2014–2015 Annual Report - San Jose Museum of Art

2014–2015 Annual Report
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Table of Contents
SJMA BY THE NUMBERS……………………………………………………………....3
BOARD OF TRUSTEES………………………….……………………………………....4
DIRECTOR’S REPORT…………..………………………….………………..………….6
EXHIBITIONS 2014 – 2015……………………………………….……………..……..11
PRESS ……………………………………………………………………………...…...26
LOANS FROM THE PERMANENT COLLECTION………………………………......27
ACQUISITIONS 2014 – 2015 …………………………………………………….........28
DEACCESSIONED WORKS………………………………………………………….. 47
MUSEUM EXPERIENCE AND EDUCATION PROGRAMS………………………...52
DEVELOPMENT REPORT …………………………………………………………….73
ATTENDANCE AND BENCHMARKS………………………………….…………….79
AUDITED FINANCIAL STATEMENTS………………………………………..……..80
VOLUNTEERS………………………………………………………………………….83
STAFF……………………………………………………..…………………………….86
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BY THE NUMBERS
101,864 visitors
192,330 website visitors;
4,957 Twitter followers;
5,856 Facebook fans
13 exhibitions
4,635 students participated
in Two-Part Art
30,461 students
participated in
Let's Look at Art
4,662 visitors attended free
Community Day celebrations
7,782 students participated in
SJMA’s school tours
59 new works
were added to the
permanent
collection
1,528 students participated in
Sowing Creativity, a ten-week
integrated arts program
Full Spectrum Gala raised
$309,000 for educational programs
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Board of Trustees
Hildy Shandell
President
CEO
Solarelle
Tad Freese
Vice President
Attorney at Law, Partner
Latham & Watkins
Bruce Worster
Secretary
VP (retired)
JDS Uniphase
William Faulkner
Treasurer
Attorney at Law, Partner
McManis Faulkner
oger Bowie
Private Client Advisor
Wells Fargo Private Bank
Prasadh Cadambi
Partner
KPMG LLP
Peter Cross
Senior Vice President (retired)
Bay Networks
Glenda Dorchak
Corporate Director
Mellanox Technologies
Energy Focus
Mirametrix
Anneke Dury
Community Volunteer
Director, Focus Business Bank
Eileen Fernandes
Principal and Bay Area Consulting Managing Director
Deloitte Consulting LLP
Richard Karp
Chairman
TicTran Corp
Cheryl Kiddoo
Community Volunteer
Peter W. Lipman
Research Geologist (emeritus)
U.S. Geological Survey
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Dipti Mathur
Community Volunteer
Evelyn Neely
Community Volunteer
SJMA Docent
T. Michael Nevens
Director (retired)
McKinsey & Co.
Rita Norton
Community Volunteer
Environmental Manager (retired)
City of San José
Jeannie Pedroza
Community Volunteer
Chair, Store Guild
Cornelia Pendleton
CFO
University Art Center, San Jose and Palo Alto
Amy Rapport
Community Volunteer
Let’s Look at Art
Alayne Yellum
Community Volunteer
Docent Council
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Director’s Report
The San Jose Museum of Art has always been a museum that is particularly open to
interpretation. Long before today’s populist trends of self-curating, crowd-sourcing, and “maker
culture,” SJMA’s educators invited visitors to respond to exhibitions through participatory
gallery activities and conversational tours, or to try a hand at art-making in guided workshops.
It’s no coincidence that our tag line is now “See what you think.” How better to proclaim the
belief that, alongside the great visual pleasures art offers us, artworks also trigger ideas and spark
our minds? They can stir our emotions and imagination; they knit together meaningful
realizations. In the same way that creativity indeed enlists your whole brain, art enlists your
whole being.
This year, for the Museum’s forty-fifth anniversary, we decided to push this call-and-response
approach upstream and to make it the organizing concept for our showcase anniversary
exhibition of the permanent collection, Momentum: an experiment in the unexpected. We invited
nine creative professionals of different generations and from various communities around the
Bay Area—a ballet dancer, an inventor/designer, a calligrapher, a comedian, a yarn bomber, a
street artist, a sound artist, a body painter, a graphic novelist, and a poet—to respond to an
artwork in the Museum’s collection in whatever medium, format, and scale they chose. We
wanted the process to disrupt the typical in-house authority and propriety of museum exhibitions,
yet to duly honor the professional practice of art. These “other” artists’ creative responses
encouraged visitors to see artworks in the collection from unexpected perspectives and to
respond thoughtfully and creatively in turn, be it on a dance floor in the galleries, via a poetry
exercise, or through a moment of quiet on a meditation cushion—a chain reaction of creative
thinking that had an energy in and of its own.
The results amazed us all. Imagine Alexander Calder’s Big Red (1959), seen first through a scrim
as an enticing graphic shadow; performers whose bodies were painted to emulate Andy
Goldsworthy’s Burnt Patch, SJMA (1995); a poem witnessed in the process of its writing and
rewriting; or a canvas “painted” by the “brushworks” of a ballet dancer’s tracks. You could
hardly help but “see what you think”—and your thoughts most likely ventured in new, different,
and deeper directions.
Our anniversary homage to the Museum’s permanent collection—a rapidly growing and unique
community resource—continued throughout the year with four additional collection exhibitions.
Initial Public Offering premiered pivotal recent acquisitions of very contemporary artworks,
most of them generous gifts to the permanent collection, and provided a local counterpoint to the
summer exhibition Legacy: The Emily Fisher Landau Collection, which featured promised gifts
of late twentieth-century artworks to the Whitney Museum of American Art, New York. David
Levinthal: Make Believe was the first-ever showing of all thirty-nine works in the Museum’s
holdings by an artist (raised in Silicon Valley) who helped define the “pictures generation” and
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its artistic strategy of appropriating imagery from the mass media. Sleight of Hand: Painting and
Illusion offered a fresh look at some of the public’s most-beloved works in the collection. City
Limits, City Life focused on artists’ visions of urban life (spanning eight decades) and created a
platform for visitors’ reflections on present-day San Jose, in the midst of a new wave of urban
planning. Hundreds of people “tagged” a chain-link fence installed in the interpretive area with
their messages about local urbanism.
One of our community’s richest assets is our cultural diversity, among the greatest in the
country. In fall 2014, SJMA looked at the complex roots of California’s populations, as well as
at the roots of socially conscious figurative painting in America, in Robert Henri’s California
Portraits: Realism, Race, and Region, 1914 – 25. Adjacent to this careful selection of Henri’s
lush and deftly painted historical canvases, the companion exhibition Post-Portrait offered a
contemporary photographic counterpart that subverted traditional notions of portraiture and
focused on the active relationship between artist and subject in art today.
The spring season featured three exhibitions that reflect the Museum’s curatorial ambitions for
projects we ourselves originate—the clearest mirror of our mission and aspirations as an
institution. This fiscal year, in fact, SJMA’s curators organized over 80% of the exhibitions on
view, a proud percentage that speaks to the creativity, skill, and productivity of the staff as well
as the generosity of the sponsors who make these greater ambitions possible.
Postdate: Photography and Inherited History in India was the first group exhibition of South
Asian art at SJMA to include international loans and artists’ commissions. It was accompanied
by a major book produced with and distributed by the University of California Press, with
contributions by scholars Atreyee Gupta and Latika Gupta and the noted conceptual artists Raqs
Media Collective as well by curator Jodi Throckmorton. The exhibition traveled to the Ulrich
Museum, Wichita State University, Kansas. The San Jose Mercury News named it one of the top
ten exhibitions of 2015 and the Wall Street Journal called it a “don’t miss.”
When we launched the “Beta Space” series in 2011, we did so on a shoestring, in the scrappy
spirit of the legendary Silicon Valley garage wherein innovative ideas were incubated out of the
limelight, with rallied resources and an “underground” mindset. “Beta Space” provided the
opportunity to undertake special projects with artists and to connect artists with community
experts. It enabled the Museum to commission new works and support germinal ideas. Over the
years, the projects have mushroomed in scope and scale; people from many walks and
professions stepped up to participate; and the experimentation of “Beta Space” came to be
central to SJMA’s spirit and identity.
