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< Back Marc D'Estout JAN 18 - APR 19 A Singular Evolution: A 20 year survey of Marc D'Estout Marc D'Estout is a multi-disciplinary artist, curator, art director and designer who graduated with a MFA from San Jose State University. His extensive career includes exhibiting at numerous galleries throughout California and the United States, being featured in several art and design publications, and keeping an active art and teaching career. 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. Previous Next

Unknown EXHIBITION Understory as Retold by Trinh & Birds Trinh Mai DATES: MAY 28 - SEP 4 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Cowell Gallery EXHIBITION The Room a Thousand Year's Wide Sanjay Heera DATES: MAY 29 - AUG 29 YEAR: 2021 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. Previous Next

Cowell Gallery EXHIBITION Expression of an Inner Life Susan Krough DATES: SEP 3 - DEC 23 YEAR: 2022 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. "Justice - Tribute to Ahmaud" Previous Next

MAY 2 - AUG 16The Triton Museum of Art is pleased to announce the return of one of our most exciting exhibitions, and a visitor favorite - The 2026 Salon at the Triton: 2D Art Competition & Exhibition. The purpose of this competition and exhibition is to showcase the diverse talents of artists living or working in California, and to assist the Triton Museum of Art's mission in supporting and building community through diverse exhibition and art programs. Both aspiring and established artists were encouraged to participate in this highly popular exhibition, which allows for submissions in various 2D mediums and is open to any subject. This year's Salon saw over 760 artists submit over 2,500 individual works of art. From this, our jury selected 117 works to be featured in our Permanent Collection and Rotunda Galleries. 2026 Salon at the Triton Exhibition Selected Artists MAY 2 - AUG 16 Now on View in the Permanent Collection Gallery & Rotunda Gallery Plan Your Visit < Back Marquee: 2025 Salon at the Triton: A 2D Art Competition & Exhibition , various art pieces, 2025 The artists selected for the 2026 Salon at the Triton Exhibition are: Abbey, Shannon Aghaee, Hadi Annadore, Sriharsha Baczek, Peter Belew, Michael Bermingham, Lou Billiingslea, Renee Boeder, Liz Brook, Ellen Browne, Claudia Calanche, Mague Cameron, Marie Carey, Peter Carta, Maura Cate, Youming Chan, Louis Chening, Stanislava Cheriton, Glen Clotas, Aina Corvin, Valerie Cox, Karen Crowder, Harlan Davis, Rachel Davis, Starr Dayel, Elvira Dedic, Adriane DeRitis, Eric DeVarco, Tony Do, Analyn Duan, Dora Edwards, Doug Ely, Allyson Filice, Katherine Gallegos, Randy Gambin, Sarah Cherif Gorini, Fiorenza Graham, Shelby Grantz, Julie Guan, Tim Gust, Ellen Herman, Jeff Hite, Brian Host, Marilynn Howard, Denise Huet, Gloria Ibarra, Gabriel Jimenez, Patricio Kahl, Krista Karver, Sherry Kazmi, Ambareen Kerbow, Michael Kim, Helen King, Jaya Klassen, B. Nicole Kobayashi, Hugo Konar, Ellen and Goldband, Steve Kononova, Irena Kreiter, Terry and Diane Lan, Li Lang, Rosalie Lari-Hosain, Shay Lee, Seulgee Lint, Bernard Lord, Carolyn Lordier, Kim Loyola, Sarah Lu, Hui Lurssen, Jean Malandraki, Nikki Malone, Erin Mano-Flank, Dana McDowell, Mark McLain, Barbara Mellon, Gertie Metcalf Tobin, Sheila Miller, Linda Min, Lei Mote, Michael Mueller, Linda Nelson, Craig Nelson-Gal, Julia Newhard, Christopher Nguyen, Andy Nussbaum, Stacey Okita, Sandi Oldenkamp, Zachary Ong, James Orme, Donna Ostovany, Yari Overholt, Barb Pfhal, Dominique Paluzzi, Peter Potter, Chuck Semans, Robert Shea, Deborah Sheridan, Kathleen Sloane, Timon Stonesifer, David Tan, Yan Taymor, Rosalinda Tudish, Kevin Veedell, Victoria Wang, Marina Wang, Nan Wang, Yuting Weil, Alice White, Tess-Marie Whitehouse, James Woods, Julia Yang, Richard Zhang, Bing Zhang, Sue Ellen Zhu, Ni Zittin, Floy Znamirowski, Lucia Overview The Triton Museum of Art is pleased to announce the return of one of our most exciting exhibitions, and a visitor favorite - The 2026 Salon at the Triton: 2D Art Competition & Exhibition. The purpose of this competition and exhibition is to showcase the diverse talents of artists living or working in California, and to assist the Triton Museum of Art's mission in supporting and building community through diverse exhibition and art programs. Both aspiring and established artists were encouraged to participate in this highly popular exhibition, which allows for submissions in various 2D mediums and is open to any subject. This year's Salon saw over 760 artists submit