small studies of faces to monumental canvases depicting Stelae will demonstrate the artist’s engagement with the flexibility of the oil medium. In the Triton’s Rotunda, where more works on paper will be featured, examples of the artist’s Imi and Santa Fe watercolors of female figures will join a few works of unique figures from the 1960s and 1970s. Olivera’s fluid watercolors, in which he allowed the paint to form rivers and pools that soak into the paper then coalesce into figures, are among his most distinctive inventions. A selection of bronzes, found in both galleries—including masks and figures—will show how Oliveira’s painterly sensibility remained tangible in the sensitive surfaces of his three-dimensional works. Committed to the idea that making art involved finding unique forms Nathan Oliveira: Variations of Form will offer a fresh opportunity for viewers to encounter the myriad forms of his personal universe and appreciate them on their own terms. Marquee: Nathan Oliveira, Mask V , bronze, 2007 Exhibition Images Previous Next

Portals & Passages: An Evolution of Paintings, Sculptures, and Social Magic Laurus Myth JAN 25 - APR 27 Now on View in the Warburton Gallery Plan Your Visit < Back Overview Local artist Laurus Myth debuts Portals and Passages, her first solo exhibition at the Triton Museum of Art, 1505 Warburton Ave. (January 25 - April 27, 2025.) Portals and Passages is a reflection point, weaving together Laurus’ portfolio of work across disciplines. From vivid colors, patterns, and layered paintings evolving into sculptural forms, Myth leans into art to tell stories of connection and relationship. Myth’s visual language is influenced by nature, technology, and intuition as they use symbols to decode their experience. Portals and Passages transforms Triton’s Warburton Gallery with works that draw viewers through moments of connection. This expansive body of work bridges dualities: technology-nature, movement-stillness, internal-external, and day-night. About the Artist Laurus Myth is an Asian-American interdisciplinary artist raised in Silicon Valley. A born innovator, Myth follows a creative and intuitive path as she fabricates and curates intentional spaces. Drawn to sacred architecture and mental landscapes, her work is colorful, symbolic, and deeply immersive. Myth’s experiential practices birthed several installations she calls “Social Magic.” Visually drawing– these playful and often temporary installations invite us to connect with our narratives and become part of a larger story. The artist turns the museum's gallery into a spatial story with codes and keys leading us to places unseen. Portals and Passages distill the last decade of Social Magic into new queries, forms, paintings, and sculptures. Marquee: Laurus Myth, Birth of the Universe , Acrylic on canvas, 2023 Echoes from the Womb Series Exhibition Images Previous Next

Energies Khatantuul Zorig & Kyle Dell'Aquila Through January 30 Now on View in the Digital Gallery Plan Your Visit < Back Overview Khat and Kyle are partners in life, business, and creativity. They explore the intersection of nature, humanity, and machines. Their work embodies the cross-section of internal and external energies with the shared mission of empowering those often overlooked. Khat’s energies focus on internal empowerment, nurturing resilience, and healing within individuals, particularly the underprivileged. Growing up in the Mongolian countryside with a love for math and the arts, Khat pursued her education in math and business at UVA and MIT. She built AI and analytics technologies at Accenture and Buddy as well as investing in AI startups at Innospark Ventures. After realizing that AI will automate repetitive tasks and especially after meeting Kyle, Khat was inspired to explore her creative skills through film and fashion. Her explorations are shaped by her childhood in Mongolia during its time as a soviet satellite state, the loss of her father to alcohol after she immigrated to the US as an exchange student at 16, her life as an immigrant transitioning from blue collar worker to the tech and finance world in the US, her own personal struggles and transformations along the way, the differences of culture and values across Mongolia and US in variety of settings, and the future she wants to build that combines the best of both worlds. On the other hand, Kyle's energies are channeled into external empowerment, manifesting through technological innovation and artistic expression. By creating tools and ideas, he aims to inspire the next generation to push boundaries and envision a brighter future where technology and creativity work hand in hand to solve the world's challenges. A native of Santa Clara, California, Kyle is Taiwanese-Italian-Nicaraguan and grew up in the Bay Area with a deep love for the arts. His passion for blending technology and creativity led him to study industrial design at the Rhode Island School of Design (RISD), where his energies for integrating art and engineering bloomed. As he builds an electric heavy machinery robotics startup in Boston, Kyle continues to draw inspiration from the legacy of Nikola Tesla, inspiring the future with products that merge electricity, apparel, and media. About the Artist Our commitment is challenging the status quo and envisioning a future where creativity, technology, and courage intersect to shape our better world. This commitment was inspired and encouraged by our mentor, Bill Warner, a visionary who transformed the film industry. His influence motivated us to follow our energies and create ZORIG, which means "Courage" in Mongolian. It is not just a sci-fi movie and futureware brand; it embodies the spirit of bravery and the conviction to speak and act from the heart. Through ZORIG, we explore the power of science fiction as a medium to dream and visualize the future we want to live in - one that’s nature-loving, techno-optimistic, and humanity empowering. Movies profoundly impact shaping mindsets and influencing the collective imagination, yet the current state of the film industry disheartens us. Real stories are often overlooked, lacking diversity, and commercial interests frequently stifle creativity. Our mission is to disrupt this narrative by telling stories our way, inspiring change, and empowering the underrepresented. Our work extends beyond the screen into the tangible world of fashion. We have seen the devastating effects of the fashion industry on the environment, and we refuse to contribute to its harmful practices. Instead, we embrace a made-to-order approach, ensuring that every piece we create is a statement of power, style, and a commitment to sustainability with responsible consumption. Both through our futuristic Mongolian themes and our earth-loving designs, we hope to make people feel like powerful techno-warriors when they’re wearing our garments. As we continue to develop our sci-fi movie, we release snippets and showcase products that reflect the themes and values of our story. Each piece we create is a fusion of art, technology, and storytelling, designed to inspire others to imagine and build the future we all deserve. Marquee: Exhibition Images Previous Next