Thus, for the forty-fifty-anniversary year, we brought “Beta Space” front and center into the
grand Skylight Gallery, for the fourth, largest, and most complex installment in the series, Beta
Space: Diana Thater. In her dramatic, glowing installation Science, Fiction (Two) (2015), Thater
explored the Milky Way, used for orientation by only humans and the lowly dung beetle. Her
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project involved the generous participation of astronomers and astrophysicists from the
University of California, Santa Cruz; UCO/Lick Observatory on Mount Hamilton, San Jose; and
NASA Ames Research Center in Mountain View, California; as well as generous in-kind support
from Samsung Semiconductor, Inc. via the San Jose office. It was, in all senses, a truly collective
and cross-disciplinary effort.
At the other end of the scale, José Clemente Orozco: Figure Studies presented small, intimate
drawings by this master Mexican muralist. The exhibition of more than twenty historical figure
studies from the collection of Michael Wornick, on public view for the first time at SJMA, gave
visitors insight into Orozco’s incredible skill as a draftsman, his astute understanding of the
human body, and the private working process behind his monumental, epic murals, which hold
such an esteemed place in modern art history. Thanks to the generosity of Michael Wornick,
Museum audiences were privileged to have access to rare works that illuminate the nature of the
artistic process, a key aspect of SJMA’s mission.
All of these exhibitions were accompanied by public programs and educational activities for
adults, youth, and children (nearly eighty programs overall), crafted to help participants explore
the broad reach of artists’ ideas and make personally meaningful connections. My own most
memorable moment came during an event at which Puragra (Raja) Guha Thakurta, professor of
astronomy and astrophysics at the University of California, Santa Cruz, talked about the science
and mysteries of the Milky Way to a rapt crowd of art and astronomy aficionados gathered in the
galleries of Beta Space: Diana Thater. After the extraordinary discussion, a gentleman expressed
his thanks as he was leaving and casually let me know he was a lead engineer on the construction
of the Hubble telescope. Only at SJMA!
Sowing Creativity, our flagship integrated arts program in the schools, branched out even further
into Common Core curricular territory this year. Teaching artists worked side-by-side teaching
scientists in third-grade classrooms and together guided students to explore the cosmic notions of
time, space, and scale raised by Diana Thater's art. This program is but one example of SJMA's
efforts to insert “art” into the popular acronym of STEM (science, technology, engineering, and
math) education. The enthusiasm I've witnessed in our Sowing Creativity classes indicates that
integrated arts education—STEAM—not only motivates kids but can also bring the most abstract
of concepts into solid focus.
Behind the scenes at SJMA, a skilled, dedicated, and amazingly creative staff brings these
endeavors to the public. I am honored to work with such an inspiring, personable, and
professional team, each member of which puts his or her special mark on SJMA's projects. I
thank them for the collegiality and sense of purpose that infuse SJMA.
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The expertise and personal generosity of the members of our board of trustees lie behind the
success of the Museum. I thank our trustees for their counsel and direction, epitomized by the
leadership of Hildy Shandell, president, and Tad Freese, vice president. Above all, their
enthusiastic advocacy for the arts and belief that philanthropy is a fulfilling expression of their
own values make SJMA a stronger, better institution every year.
Susan Krane
Oshman Executive Director
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Pushpamala N.
The Native Types—Yogini (after a sixteenth-century Deccani painting), from the series “Native Women of South India: Manners
and Customs,” 2000–2004
Chromogenic print on metallic paper
20 x 14 inches
Collection of Dipti and Rakesh Mathur
Photo: Courtesy of the artist and Nature Morte, New Delhi
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Exhibitions
James Doolin
Shopping Mall, 1973 – 77
Oil on canvas
90 x 90 inches
Gift of Lauren Richardson Doolin with
additional funds contributed
by Tom and Polly Bredt, in honor of the San
Jose Museum of Art's 35th anniversary
What’s Your Angle?
January 16 through November 30, 2014
Artists give us a chance to view the world in new ways and through their eyes. We look at their
works and notice tiny details—the structure of an architectural gem, the heat of a moment,
weather that can change our mood. The artist frames a view and uses angles and perspective to
guide what we see. What’s Your Angle? in the Koret Family Gallery invited visitors to consider
their points of view in comparison to artists’ perspectives.
Hands-on learning activities accompanied this selection of works by Keith Carter, James Doolin,
Godfrey Frankel, Lyle Gomes, Edward Hopper, Michael Kenna, Dale Kistemaker, Erle Loran,
Galen Rowell, Joseph Shuett, and Katherine Westerhout. Curated by Lucy Larson.
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Tim Hawkinson
Scout, 2006 – 2007
69 ½ x 103 x 68 inches
Cardboard, box strapping, and
urethane foam
Gift of the Lipman Family Foundation
Initial Public Offering: New Works from SJMA’s Collection
March 1 through August 24, 2014
Silicon Valley, the innovation capital of the world, is no stranger to the IPO, or initial public
offering. “Going public” signals opportunities for future growth, expansion, and innovation.
In spring 2014, the San Jose Museum of Art went public with a selection of exciting acquisitions
from the last three years. Initial Public Offering marked the debut of various works in SJMA’s
galleries. From Clare Rojas’s folk-inspired diminutive paintings to Tim Hawkinson’s colossal
cardboard and urethane foam sculpture Scout (2006–2007), the works in this exhibition marked a
bold, new direction for SJMA’s permanent collection.
Also included was Stephanie Syjuco’s installation The International Orange Commemorative
Store (A Proposition) (2012). Originally commissioned by the FOR-SITE Foundation for the
seventy-fifth anniversary of the Golden Gate Bridge, Syjuco’s faux store featured a vast array of
the usual souvenir gift shop finds—pencils, mugs, buttons, keychains, and countless other
trinkets—all saturated in the bridge’s iconic orange color. Also on view was Alan Rath’s
Absolutely (2013), a fifteen-foot-tall robotic sculpture. Activated by movement and heat, the
sculpture came alive with a dance that seemed improvisational. Curated by Rory Padeken.
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David Levinthal
Untitled (Willie Mays, No. 43), from the series
“Baseball,” 2003
Vintage Polaroid Polacolor ER Land film
28 ¾ x 22 inches
Gift of Katie and Drew Gibson
David Levinthal: MAKE BELIEVE
May 8 through November 30, 2014
Drawn from the permanent collection of the San Jose Museum of Art, David Levinthal: MAKE
BELIEVE featured thirty-nine photographs that span the career of this acclaimed and prolific
artist. A pioneering photographer of the baby boom generation, Levinthal was in the first wave
of artists who were raised with the ever-present visual language of postwar consumer culture,
TV, and the mass media. Imagery appropriated from popular culture became rich creative fodder
for the so-called “Pictures Generation.”
Levinthal creates uncanny tableaus for the camera by constructing dioramas featuring toy
figures. With his signature close-up shots and shallow depth of field, Levinthal complicates the
boundaries between artifice and reality in order to question the ways in which social and cultural
values are expressed through objects of play. His subjects range from the isolation of urban life,
to the heroes of boyhood, to racism, to the military campaigns of World War II. Levinthal
frequently focuses his lens on iconic but mythologized touchstones of American popular culture,
including the Wild West, Barbie, baseball, and pornography.
The exhibition included twenty-eight recent acquisitions on view for the first time, which joined
earlier donations of Levinthal’s work also from longtime SJMA supporters Katie and Drew
Gibson. Levinthal, who grew up in Palo Alto, California, worked closely with the Gibsons to
build this exemplary archive of his work. It features the finest examples from his pivotal series
and a rare set of four images from the series “Airport,” commissioned by the City and County of
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San Francisco Airport Commission in 1996. SJMA’s collection of works by Levinthal now rivals
the holdings of the artist’s work at the Metropolitan Museum of Art, New York, and the Los
Angeles County Museum of Art. Curated by Rory Padeken.