over 2,500 individual works of art. From this, our jury selected 117 works to be featured in our Permanent Collection and Rotunda Galleries. About the Artist Grand Prize: Best of Show Rachel Davis Hey Blue (2024) Mixed Media Painting First Place: Ni Zhu Parade in the Rain (2024) Oil Painting Second Place: B. Nicole Klassen Music of the Spheres (2024) Oil Painting Third Place: Doug Edwards It's All Coming Back to Me (2021) Oil Painting Drawing First Place: Sheila Metcalf Tobin Reckoning with Coexistence (2026) Drawing Second Place: Bing Zhang Rainy Day (2026) Drawing Third Place: Julie Grantz 41 Year Old Female (2025) Drawing Photography First Place: Stanislava Chening Girl with Bird (2025) Photography Second Place: Tony DeVarco Facing the Muse (2021) Photography Third Place: Jeff Herman Windows (2025) Photography Mixed Media/Printmaking First Place: Zachary Oldenkamp Vacuum (2025) Charcoal graphite, watercolor, gouache on paper, mounted to panel Second Place: Adriane Dedic To Dream (2024) Mixed Media Third Place: Erin Malone Karl The Fog Over Bernal Hill (2025) Printmaking Honorable Mentions Lei Min Richard and His Companion (2022) Oil Painting Sherry Karver Remembering Dreaming (2024) Mixed Media Krista Kahl Evening Drinks (2025) Photography Youming Cate Sunny Disposition (2023) Pastel Staff Picks Director's Choice: Preston Metcalf, Executive Director & Senior Curator Victoria Veedell Rose Dusk Marsh (2025) Oil Painting “Throughout history, artists and writers have suggested utopian lands to inspire and elevate the viewer and reader. Mythical ideals such as Elysium, a paradise of heroic souls; the Garden of Hesperides, land of immortality; and Arcadia, the realm in pastoral harmony and simplicity tickle the imagination. Shangri-La suggests a hidden paradise, while Avalon holds a paradisiacal realm of eternal youth and abundance where King Arther awaits. The list goes on, but to these I would add one more – the ethereal landscapes of Victoria Veedell. I have long admired Victoria’s distinctive landscapes, increasingly believing I am transported to other-worldliness when viewing them. How she developed her stylistic dreamscapes, I do not know, but they move me. Are they filtered memories of vistas once viewed and rendered through the lens of time, or are they distant views of a promising future yet to be fully experienced? These are questions Victoria invites me to ask, and a journey of realization I am happy to travel.“ Curator's Choice: Vanessa Callanta, Curator Michael Kerbow Shadowplay (2026) Oil Painting “I kept coming back to this painting. I found myself looking at every building, every sign, thinking, “How much is too much?” It made me upset because this is our reality. When are we going to realize that the way we’re living and consuming is not sustainable? I admire Mr. Kerbow for painting this. It’s not only technically beautiful, it’s extremely sobering and, I like to think (hope), a call to action. I hope we can do better, and I hope we act on that before it’s too late.” Curator's Choice: Bryan Callanta, Curator of Digital Programming Hugo Kobayashi With the Fish (2023) “This painting is beautiful, surreal, and dreamlike. The deep water the fish swims (floats) in gives way to a twilight settling over a quiet suburban home, blending the two worlds together. There is no one present to observe the fish above their home, but I wonder what it would be to look up and see it there – seemingly calm, yet startling. One has to wonder – is this a threat, a guardian, or something else…” Previous Next

Digital Gallery 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

Unknown EXHIBITION Recent Acquisitions to the Permanent Collection Various Artists DATES: JAN 22 - MAY 1 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Unknown EXHIBITION Trees Kalani Engles DATES: FEB 5 - MAY 8 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION "If you look at nature closely, you can see things that elude the casual observer. You can see geometric shapes - like the angle at the point of a thorn or the roundness of a thicket of leaves. You can see patterns - like the alignment of tree trunks in a stand or the veins of a leaf. And vou can see color - not just the obvious greens and golds and browns, but blue and red and purple hues revealed by the interplay of diffused light and shadow beneath dense canopy. In my work I try to surprise the viewer by highlighting aspects of nature that they may not recognize as real and to challenge them to look more carefully so that they can appreciate more of what nature has to offer." Kalani Engles Previous Next