< Back Nathan Oliveira JAN 11 - APR 19 Nathan Oliveira: Variations on Form Born in Oakland, California, Nathan Oliveira was a leading artist in the Bay Area Figurative Movement. Oliveira earned his bachelor's and master's degrees in fine art from the California College of Arts and Crafts (now California College of the Arts) in San Francisco. He was a professor of art at Stanford University for 32 years. Collaborations: In tandem with this exhibition, Pacific Art League of Palo Alto will also be showcasing another exhibition of Nathan Oliveira’s work - Origins of Flight: The Windhover Studies by Nathan Oliveira (February 7 - March 25, 2025). Artist Statement: Oliveira’s invented forms live just outside the realm of possibility. The artist Nathan Oliveira (1928-2010) liked to say that he thought of himself as an abstract artist whose work “had to be about something.” That “something,”—most often a human figure, but sometimes an animal, wing, head or mask—was the physical manifestation of Oliveira’s poetic imagination; an invented form that lives just outside the realm of possibility. Over the long span of his career Oliveira worked in a variety of media including painting, drawing, lithography monotype and sculpture, challenging himself to create forms with an air of mystery that allowed room for his viewers to find their own meanings. “I set it up to the degree that it gives you something recognizable to interact with,” he once offered, "and if you’re creative, you create your own metaphor.” The works on view at the Triton, selected from the artist’s estate by him son Joseph, will present examples of Oliveira’s evocations of form in both two and three dimensions. In the Cowell Room Gallery oil paintings ranging from small studies of faces to a monumental canvas from the "Windhover" series will demonstrate the artist’s engagement with the flexibility of the oil medium. A selection of bronzes—including masks and figures—will show how Oliveira’s painterly sensibility remained tangible in the sensitive surfaces of his three dimensional works. In the Triton’s Rotunda, where works on paper will be featured, examples of the artist’s "Imi" and "Santa Fe" watercolors of female figures will join a series of lithographs from the 1960s. Olivera’s fluid watercolors, in which he allowed the paint to form rivers and pools that soak into the paper then coalesce into figures, are among his most distinctive inventions. Committed to the idea that making art involved finding unique forms Nathan Oliveira: Variations of Form will offer a fresh opportunity for viewers to encounter the myriad forms of his personal universe and appreciate them on their own terms. Previous Next

EXHIBITION Collage in a Digital Age Datamosh DATES: JAN 29 - MAR 27 YEAR: 2022 Previously on view in the Digital Gallery < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

EXHIBITION Spellings of Gravitas Jeff Alan West DATES: FEB 1 - OCT 11 YEAR: 2020 Previously on view in the Uknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

FREQUENTLY ASKED QUESTIONS 01. Is the museum available for daytime events? The museum is only available for events starting 4:30PM and later. Event setup times may start up to 2 hours earlier upon approval. 02. Can we rent furniture from the Triton? Furniture rental costs are included in rental pricing. See pricing here and inclusions here . 03. How are rental costs calculated? Rental times include setup hours, event duration, and breakdown. 04. Can you reserve individual galleries when booking the museum? When renting the Triton, you are renting the entire venue. A minimum of two of the four galleries are usually available for rental setup, while the remaining are usually only open for viewing. Gallery availability is dependent on the Museum's exhibition Calendar. 05. What's included in our rental? The Triton provides multiple inclusions for your event, including kitchen access and event furniture. Please see the inclusions section here for a full list. 06. What is the max capacity of the museum? Museum max capacity: 300 Rotunda: 120 seated / 200 not seated Cowell: 80 seated / 125 not seated Permanent Gallery: 90 seated / 200 not seated Warburton: 120 seated / 250 not seated 07. What are the restrictions on decorations and entertainment? We do not alter museum lighting as it is specifically curated to highlight the ongoing exhibitions. No private, outside exhibitions, or art displays are permitted. We do not provide event supplies outside of listed furniture. No removal of exhibitions, decor or banners on windows, walls, and pillars. No glitter, tape, or mylar balloons. No puncturing of the walls All freestanding decor must adhere to exhibit space guidelines. All event setup must respect the 5 ft rule from any artwork. See full rental guidelines here. 08. Are the venues pet-friendly? We are only permitting official service animals and they must be kept on a minimum 6ft leash. Pets are not permitted in any of our venues.

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 Previous Next

EXHIBITION Salon at the Triton Museum: A 2022 2D Competition & Exhibition Salon Recipients DATES: AUG 13 - SEP 11 YEAR: 2022 Previously on view in the Warburton and Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION 2022 Salon Previous Next

EXHIBITION Tall Tales John Cerney DATES: SEPT 9 - JAN 14 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION My work is meant for an audience that is not prepared to view art, or who may not even have an opinion about art, but people who are held captive in their cars while heading someplace. It doesn’t matter to me that they know who created the pieces or have any notion of how it came to be. I’m satisfied that for a few miles down the road they are left with some wonderment. In the rare event of showing my work in the confines of a gallery, I’m able to create little stories that invite a slower pondering of what’s taking place. I tend towards the theatrical, and I consider my pieces one act plays. I’m grateful for the generous size of the gallery so I can fill up the space with my oversized ‘actors’. John Cerney 2023 "Dance" Previous Next