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Unknown EXHIBITION The Myth of Memory Dana Harris Seeger DATES: MAY 14 - AUG 21 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Unknown EXHIBITION City Views Various Artists DATES: MAR 13 - MAY 2 YEAR: 2021 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

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Cowell Gallery EXHIBITION Dis/Armed Julie Grantz DATES: AUG 26 - DEC 30 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. As I initially began to conceptualize this body of work, my working title was “Smaller.” In our society, I strongly believe that women feel pressure to limit their self-expression. This resonates deeply with my own journey. Throughout my life, I've carried the weight of constantly needing to make myself smaller, fading into the background and silencing my voice—not only to navigate the world but also to fit into the lives of others. I've often felt like a burden, unintentionally occupying the space meant for others. This idea of becoming smaller for survival is woven from a narrative that highlights the importance of conforming to the role of a compliant and well-behaved “good girl” as the only way to be accepted and successful. According to this archetype, the “good girl” should be quiet, polite, and avoid seeking her own desires. The drive to shrink oneself isn't just rooted in the “good girl” philosophy; it's also fueled by a desire for control propagated by a society that expects women to be unassuming, obedient, and rule-abiding. These tight boundaries stifle our potential, suppress our ambitions, and mute our voices, diminishing our dreams and muting the vibrance of our imaginations. Over the past year, as I dedicated myself to creating more and more drawings for this body of work, I noticed a distinct change: a shift in the story being told. The narrative extended beyond just my sense of Smaller . Some of the pieces, gestures, and symbols began conveying something entirely different—some even grew louder, asserting themselves. I started to feel the emergence of my voice, rising distinctly, confidently, and audibly. As this evolution unfolded before me, I aimed to find a title that captured the juxtaposition between past trauma and current growth, along with the duality of living a life of both merely surviving and flourishing within each day. My aim is to reveal and share the emotional spaces where I've felt disarmed by life's challenges, as well as how I've learned to arm myself, to protect and empower myself. My experiences of feeling disarmed exposed me to vulnerability and defenselessness in the face of life's trials. While my journey has included trauma, my journey hasn't only been about vulnerability; it's been a path to empowerment. Through my artistic expression, I want to highlight the moments of transformation where I've intentionally armed myself against both internal and external adversaries. I have strived to capture not only the conflicts but also the victories—instances when I've crafted my own armor from resilience, self-awareness, and determination. As I have come to realize that my voice isn't quiet or “smaller," it confidently reverberates within my work. As my confidence in my voice grows, so too has the scale of my drawings. By exploring these emotional landscapes, I hope for the work to connect with others on their own paths through disarmed vulnerability to armed self-empowerment as new voices grow from within. Julie Grantz 2023 "I am Milk" 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 Collection: 90 seated / 200 not seated Mathias: 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 helium balloons of any kind. 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.

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

Eye/Hand Harry Clewans AUG 29 - JAN 3 Will be on View in the Mathias Gallery Marquee: Photographer's Studio After Atget , 2024, woodblock prints on kozo paper on wood panel < Back Artist Statement I’ve always been drawn to things that are in a state of disrepair or decay, things one might find in a gutter or washed up on a beach––a broken light bulb, a battered plastic toy, a dried piece of kelp. For me, such objects reveal the effects of time and use, and offer insight into how they work and how they were formed or put together. I’ve been making woodcuts of found objects like these for thirty years and have built up an extensive library of images from which I make prints that I cut up and arrange to create larger and more complex compositions. Like mosaics or jigsaw puzzles these larger works are typically comprised of hundreds of individuals pieces that I fit together to form a picture, which I then adhere to a wood substrate. For every woodcut I’ve made I have a print pinned to a wall in my studio. I think of this wall as a kind of periodic table, and each woodcut as an element that I can use to create a picture. I may use a woodcut of a seedpod to describe the skin of an octopus or the surface of a tree trunk, a woodcut of a dried-up pear to articulate the ground around an old well or the wings of a butterfly. Just as everything in our physical environment is composed of the same matter, my large pieces are composed of the same collection of woodcut images. This approach, I hope, communicates the idea that all things by virtue of their makeup are connected, that all things participate in a cycle of composition and decomposition in which the old, the broken down and the disposed of becomes material for the new. About the Artist Harry Clewans is largely self-taught and has worked in his studio in Oakland, California, since 1983. Clewans creates unique large-scale woodblock prints by assembling hundreds of smaller printed images. Exhibited extensively in California, nationally and abroad, his work been awarded the James Phalen Award for printmaking and a fellowship at the Kala Institute of Art and has been collected by The Berkeley Art Museum and Pacific Film Archive, the Achenbach Foundation for Graphic Art, the Mills College Art Collection and the Judah L. Magnes Museum. Previous Next