Thanks to Katie and Drew Gibson, Michael and Kathy Levinthal, Donald Rosenfeld, and
David Levinthal for their generous support of the Museum’s permanent collection and of
this project.
Edward Ruscha
Lion in Oil, 2002
Acrylic on canvas with tape
64 3/16 x 72 1/8 x 1 9/16 inches
Whitney Museum of American Art, New York
Copyright Ed Ruscha
Photo: Tim Nighswander/Imaging4Art
Legacy: The Emily Fisher Landau Collection
June 5 through September 14, 2014
Legacy: The Emily Fisher Landau Collection surveyed American art since the 1960s. It was
drawn from Landau’s promised gift to the Whitney Museum of American Art, New York. As did
SJMA’s early “Whitney collaborations,” the beloved landmark surveys of twentieth-century art
at SJMA between 1994 and 2000, Legacy gave audiences access to extraordinary works by a
pantheon of innovative and pivotal artists. It offered a historical overview of the art of our times
from the preeminent museum of American art and was unlike anything else available to Bay
Area audiences. Legacy proudly launched SJMA’s forty-fifth-anniversary celebration, with roots
in the past and a bold eye on the future.
Many of the artworks in Legacy heralded seismic changes, not just in American society, but in
the way the artist’s role has evolved over the decades. This exhibition offered insights into the
visual thinking and political consciousness of American artists from the 1960s through 2002,
with a particularly close look at the 1970s and 1980s. Legacy encompassed a punch list of
postwar art movements: abstract expressionism, pop art, minimalism, conceptualism, feminist
art, and postmodernism. On view were works by Carl Andre, John Baldessari, Matthew Barney,
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Peter Cain, Willem de Kooning, Carroll Dunham, William Eggleston, Eric Fischl, Felix
Gonzalez-Torres, Rodney Graham, Keith Haring, Jenny Holzer, Peter Hujar, Neil Jenney, Jasper
Johns, Joseph Kosuth, Barbara Kruger, Annette Lemieux, Sherrie Levine, Glenn Ligon, Robert
Longo, Robert Mapplethorpe, Agnes Martin, John McLaughlin, Martin Puryear, James
Rosenquist, Susan Rothenberg, Allen Ruppersberg, Ed Ruscha, Lorna Simpson, Kiki Smith,
Mark Tansey, Al Taylor, Cy Twombly, Andy Warhol, and David Wojnarowicz. Organized by
the Whitney Museum of American Art, New York, with a catalogue published by the Whitney
Museum of American Art.
The San Jose presentation of this exhibition was made possible by the Richard A. Karp
Charitable Foundation, Bank of America, the Myra Reinhard Family Foundation,
Farrington Historical Foundation, University Art, Doris and Alan Burgess, and Carol and
Gerry Parker.
Robert Henri
Tam Gan, 1914
Oil on canvas
24 x 20 inches
Albright-Knox Art Gallery, Buffalo, New York
Robert Henri’s California Portraits: Realism, Race, and Region, 1914 – 25
September 13, 2014 through January 18, 2015
American artist Robert Henri (1865 – 1929), one of the most influential artists of the early
twentieth century, made the first of his three trips to California in 1914. Henri was enchanted by
the light, the landscape, and the people he encountered during his sojourns here—and was
compelled by the cultural diversity that has come to define California. This closely focused
exhibition revealed Henri’s fascination with the nation’s growing diversity. He turned away from
his lucrative society portraits to paint everyday working people: Native Americans, African
Americans, and newly arrived immigrants from China and Mexico. Ironically, he worked in
California during an era marked by anti-immigrant exclusionary laws. To viewers today, Henri’s
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work may appear double-edged—dignifying in intent but subject to a troublesome exoticizing of
the “other” (those he called “interesting people”). Yet he considered himself a staunch
progressive and his art also faced off against the discriminatory, racist legislation of the time.
This exhibition included approximately a dozen lush oil paintings that Henri executed in
California. An accompanying exhibition examined contemporary portraiture through the
perspective of artists working today. Organized by the Laguna Art Museum, California.
This exhibition was made possible, in part, by generous support from Don Head and
Barbara Oshman.
Tony Oursler
Slip, 2003
Fiberglass, Sony VPL CS5 projector, DVD, DVD
player, and speaker
43 x 35 x 15 inches
Gift of the Lipman Family Foundation, in honor of
the San Jose Museum of Art's 35th anniversary
Momentum: an experiment in the unexpected
October 2, 2014 through February 22, 2015
Momentum: an experiment in the unexpected set out to disrupt the status quo and show that art
is anything but just an inanimate object. This exhibition reflected on SJMA’s history as an
institution by looking at works in the collection from various eras in which artists explored the
related notions of movement and the passage of time. For its forty-fifth anniversary, SJMA
invited creative movers and shakers from the realms of design, comedy, performance, music,
writing, dance, and other fields to disrupt this exhibition of its permanent collection with their
personal artistic responses to the art on view. Their interventions could take any form and be in
any medium at any scale they chose:
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•
•
Bicycle designer Craig Calfee on Chris Fraser’s new media work Emmanuelle (2013)
Inventor and designer John Edmark on Alexander Calder’s sculpture Big Red (1959)
Venture capitalist-turned-standup-comedian Dhaya Lakshminarayanan on Alan
Rath’s sculpture Info Glut II (1997)
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•
•
•
•
•
•
•
Body paint artist Trina Merry on Rolfe Horn’s photograph Creek, Mashima,
Japan (2001)
Poet David Perez on Jim Campbell’s new media work Home Movies 300-3 (2006)
Cartoonist Lark Pien on Il Lee’s painting Untitled #204 (2004)
Calligrapher Carl Rohrs on Susan Manchester’s photograph Solstice (1998)
Damian Smith, principal dancer of the San Francisco Ballet, on Fred Spratt’s
painting Grenholm (1965)
Yarn-bomber Streetcolor on Tam Van Tran’s sculpture Most Secret Butterfly (2009)
Sound artist Marc Weidenbaum and his online collaborative project Disquiet Junto on
Josh Azzarella’s video Untitled #8 (2004)
To cap it off, visitors were invited to “talk back” in turn to the exhibition through equally
unexpected, open-ended, and self-curated modes of participation.
On view were works by Andrea Ackerman, Charles Arnoldi, Josh Azzarella, Christopher Brown,
Alexander Calder, Jim Campbell, Ellen Carey, Chris Fraser, Sonia Gechtoff, Andy Goldsworthy,
Helen and Newton Harrison, Rolfe Horn, Il Lee, Alvin Light, Susan Manchester, Richard
Misrach, Deborah Oropallo, Tony Oursler, Alan Rath, Fred Spratt, Hassel Smith, Jennifer
Steinkamp, Sam Tchakalian, Tam Van Tran, and Leo Villareal. Curated by Kat Koh.
This exhibition was made possible by generous support from the Walter and Karla
Goldschmidt Foundation, the Richard A. Karp Charitable Foundation, Doris and Alan
Burgess, and the Susan and Bruce Worster Foundation.
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John Register
Desert Restaurant, 1986
Oil on canvas
50 x 70 inches
Gift of Susan and Arthur Kern
Sleight of Hand: Painting and Illusion
October 2, 2014 through February 22, 2015
This exhibition showcased some of the public’s longtime favorite works from the Museum’s
permanent collection, in celebration of SJMA’s forty-fifth-anniversary year. Sleight of
Hand asked visitors to look carefully at the allure of style and to further explore artists’ use of
mesmerizing detail and similitude. Perhaps it is the eerie, truer-than-life illusionism or the
wizardry of artistic expertise that draws audiences to realism and makes paintings by artists such
as Sandow Birk, James Doolin, David Ligare, Tino Rodriguez, and Masami Teraoka among the
most beloved works in the Museum’s permanent collection. On view for the first time were
several recently acquired sculptures by Liza Lou: exquisitely beaded renditions of a chair, jeans,
and socks. Also on view were works by Chester Arnold, Sandow Birk, Christopher Brown,
James Doolin, Lucy Gaylord-Lindholm, F. Scott Hess, Salomon Huerta, David Ligare, Bari
Kumar, John Register, Tino Rodríguez, Katherine Sherwood, Masami Teraoka, and Paul
Wonner. Curated by Susan Krane.