Warburton Gallery EXHIBITION Palace of Leaves Michelle Gregor DATES: APR 27 - SEP 15 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. While working on this exhibition, I was thinking about trees. Because they often experience life in a longer time scale than humans, trees can be felt as witnesses to our human achievement and our folly, our appreciation and our exploitation. With this new body of work, my abstracted human figures have taken on evolving shapes referencing arboreal forms. Before the silicon age, the Santa Clara Valley was blanketed with some of the most fertile orchards in the world and dubbed “the Valley of Heart’s Delight.” Before that, it was home to ancient native oaks and redwoods. Trees have accompanied us, and I have taken inspiration from our bonds with them. Beyond our tangible relationship with trees, I also think of my artistic practice itself as a ‘palace of leaves.’ For me it is a canopy of focus, rooted in purpose. The phrase is from a poem by Mary Oliver, “Crossing The Swamp” which emphasizes resilience and creative potential. My approach is improvisational. The materials/processes (clay, pigments, kiln firings, etc.) are partners in dialogue with me, rather than merely subject to my preconceived ideas. With each round of decisions I make during the forming, surface coloration, firings, I am responding to the changes the material presents. I highly value the geological impressions and subtle tonal changes as the clay body matures with each firing. The seasons pass very quickly and it’s important to enjoy what is there in front of you. You have to have a certain amount of faith that your process will reveal a path or a direction, even if you don’t know what the end point will be. You have to have faith that the water will be deep enough when you jump into it. Michelle Gregor, 2024 Michelle Gregor, Paloma , ceramic, 2023 (photo by J. Jones). Previous Next

< Back Jonathan Crow JAN 10 - MAY 3 Cul-de-sac 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. About the Artist: 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

Warburton Gallery EXHIBITION Identity Theft and Beyond Chukes DATES: JAN 20 - APR 14 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My creative journey started in Northern California in the early 1960’s. I was born in Vallejo, California and my family moved to San Jose, California when I was a year old. I grew up during the Civil Rights and Black Power movements, amidst the free-thinking Flower Children, Vietnam War, the killings of Black Power leaders and the assassination of a U.S. President. Even while all this was happening right at my doorstep, my childhood was a wonderland of creativity with no one in authority censoring my artistic freedom and thoughts. My parents did an incredible job of keeping our family safe yet always informed us of the impending dangers from the world around us! As I grew older, I began to understand the importance of a using my art as a meaningful educational and historical tool. The concept of the Identity Theft body of work started in 2016 where I witnessed and experienced the unprecedented televised violence on people of color. My social conscious could not be restrained and soon after my artistic instincts kicked in. I began to create this work based on a multitude of dreams and visions. As an African American living and working in Southern California, I am bound to my African roots. Each work of art expresses the importance of understanding my history, and the origins of creativity and knowledge. This exhibition counteracts the negative stereotypes that have led so many races to believe they have contributed nothing of importance to humanity. As I look back at my own family history, as well as researching world history, I reflected on what I have and have not been taught about myself, and other people and cultures of the world. This work is my artistic representation of what happens when people or nations of people are stripped of their indigenous identity and re-taught a history that historically filters the truth and presents an incorrect version of past and present injustices. This filtered history, as I call it, is being used against us as a weapon of self-destruction. Our existence on this planet depends on our perceptions and understanding of one another. An incorrect version of history should be viewed as a crime against humanity. The art in this exhibit reflects my truth! Here we are in the 21st century and it feels as if the world is going backwards. In today’s societies, vast numbers of people are becoming increasingly fearful to speak up and act against senseless hate crimes and injustices. Like so many others, I too have been personally victimized by racial ignorance. Instead of reacting through violence, I have chosen to use my artistic voice to speak out against hate. This exhibit also includes new and unseen works that is a continuation of Identity Theft. We must start conversations that include all voices and races. There is no time limit in creating the truth! I use the power of my art to express my voice! Chukes, Time Traveler , 2023, ceramic. Previous Next

Permanent Gallery EXHIBITION Tall Tales John Cerney DATES: SEPT 9 - JAN 14 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. 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