Carbon Sinks, Plastic Swims Stefie Gan MAY 16 - AUG 9 Will be on View in the Marquee: Digital Gallery < Back Overview This series of animated films explores carbon and plastic materials in our environment. By documenting and transforming material experiments into animation, the works reveal how substances are shaped, altered, and circulated in our world. The exhibit invites viewers to consider the hidden relationships between carbon, plastic, and the environments they inhabit, highlighting the material origins and ecological impacts embedded within everyday substances. About the Artist Stefie Gan is an Asian American filmmaker, animator, and educator. She combines her cultural roots with a passionate concern for the planet’s future. Her work amplifies unheard voices, challenges norms, and advocates for equality. Her films have won awards and recognition at Oscar-qualifying festivals the Odense Film Festival and Flickers’ Rhode Island International Film Festival. Her films are distributed by PBS and Kanopy, and she’s a recipient of the Voices with Impact Grant. Stefie received a BA in Architecture from Barnard College, Columbia University, and an MFA in Animation and Digital Arts from the University of Southern California. She currently teaches digital imaging at Santa Clara University. Previous Next

Visual Duets: The Art of Creating Together David Einstein and Judith Cook Era and Donald (Aldo) Farnsworth Ellen Konar and Steve Goldband Tandem Painting (Suzette McDonough and James Whitehouse) MAY 16 - AUG 16 Will be on View in the Marquee: Mathias Gallery < Back Overview To many, art may seem like a solitary activity – a way for us to pour our individual souls into whatever we choose to create while commenting on or escaping the world around us. But for others, the process of creating art is a collaborative effort – one where we can find joy in experiencing it with others. The Triton Museum of Art is proud to present Visual Duets: The Art of Creating Together. This group exhibition features the works of four significant and talented artist couples: David Einstein and Judith Cook – painting, mixed media Era and Donald (Aldo) Farnsworth - printmaking Ellen Konar and Steve Goldband - photography Tandem Painting (Suzette McDonough and James Whitehouse) - painting Each of these couples creates artwork in connection and conversation with each other. In their practices, they have learned the delicate balance of working with another creative to produce not only something that is unique to the pair, but something that also carries their individual voices. About the Artist All the information on the artists can be found in the link below! Artist Information Additional Information on Selected Works by Tandem Painting Tandem Painting Info Previous Next

The City of Santa Clara and the Triton Museum of Art Presents: Fútbol: The Art of the Game Various Artists MAY 16 - AUG 2 Will be on View in the Marquee: Cowell Room Gallery < Back Fútbol Sale Rules & Info Overview Athletics and sports have been a part of human history for thousands of years. As time has passed, the games have changed but one thing remains constant – community. Sports provides us with another means to come together, to collaborate, to share something exciting and meaningful with each other. Art has also been around for thousands of years, and to celebrate the upcoming FIFA World Cup* soccer games coming to Santa Clara this summer, The City of Santa Clara and The Triton Museum of Art is hosting a special exhibition combining both sports and art – Fútbol: The Art of the Game. Soccer, also known as fútbol, is a sport played by millions of people around the world. It’s also a sport that combines passion and community. This special exhibition features one-of-a-kind artwork from a talented group of diverse Bay Area artists. The exhibition is also a special fundraiser for the Museum. These skilled artists have given their time and talents to provide the Museum with donated works that corresponds with the soccer theme – their art, in their style, will either incorporate an actual soccer ball or a recreated one. All works will be for sale through the Museum, starting at the artists’ reception on May 16, 2026 at 12:00 pm, and through the duration of the exhibition.** All funds received from the sale of these works goes directly back to the Triton Museum of Art to help support our mission of art, community, and education. We wish to thank all of the participating artists – it is because of you, our community, that we exist and thrive. *The Triton Museum of Art is not affiliated with FIFA or any professional soccer or sports association. ** Artwork will be sold on a first come, first served basis. We will not be reserving works for anyone; they must be purchased directly from the Museum in person starting at the artists’ reception. If artwork is not sold at the reception, it will remain for sale through the duration of the exhibition. Any sold works will remain on view in the Triton Museum for the duration of the exhibition and may be picked up by the buyer from the Museum once the exhibition has concluded. About the Artist Boyles, Sean Callanta, Vanessa Campbell, Ryan Cao, Trung Cook, Judith, Einstein, David, and Campbell, Ryan (Collaboration) Crow, Jonathan Dell’Aquila, Mei-Ying Dell’Aquila, Ron Dellicarpini, Steve Diamond, Jemal Engel, Mark Foley, Donny Harris-Sintamarian, Emanuela Itzhak, Hila Jimenez, Pancho Larson, Dean Lawson, Lorraine Lock, Hana Lost San Jose Machuca, Miguel Mertke, James Metcalf, Preston Owen, Jeff Osborn, Olivia Paluzzi, Peter Perea, Jonathan Rana, Priyanka Rezaei, Alieh Samdani, Ayesha Tandem Painting (McDonough, Suzette and Whitehouse, James) Thompson, Kori Vu, Cedric Artist Information PDF Previous Next