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Henrik Kerstens
Paper Roll, 2008
Chromogenic print
32 x 20 inches
Santa Barbara Museum of Art, Museum
Purchase with funds provided by PhotoFuture
Post-Portrait
October 9, 2014 through January 18, 2015
This exhibition of contemporary portraiture explored the aesthetic, psychological, and emotional
implications of the gaze in photography today. Here, the traditional view of a portrait is
subverted: instead, a dynamic and ambiguous relationship between object and subject develops.
The power of the gaze is blurred the moment the sitter becomes a partner in the art-making
process. Included in the exhibition were works by Nicholas Albrecht, Caitlin Atkinson, Richard
Avedon, Anthony Aziz, Charles Berger, Jim Campbell, Kelli Connell, Binh Danh, Gohar Dashti,
Beth Yarnelle Edwards, Katy Grannan, Elizabeth Heyert, r.r. jones, Henrik Kerstens, Linda
Kramer, Miguel Angelo Libarnes, Lesley Louden, Jana Marcus, Tom Millea, Shirin Neshat,
Catherine Opie, Aline Smithson, Larry Sultan, and Wang Yao.
Presented as a counterpoint to Robert Henri’s California Portraits, the exhibition was a critical
look at the creative—and ever expansive—practice of portraiture some hundred years after
Henri. Curated by Susan Leask.
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Harry Callahan
Atlanta, 1978 (printed later)
7 ⅛x 18 3/16 inches
Dye transfer print on paper
Gift of Arthur J. Goodwin
City Limits, City Life
December 13, 2014 through June 14, 2015
City life has fascinated artists for hundreds of years. Early twentieth-century artists in the United
States often depicted the physical and social realities, as well as the potential emotional
disconnect, that can accompany urban density. In recent decades, artistic focus has shifted to the
ramifications of climate change, localism, and globalization. City Limits, City Life encouraged
audiences to think about urbanism in a larger context and coincided with collective efforts to
enliven and transform downtown San Jose. The exhibition featured works by Chester Arnold,
Harry Callahan, Karen Carson, Keith Carter, Stéphane Couturier, Chris Doyle, Walker Evans,
Godfrey Frankel, Jack Fulton, John Gutmann, Rolfe Horn, Robert A. Isaacs, Jesse Kalisher, Ed
Kashi, Louis Lozowick, David Maisel, Joel Meyerowitz, Lordy Rodriguez, Howard Rosenfeld,
Leo Rubinfien, Robert Schwartz, Stephen Shames, Richard Shaw, Weegee, Michael Wolf, and
Lucia Zegada. Curated by Kat Koh and Marja van der Loo.
This exhibition was made possible by generous support from McManis Faulkner.
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Clayton Bailey
Studebaker Radio Robot, 1979
Glazed porcelain
29 x 18 x 14 inches
Gift of Robin Leibes
Koret Family Gallery: Maker Space
January 17, 2015 through January 17, 2016
The act of making (whether it be artistic or scientific) with the goal of producing a more
beautiful and better world is part of the human impulse. Makers demonstrate an “I can do it”
attitude. They use materials in new ways, upcycle discarded objects, challenge familiar ways of
doing things, and invent new ones. Sometimes creativity, a force inherent in all of us, just needs
a little inspiration. In this spirit, we invited visitors to view artworks made of new materials in
new ways, take a maker challenge, and rekindle their creative spark.
This exhibition included works from SJMA’s permanent collection by Clayton Bailey, Ray
Beldner, Ruth Bernhard, Michael Bishop, Vik Muniz, and Gay Outlaw. Curated by Lucy Larson.
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Madhuban Mitra and Manas
Bhattacharya
Through a Lens, Darkly, from the
series “The Archaeology of Absence,”
2009
Pigment print
16 x 24 inches
Courtesy of the artists and Photoink,
New Delhi
Postdate: Photography and Inherited History in India
February 5 through August 2, 2015
The contemporary South Asian artists in this exhibition take history into their own hands. They
mine the uneasy legacy of photography in India and reach back in time to engage in artistic
conversation with historical photography, particularly with images made in the early days of the
medium and at the height of the British occupation of the subcontinent.
Their sources of inspiration are diverse: hand-painted studio portraits from the early twentieth
century; archaeological surveys done by the all-powerful East India Company; and film stills
from Bollywood movies. Much of this imagery has entered the popular visual imagination and
lives on through mass-produced depictions of Hindu deities, panoramic postcards and tourist
reproductions, family photographs, and common studio portraits. These artists embrace tradition
and innovation as covalent rather than competitive forces: they provide a new voice-over for the
past.
In the West, representations of India are often limited to photographs of the Taj Mahal or of
heartbreaking poverty. The artists challenge such stereotypes and also deepen our understanding
of the impact of colonialism on visual culture. Postdate: Photography and Inherited History in
India celebrated socially engaged, postcolonial approaches to image-making in India and marked
the US debut of several of the featured artists. Works by Nandan Ghiya, Gauri Gill, Vivan
Sundaram, Jitish Kallat, Annu Palakunnathu Matthew, Madhuban Mitra and Manas
Bhattacharya, Pushpamala N., Raqs Media Collective, Vivan Sundaram, and Surekha were on
view.
Postdate was organized collaboratively by the San Jose Museum of Art and the Ulrich Museum
of Art, Wichita State University, Kansas. Curated by Jodi Throckmorton.
This exhibition was made possible by generous grants from The Andy Warhol Foundation
for the Visual Arts and the National Endowment for the Arts, and sponsored by Kaushie
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Adiseshan and Anand Rajaraman, and Tad Freese, with support from Yvonne and Mike
Nevens, Dipti and Rakesh Mathur, the Asian Cultural Council, and Christie’s.
Diana Thater
Science, Fiction (Two), 2015
Installation of two video projectors, media
player, and lights
Dimensions variable
Photo: © Benjamin Blackwell
Courtesy David Zwirner, New York/London
Beta Space: Diana Thater
March 13 through September 13, 2015
Long interested in the mysteries of the night sky and the natural world, internationally
recognized artist Diana Thater is fascinated by the dung beetle and its relationship to our galaxy.
Inspired by a recent scientific study that revealed how the jewellike beetle uses the Milky Way
for nocturnal orientation, Thater developed an entirely new kind of film and video installation to
ponder the vastness of the universe and to convey aesthetically the sublime aspects of the cosmic
imagination.
For her “Beta Space” project (commissioned by the San Jose Museum of Art in celebration of its
forty-fifth-anniversary year), Thater benefited from the scientific and technological resources of
Santa Clara Valley, long a national and international center for astronomical research and
observation. She met with an astrobiologist at NASA Ames Research Center in Mountain View,
California; traveled to the four-thousand-foot summit of Mount Hamilton in nearby San Jose to
view some of the first images taken of the Milky Way at Lick Observatory in the 1890s; and
learned from Puragra Guha Thakurta, astronomer and astrophysicist at the University of
California, Santa Cruz, how recent technology has allowed astronomers to view distant corners
of the universe. Guha Thakurta, a leading expert on galaxy evolution and formation, advised
Thater on the selection of galactic animations for her enveloping installation.
23
“Beta Space” serves as an experimental laboratory for artists, collaborative ventures, and
catalytic ideas. It attempts to connect audiences with artists and with the artistic process; to
showcase the cross-disciplinary interests of many contemporary artists; and to reflect the
diversity and innovative spirit of Silicon Valley. By supporting the production of new work,
“Beta Space” encourages artists to experiment and venture into unfamiliar areas. Curated by
Rory Padeken.
This exhibition was made possible by generous support from Bank of America, Applied
Materials Foundation, Myra Reinhard Family Foundation, Melanie and Peter Cross,
Theres and Dennis Rohan, and in-kind support from David Zwirner, New York/London.
José Clemente Orozco
Study of extended right arm with clutched hand, 1932
(study for the mural Ancient Human Sacrifice)
Charcoal on paper
17 ¾ x 13 7/8 inches
Michael Wornick Collection
José Clemente Orozco: Figure Studies
March 13 through August 23, 2015
One of the esteemed Los Tres Grandes Mexican muralists, José Clemente Orozco (1881 – 1949)
is best known for monumental fresco cycles that present dramatic, epic narratives. Yet
throughout his life, Orozco was also an avid draftsman who had a masterful understanding of the
musculature and the inherent expressiveness of the human body. This exhibition
included twenty-three figure studies generously loaned by the Michael Wornick
Collection. Many of them had never been exhibited before.
These sensitive works on paper reveal the intimate side of Orozco’s artistic vision and his
creative process. A more solitary man that his gregarious contemporaries David Rivera and
David Alfaro Siqueirso, Orozco depicted the struggles of humankind in the face of political
conflict. His figures become mythic, Herculean, objects of great empathy. The drawings featured
24
in this exhibition are predominantly preliminary studies for his legendary murals. Many were
done directly from the model: they convey the powerful immediacy of the artist’s hand. Viewers
will see Orozco working out theatrical gestures, dramatic foreshortening, and compositions for
his murals: a boldly raised arm, a clenched fist, peasant hands clasped in prayer, the fierce head
of the god Quetzalcoatl. No matter how grand the scale or the complexity of his allegorical
murals, Orozco gave form to his content mainly through his figures, seen here at the moment of
genesis for the artist.
José Clemente Orozco: Figure Studies includes studies for five of the artist’s well-known
murals: the cycle of 1926-27 at Escuela Nacional Preparatoria, Mexico City; Prometheus (1930)
at Pomona College, Claremont, California; The Epic of American Civilization (1932-34) at
Dartmouth College, Hanover, New Hampshire; the cycle of 1936 at the Universidad de
Guadalajara, Mexico; and The Man of Fire (1939) at Hospicio Cabañas, Guadalajara, Mexico.
Curated by Susan Krane and Valerie Aquila.
25
26
Loans from the Permanent Collection
Sam Francis
Untitled, 1978
Acrylic on paper
12 ½ x 14 7/8 inches
Gift of David Devine, San Francisco, 1984.29
Sam Francis: Five Decades of Abstract Expressionism from California Collections
January 26 – April 20, 2014, Crocker Art Museum, Sacramento, California
Hung Liu
Resident Alien, 1988
Oil on canvas
60 x 90 inches
Gift of the Lipman Family Foundation, 2005.32
Summoning Ghosts: The Art and Life of Hung Liu, February 25 – May 24, 2015
Palm Springs Art Museum, Palm Springs, California
27
Acquisitions
Milton Avery
Smiling Nude, 1948
Ink on paper
13 ¾ x 16 ¾ inches
Gift of Dixon and
Barbara Farley
2014.09.01
Tom Bolles
Coronation of the
Virgin III, 1997
Acrylic on canvas
64 x 30 inches
Gift of Dixon and
Barbara Farley
2014.09.02
Tom Bolles
Dopey, 2003
Tinted polyester
resin on Plexiglas
20 ¼ x 16 ¼ inches
Gift of Dixon and
Barbara Farley
2014.09.03
Michael Brennan
Fixing a Shadow,
1998
Oil on linen
62 x 40 inches
Gift of Dixon and
Barbara Farley
2014.09.04
28
Michael Brennan
Untitled, 1997
Oil on board
11 ¾ x 17 inches
Gift of Dixon and
Barbara Farley
2014.09.05
Val Britton
The Sea Within,
2014
Graphite, ink, and
collage on paper
72 x 72 inches
Museum purchase
with funds
contributed by
Barbara and
William Hyland
2015.03
Joseph Cornell
Untitled (Derby
Hat), from the
portfolio “Prints for
Phoenix House,”
1972
Heliogravure with
colors
19 ¼ x 14 ¾ inches
Edition 11 of 125
Gift of Dixon and
Barbara Farley
2014.09.06
29
Jay DeFeo
Detail, Snake River
Canyon, 1974
Acrylic on ragboard
10 x 15 inches
Gift of Dixon and
Barbara Farley
2014.09.07
Jay DeFeo
Untitled, from the
series “Shoe Tree,”
1977
Mixed media,
gouache, and ink on
paper
39 ¾ x 30 ¼ inches
Gift of Dixon and
Barbara Farley
2014.09.08
Willem de
Kooning
Minnie Mouse,
1971
Lithograph
29 ½ x 22 ½ inches
Edition 40 of 60
Gift of Dixon and
Barbara Farley
2014.09.09
Willem de
Kooning
Woman II, 1967
Oil on brown paper,
30
mounted on board
24 x 19 inches
Gift of Dixon and
Barbara Farley
2014.09.10
Richard
Diebenkorn
#7 (Two Seated
Women), from the
portfolio “41
Etchings and
Drypoints,” 1964 –
65
Softground etching
8 ¼ x 7 ¾ inches
Edition 16 of 25
Gift of Dixon and
Barbara Farley
2014.09.11
Richard
Diebenkorn
#20 (A Painting in
Artist’s Studio),
from the portfolio
“41 Etchings and
Drypoints,” 1964 –
65
Etching
4 ¾ x 4 ¾ inches
Edition 22 of 25
Gift of Dixon and
Barbara Farley
2014.09.12
Richard
31
Diebenkorn
Seated Woman,
1965
Lithograph
30 x 20 inches
Edition 33 of 100
Gift of Dixon and
Barbara Farley
2014.09.13
Richard
Diebenkorn
Untitled/Landscape,
1963
Wash and conté
crayon on paper
12 ¾ x 17 inches
Gift of Dixon and
Barbara Farley
2014.09.14
Chris Doyle
Apocalypse
Management
(telling about being
one being living),
2009
Single channel
video
Sound design by
Joe Arcidiacono
Edition of 5
Courtesy of the
artist and Catharine
Clark Gallery, San
Francisco
2015.02
32
David Gilhooly
Brunhilde and Her
Sheep Bringing
Cabbages to North
America, 1980
Ceramic with
colored glazes
16 x 16 x 12 inches
Gift of Dixon and
Barbara Farley
2014.09.15
David Gilhooly
Frog Wedding
Cake, 1994
Ceramic with
colored glazes
H. 7 inches
Gift of Dixon and
Barbara Farley
2014.09.16
Red Grooms
Cézanne, from the
portfolio
“Nineteenth
Century Artists,”
1976
Etching
4 x 4 ¾ inches
Edition 23 of 40
Published by
Brooke Alexander
Editions and
Marlborough
Graphics
Gift of Dixon and
Barbara Farley
2014.09.17
33
Philip Guston
Composer’s
Landscape, 1960
Oil on canvas
49 x 47 inches
Gift of Dixon and
Barbara Farley
2014.09.18
Philip Guston
Pile Up, 1981
Lithograph
19 ½ x 29 ½ inches
Edition 13 of 50
Gift of Dixon and
Barbara Farley
2014.09.19
Philip Guston
Untitled, 1950
Ink on brown paper
19 x 23 inches
Gift of Dixon and
Barbara Farley
2014.09.20
Nancy Haynes
Book Series, ca.
1992
Monoprint in black
ink
7 ¾ x 9 inches
Gift of Dixon and
34
Barbara Farley
2014.09.21
Nancy Haynes
Book Series, ca.