< Back Explorations in Drawing (Triton Online Spring 2026) Price Members (6 Weeks): $120 Members (8 Weeks): $160 Non-Members (6 Weeks): $140 Non-Members (8 Weeks): $180 Day Pass: $21 (Members), $24 (Non-Members) Location Online Dates Friday Evenings, March 13th through May 1st, from 6:00PM-8:00PM Duration 6 weeks, 8 weeks Enroll About the Course Explore different drawing media (and combinations of media) on a variety of paper supports. The natural subjects of these drawings are varied and challenging. Whether you have experience or are looking to try something new, there is a subject for everyone. Choose from an 8-week session, 6-week session, or for 1 day. You can also purchase this online class as a gift for a friend/family member! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: March 13th - Bachelor Buttons (Color Pencil) Week 2: March 20th - Caterpillars (Felt Pen and Pastel Pencil) Week 3: March 27th - Hummingbirds (Watercolor Pencil) Week 4: April 3rd - The Beetles (Color Pencil) Week 5: April 10th - Sea Lions (Pastel Pencil) Week 6: April 17th - Chameleons (Watercolor Pencil) Week 7: April 24th - Blue Jays (Pastel Pencil) Week 8: May 1st - Pineapples (Color Pencil and Felt Pen) Recommended Materials List: For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com 11”x14” Heavy Duty Drawing Paper Pad 9”x12” or 11”x14” 140 lb. Cold or Hot Press Watercolor Pad or Block 9”x12” or 11”x14” Vellum Bristol Board Pad 9”x12” or 11”x14” Mi Teintes Pastel Paper Pad 5mm Mechanical Pencil with HB Lead or HB Pencils with Sharpener Water-soluble Graphite Pencils (Generals Sketch Wash, Derwent, or Graphitint) HB, 2B, 4B, 6B Charcoal Pencils or a box of Medium, Soft, or Extra Soft Vine or Willow Charcoal Pentel or Pigma Micron Black Ink Pens (Small Sizes) 24 count Colored Pencils (Polychromos or Prismacolor) 24 count Pastel Pencils (Pitt, CarbOthello) Tombow Brush Tip Watercolor Pens in Landscape Colors, Bright Yellow and Bright Pink, and Light Purple. White Vinyl Eraser and Tombow Mono Zero Eraser Extra-Large Kneaded Eraser Electric AFMAT Eraser (optional) White All-Stabilo Pencils #1 or #2 Round Watercolor Brush Questions? Please contact education@tritonmuseum.org Your Instructor Jeff Bramschreiber Jeff Bramschreiber has been drawing and painting for over forty years, and while he is primarily a pastelist, he also frequently works in acrylic, watercolor, silverpoint, most dry media and even airbrush. His artworks hang in private collections throughout the United States and Europe and have received many awards. A local art advocate, he has served as an art club president, (East Valley Artists and Santa Clara Art Association), as a board member for the Triton Museum, as a juror with nearly fifty shows to his credit, as treasurer and lecturer for Silicon Valley Open Studios, as a demonstrator and lecturer for many of the Bay Area art clubs, colleges and museums. Jeff also worked at University Art San Jose for 21 years before its closing in 2018 as an assistant Manager, Frame Designer, and Community Art Liaison. Mr. Bramschreiber has also helped coordinate, organize, and participate in numerous local art shows, group shows and events throughout his career. Currently he is an exhibiting and “live paint” artist at Kaleid Gallery in Downtown San Jose; Jeff is also an art instructor for the Triton Museum of Art, The Rosicrucian Egyptian Museum, and The Villages Arts and Crafts Association. Website: https://bramschreiberstudios.smugmug.com/

< 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/