1992
Monoprint in black
ink
7 ¾ x 9 inches
Gift of Dixon and
Barbara Farley
2014.09.22
Clay Jensen
Untitled (House),
1986
Steel and paint
8 ½ x 5 x 6 inches
Edition 2 of 5
Gift of Dixon and
Barbara Farley
2014.09.23
Alex Katz
Untitled (Yellow
Irises), 1968
Oil on board
mounted on panel
12 5/8 x 9 inches
Gift of Dixon and
Barbara Farley
2014.09.24
35
Michael Kennedy
Green Fuse, 1973
Oil on canvas
72 x 69 ½ inches
Gift of Dixon and
Barbara Farley
2014.09.25
Mary King
And That Too (On
the Other Side of
the Clouds the Sun
is Shining April
Fool), ca. 1985
Bronze
H. 85 inches
Unique
Gift of Dixon and
Barbara Farley
2014.09.26
Patsy Krebs
Linked Series, 1991
Acrylic on canvas
over board
30 x 26 inches
Gift of Dixon and
Barbara Farley
2014.09.27
Timothy Litzmann
Gnomon, 1996
Oil on aluminum
10 x 10 inches
Gift of Dixon and
Barbara Farley
2014.09.28
36
Frank Lobdell
Kelso No. 12,
1.15.87, 1987
Etching
Image: 10 x 12 ¾
inches
Sheet: 18 ¾ x 22 ½
inches
Edition 14 of 35
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.01
Frank Lobdell
Kelso No. 27, 8.4.89,
1989
Etching
Image: 15 x 11 7/8
inches
Sheet: 30 x 22 ½
inches
Edition 29 of 38
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.02
Frank Lobdell
Kelso No. 49, 5.1.92,
1992
Color etching
Image: 17 15/16 x 14
inches
Sheet: 30 x 22 ½
inches
Edition 43 of 50
37
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.03
Frank Lobdell
Kelso No. 50, 8.7.92,
1992
Color etching
Image: 9 7/8 x 12 5/8
inches
Sheet: 19 ¾ x 26
inches
Edition 35 of 60
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.04
Frank Lobdell
Kelso No. 52, 5.21.93
(State I), 1993
Etching
Image: 6 3/8 x 8 7/8
inches
Sheet: 11 ½ x 12 ½
inches
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.06
Frank Lobdell
Kelso No. 52, 5.21.93
(State II), 1993
Etching
Image: 6 3/8 x 8 7/8
38
inches
Sheet: 11 ½ x 12 ½
inches
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.07
Frank Lobdell
Kelso No. 52, 5.21.93
(State III), 1993
Etching
Image: 6 3/8 x 8 7/8
inches
Sheet: 11 ½ x 12 ½
inches
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.08
Frank Lobdell
Kelso No. 52,
5.21.93, 1993
Etching
Image: 6 3/8 x 8 7/8
inches
Sheet: 11 ½ x 12 ½
inches
Edition 13 of 20
Gift of The Frank
Lobdell Trust,
Portola Valley,
California
2015.01.05
39
Richard Lodwig
Max Planck Said
#7, 1995
Oil on paper
mounted on canvas
Two parts,
each 36 x 20 inches
Gift of Dixon and
Barbara Farley
2014.09.29.a-b
Liza Lou
Sock, ca. 1994 – 95
Beads and papiermâché
13 x 5 x 1 ½ inches
Gift of Katie and
Drew Gibson
2014.08.01
Liza Lou
Sock, ca. 1994 – 95
Beads and papiermâché
13 x 5 x 1 ½ inches
Gift of Katie and
Drew Gibson
2014.08.02
Henry Moore
#3, from the series
“Elephant Head,”
1969
Etching
19 ¾ x 14 ½ inches
Gift of Dixon and
Barbara Farley
40
2014.09.31
Henry Moore
#15, from the series
“Elephant Head,”
1969
Etching
19 ¾ x 14 ½ inches
Gift of Dixon and
Barbara Farley
2014.09.32
Henry Moore
#21, from the series
“Elephant Head,”
1969
Etching
19 ¾ x 14 ½ inches
Gift of Dixon and
Barbara Farley
2014.09.33
Annu
Palakunnathu
Matthew
Anirudh, from the
series "The Virtual
Immigrant," 2006
Lenticular
photograph with
sound
30 x 48 inches
Gift of Peggy and
Yogen Dalal
2014.12
41
John M. Miller
Untitled #110, 1992
Magna paint on
unprimed canvas
mounted on board
38 ¾ x 57 ¾ inches
Gift of Dixon and
Barbara Farley
2014.09.30
Claes Oldenburg
The Letter Q as
Beach House, with
Sailboat, 1972
Lithograph
39 x 29 5/8 inches
Edition 23 of 100
Published by
Gemini G.E.L.
Gift of Dixon and
Barbara Farley
2014.09.34
Claes Oldenburg
Proposal for a
Cathedral in the
Form of a Sink
Faucet for Lake
Union, Seattle,
Washington, 1972
Offset lithograph
32 ¼ x 24 ¾ inches
Edition 40 of 300
Published by the
Contemporary Art
Council, Seattle Art
Museum
Gift of Dixon and
42
Barbara Farley
2014.09.35
Claes Oldenburg
Study for Sculpture
in the Form of an
Inverted Q: Above
and Below Ground,
1975
Lithograph, etching,
and aquatint
13 ¾ x 11 inches
Edition 43 of 100
Published by
Petersburg Press,
New York and
London
Gift of Dixon and
Barbara Farley
2014.09.36
Nathan Oliveira
Western Site III,
1978
Mixed media on
paper
44 x 71 ¼ inches
Gift of Susan and
Bruce Worster
2014.10
Gay Outlaw
Chalk Hill, Rough,
1997
Chalk and glue
8 ¼ x 13 inches
43
Gift of Dixon and
Barbara Farley
2014.09.37
Gay Outlaw
Pencil Ball, 1995
Lead pencils and
glue
3¾x3¾x3¾
inches
Gift of Dixon and
Barbara Farley
2014.09.38
Richard Serra
Bessie Smith, 1999
Etching
44 x 36 inches
Edition 8 of 35
Gift of Dixon and
Barbara Farley
2014.09.39
Richard Shaw
Cake with Origami
Ship, 2003
Porcelain with
decal overglaze
4 ½ x 9 x 8 inches
Gift of Dixon and
Barbara Farley
2014.09.40
44
Alyson Shotz
False Branches #2,
2001
Gelatin silver print
21 x 40 inches
Edition 3 of 6
Gift of Jed Archer
Cohen
2014.11
James Siena
After Proton Saga,
1999
Pencil on paper
10 ¾ x 8 ¼ inches
Gift of Dixon and
Barbara Farley
2014.09.41
David Simpson
Green Tint/Violet,
1991
Acrylic on canvas
12 x 12 inches
Gift of Dixon and
Barbara Farley
2014.09.42
David Simpson
Red Violet Blue,
1996
Oil on canvas
mounted on wood
36 ¼ x 27 inches
Gift of Dixon and
Barbara Farley
2014.09.43
45
Peter Wegner
1339 The Blues,
1998
Mixed media on
panel
Two parts,
each 14 x 17 inches
Gift of Dixon and
Barbara Farley
2014.09.44a-b
46
Deaccessioned Works
Robert Arneson
Broken Brick, 1975
Lithograph
14 × 14 inches
Gift of Jim Huelskamp
2008.35.01
Edition info: L.P./I.M.P.
Robert Arneson
Moby Brick, 1975
Lithograph
14 × 14 inches
Gift of Jim Huelskamp
2008.35.02
Edition info: P.P.
Bruce Conner
Untitled, 1970
Lithograph
10 7/8 × 7 1/8 inches
Edition 79 of 90
Gift of Jim Huelskamp
2008.35.04
47
David Gilhooly
Frog’s Brave New World, 1980
Ceramic
17 × 9 × 9 inches
Gift of Jim Huelskamp
2008.35.11
David Middlebrook
Black Water, 1984 – 85
Marble and granite
228 × 96 × 72 inches
Gift of Farley and Edna Young
1995.21
Gladys Nilsson
Untitled, 1995
Watercolor and collage
8 ½ × 6 inches
Gift of Jim Huelskamp
2008.35.03
48
Emmy Lou Packard
Man Carrying Heavy Plank, Turkey, 1954
Pen and ink
11 × 8 ½ inches
Gift of Jim Huelskamp
2008.35.05
Emmy Lou Packard
Worker Series, 1954
Pencil
11 × 8 ½ inches
Gift of Jim Huelskamp
2008.35.06
Emmy Lou Packard
Frida, 1946
Photograph
7 ½ × 7 ½ inches
Gift of Jim Huelskamp
2008.35.07
Edition info: A/P
Emmy Lou Packard
Diego with Monkey, 1946
Photograph
13 × 8 inches
Gift of Jim Huelskamp
2008.35.08
Edition info: 8/20
49
Roland Petersen
Fish Hatchery, 1976
Print, Color Slate #4
26 × 24 inches
Edition 3 of 7
Gift of Jim Huelskamp
2008.35.10
Sam Tchakalian
Bolles Gallery, ca. 1962
Mixed media on paper
24 × 18 inches
Gift of Jim Huelskamp
2008.35.09
50
Art campers enjoying José Clemente Orozco: Figure Studies
51
Museum Experience and Education Programs
In the 2014 – 2015 fiscal year, the Museum Experience and Education department served
approximately 60,000 people through its education and public program initiatives. The San Jose
Museum of Art’s education and public programs encourage audiences to access personal
creativity and proceed from the belief that innovation is a skill that can be inspired, nurtured, and
developed through learning about the arts. Programs such as lectures, gallery tours, art-making
workshops for adults and children, and free community days promote lifelong learning. SJMA
also provides ongoing arts education for school children and their educators, university students
and faculty, and community groups. Programs are intellectually rigorous, boldly open-minded,
and accessible to the diverse constituents of the Bay Area. Hallmarks of SJMA’s welcoming
environment are its participatory gallery activities, which are conceived in tandem with the
curatorial and marketing departments to encourage deeper engagement with the exhibitions and
to promote a sense of creative play.
Highlights
• School programs served more than 44,000 students through museum visits for K-12
students and college groups, in addition to in-school artists’ residencies, docent
presentations, and week-long art camps.
• More than 16,000 visitors actively participated in nearly eighty public programs.
• The Sowing Creativity program added Youth Science Institute (YSI) as a science partner
and celebrated the end of the academic year with a culminating event, Full STEAM
Ahead.
• The Community Day program launched Maker Day, which celebrated the maker
movement and the entrepreneurial spirit of the Bay Area.
• The popular Art Pack was redesigned with all-new activities.
• The Museum Experience Representative (MER) program celebrated ten years of service
and garnered community support by procuring $24,590 in membership sales.
• SJMA co-hosted the Marion Cilker Conference for Arts in Education, an arts-integration
professional development conference that served 135 Santa Clara County teachers.
School Programs
As the largest provider of arts education in Santa Clara County, SJMA fills a critical gap. School
programs help students develop innovation skills through activities that foster critical thinking,
creative expression, communication, and collaboration. Programs include free, Let’s Look at Art
docent presentations in the classroom, participatory Museum field trips, and teaching artists’
residencies that inspire school and community partnerships. All programs are linked to state
curricular standards and provide essential, early exposure to the visual arts.
Let’s Look at Art
Let’s Look at Art, SJMA’s volunteer in-school docent program, offers lessons in art history and
visual thinking at no cost to teachers and students in Santa Clara County. The Let’s Look at Art
program introduces K-12 students to the importance—as well as the excitement—of learning
52
about the visual arts. Presentations stimulate curiosity, cultivate visual cognition and
comprehension, and encourage self-expression. All students receive a pass redeemable for free
Museum admission for their family. The family pass provided Museum access to 5,717 students
and family members. During the 2014 – 2015 academic year, Let’s Look at Art volunteers drove
11,769 miles to visit 1,139 classrooms and reached 30,461 students.
In January 2015, SJMA conducted a seven-week training program and graduated ten new Let’s
Look at Art docents. Session topics included inquiry-based learning strategies, elements of art,
principles of design, visual literacy skills, and classroom engagement and management
strategies.
My class and I really enjoyed Mrs. B's LLaA presentation. She was very knowledgeable
about the art elements, organized in her teaching approach, and handled my class with
expert strategies. We also loved the book she brought to read to us, ‘Duck Rabbit.’ Thank
you Mrs. B!
——Hazel Talucod, first-grade teacher, Joseph Weller
Elementary
K-12 School Tours
During students’ guided visits to the Museum, SJMA’s gallery teachers engage classes in active
discussions about artworks. They use specific strategies to develop the students’ abilities to
analyze an artwork, articulate their ideas, and back up ideas with evidence. These highly
participatory gallery programs may also include games, storytelling, museum-movement
techniques, writing exercises, and short, hands-on activities. Gallery programs are tailored for
various grade levels and based on the California Visual Arts Framework and the California State
Board of Education’s Content Standards in order to provide connections between the skills
students learn in school and their experiences at the Museum. During the 2014 – 2015 academic
year, 7,782 K-12 students participated in SJMA’s school tours.
My kids raved about looking at the art and were engaged more than I thought for their
age and knowledge level. I attribute this to open-ended questioning and the docent’s
ability to leave the interpretation up to the audience.
——Iniray Luper, second/third-grade teacher, Mount
Pleasant Elementary
53
School tour of Beta Space: Diana Thater
Two-Part Art
Two-Part Art is SJMA’s premier field-trip program. It encourages children to experience art as
both viewers and makers. After a guided Museum visit, students exercise their imaginations and
creativity in an hour-long, hands-on art workshop. All projects are inspired by the exhibitions on
view and include discussions about the choices artists make. In the 2014 – 2015 academic year,
4,635 students participated in Two-Part Art, more than double the prior year’s participation.
Experience a Two-Part Art virtually by watching this short video generously produced by
KMVT, Adelante School's Visit to San Jose Museum of Art.
Sowing Creativity
Sowing Creativity is a ten-week integrated visual arts residency program developed by the San
Jose Museum of Art to address the new California Common Core State Standards and to meet
the urgent need to promote creativity across disciplines. The premise behind the program is that
well-honed visual thinking abilities contribute powerfully to the teaching and learning of specific
cross-disciplinary concepts—particularly for low-income students. Of the 1,528 students who
participated in the program, 93% were from a Title One school.
The program’s second year was marked most notably by an enrichment of the integrated
curriculum. The theme of the 2014 – 2015 school year, “Art + Science = Wonder,” was informed
by the newly implemented Next Generation Science Standards and focused on the shared
processes, content, and tools of the two overlapping disciplines. To help strengthen the quality of
Sowing Creativity’s integrated curriculum, SJMA developed a new community partnership with
Youth Science Institute (YSI). YSI instructors provided Sowing Creativity students with a
dedicated science lesson that sequentially aligned with the curriculum of their teaching artist
from SJMA. The collaboration helped to advance the shared educational goals of both nonprofit
organizations.
The Museum’s accessibility was also a key goal of Sowing Creativity. At the end of the school
year, the Museum hosted Full STEAM Ahead, a program capstone event for students, families,
54
teachers, and administrators. The celebratory evening included free admission, open galleries, an
exhibition of student work, hands-on STEAM activities for families, an educators’ lounge, and a
tour of current exhibitions. Free family passes to SJMA were also given to students participating
in the program.
My students were able to experience a self-awareness that can't be taught in the
classroom. Sowing Creativity gave them the opportunity to explore art outside of the box.
I think now and in the future, the students will believe and know we are all artists in our
own way.
——Lori Murphy, second/third-grade teacher, Mount
Pleasant STEAM Academy
My class is 100% English Language Learners, so Sowing Creativity fit in great with their
English Language Development. Students had a chance to speak, share, and work in
small groups. They had a chance to interact and talk about their learning.
——Jesus Radillo, third-grade teacher, Lowell Elementary
Our [teaching artist] was incredible! He was very easygoing, but knowledgeable. He was
kind, humorous, and patient. He had great classroom management. It was a wonderful
experience for our students.
——Martha Salazar, third-grade teacher, Grant Elementary
I have been amazed with the science that has been discovered through this art program.
My students have loved becoming ‘real’ artists. Their scientific drawings in the lab have
gotten more detailed and descriptive. I hope more school systems see the value of art as
both an expression of creativity as well as a field of learning.
——Iniray Luper, second/third-grade teacher, Mount
Pleasant STEAM Academy
Sowing Creativity students
55
Multi-Part Art
The Multi-Part Art program sends SJMA’s experienced teaching artists into local classrooms to
teach six- to ten-week residencies, customizable to the curricular needs of individual schools. A
thoughtfully sequenced series of hands-on art-making lessons expose students to a variety of art
media and focus on promoting skills in creativity and critical thinking. A guided visit to the
Museum is included in the program and enhances the classroom activities by giving students the
opportunity to interact with contemporary art. During the 2014 – 2015 academic year, 1,563
students received 9,062 unique art experiences through the Multi-Part Art program.
Public Programs
A primary goal of SJMA’s strategic plan is to provide new paths for public access and
engagement with the arts for communities across San Jose, the South Bay, and the Peninsula. To
this end, the Museum Experience and Education department offered nearly eighty public
programs in the past fiscal year. Activities highlight diversity, cross-disciplinarity, and the
creative process. Central to SJMA’s approach is a belief in collaboration with other arts and
cultural organizations in the region, as well as in leveraging the knowledge and expertise of local
colleges and universities. Programs serve a variety of audiences: multigenerational families,
teens, young cosmopolitans, creative adults, scholars, lifelong learners, and artists.
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Public Tours
SJMA’s volunteer docents do much more than convey information about a particular exhibition.
As they walk with visitors through the galleries, docents prompt lively, participatory discussions
and foster an open exchange of opinions and ideas. SJMA’s docents engage visitors’ imagination
and encourage new ways of seeing and thinking about art. In fiscal year 2014 – 2015, docents
conducted 457 tours for 7,591 visitors and volunteered 5,439 hours of their time.
I liked the Docent’s style and interaction of the group. She allowed us to formulate our
own impressions then compared them against the artist intention.
——Mike and Bonnie Pine, Museum visitors and tour participants
Docent touring of Momentum: an experiment in the unexpected
Museum Experience Representative (MER)
SJMA’s MER program nurtures the professional development of the community’s future
creatives: budding artists, art professionals, administrators, and supporters. MERs welcome
visitors, provide information, and encourage visitors to engage with the art. MERs help SJMA
advance its commitment to accessibility and a warm, inviting atmosphere.
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I really enjoyed the friendliness of the staff in the field. I enjoyed the challenge of the
Momentum exhibition; I didn't understand it until a few hours later, socializing with the
staff.
——Samantha Bark, Museum visitor
I would like to stay the night in the museum, and enjoy walking around in the galleries
before bed. I had a really great time, the staff was so kind to offer me stools and papers
and pencils for my own convenience.
——Timothy Adams, Museum visitor
Instantly felt welcome upon being greeted at the front desk by staff who answered all of
my questions with a smile. I'm not that enthused by art and dreaded coming in, but the
simple hospitality changed my mind. Art is now another outlet I’ll consider for further
insight on the human mind.
——Andre Matan, Museum visitor
Community Days
SJMA’s free Community Days celebrate the cultural diversity of Silicon Valley and serve the
Museum’s multigenerational family audience. Integrated throughout the program are live
performances and cultural demonstrations by community dance troupes, storytellers, musicians,
and other dynamic performers that complement hands-on art activities taught by professional
teaching artists. These interactive, family-friendly days reach a broad cross-section of San Jose’s
population. Community Days on November 1, 2014; February 7, 2015; and June 6, 2015,
respectively, celebrated El Día de los Muertos (Day of the Dead), Lunar New Year, and Maker
Day, and served a total of 4,662 visitors.
I love the community days in SJMA! This day brings people in our community together to
admire art for children to enjoy. Please continue your community days!
——Tivonne Ha, Maker Day visitor
We love the museum! The kid activities and the exhibits here! We appreciate the
Community Days a lot, it is great to spend the day here with my family. The kids soaked
up the activities and the exhibitions.
——Maya Bisineu, Maker Day visitor
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Lunar New Year Community Day, February 7, 2015
Día de los Muertos Community Day, November 1, 2014
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Art Camps
Art Camps offer a safe, fun, and enriching adventure for children ages six to fourteen. Campers
grow creatively and strengthen their artistic capabilities while developing social and intellectual
skills. Camps culminate in public exhibitions of the campers’ artwork, which drew 585 visitors
including the young artists’ friends and family members. “Food for Thought,” our spring camp,
focused on the exhibition Around the Table: food, creativity, community, while summer campers
focused on Initial Public Offering: New Works from SJMA’s Permanent Collection. In the
2014 – 2015 academic year, we saw 100% enrollment with 205 participants.
Art Camps participants
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Creative Minds
Access to those innovative talents who actively generate new works is a unique bonus that a
contemporary art museum can offer. By bridging the gap between artists and viewers, the
Museum increases awareness of the artistic process (a signature goal in the Museum’s strategic
plan). SJMA’s Creative Minds series offers public encounters with artists and the chance to
experience creativity in action. Programs include insightful commentary and personal context
from the artists’ inner circle of family, friends, and colleagues.
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John Chiara, August 21, 2014: 66 participants
Pushpamala N., April 2, 2015: 32 participants
Sixth Annual Poetry Invitational with David Perez, poet laureate, Santa Clara County,
April 16, 2015: 52 participants
(http://sanjosemuseumofart.tumblr.com/)
Diana Thater, April 23, 2015: 39 participants
(https://www.youtube.com/watch?v=GS7h1uGbhY&list=PLGa4_DibEA_0yKcRNGrc4Qx3E-mAw5yQz)
Sixth- Annual Poetry Invitational, April 16, 2015
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Creative Minds: Diana Thater, April 23, 2015
DIY Art
SJMA embraces the popular “do-it-yourself” culture with programs that encourage discovery
and encourage participants to use everyday materials in innovative ways. Inspiring hands-on
activities spark individual creativity and allow participants to walk away with their own original
piece of art. During the 2014 DIY Art: Summer Sundays program, SJMA invited guest experts to
lead engaging, in-gallery talks and integrated these art-making experiences with current
exhibitions. The Museum also partnered with local artist and author Rachelle Doorley for an
interactive program that included a book signing, hands-on activities in the galleries, and a
sculptural project for the whole family. For fiscal year 2014 – 2015, projects included mixedmedia collage, paper quilling, mobile-making, and abstract chalk painting in conjunction with
gallery talks led by local artist Jason Adkins and by Jordana Moore Saggese, visual and diversity
studies professor at California College of the Arts.
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Summer Sundays: Pop Art, July 20, 2014: 34 participants, plus 12 gallery talk
participants
Happy Birthday Andy Warhol, August 6, 2014: 46 participants
Summer Sundays: Abstract Expressionism, August 17, 2014: 38 participants, plus 21
gallery talk participants
Nurturing Creative Kids, October 5, 2014: 82 participants
Festive Family Fun, November 29, 2014: 42 participants
Festive Family Fun, December 6, 2014: 35 participants
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Happy Birthday Andy Warhol, August 6, 2014
Nurturing Creative Kids, October 5, 2014
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Art 101
Inspired by the artistic process and interactive learning, SJMA offers ART 101, a series of
diverse workshops that present instructional art-making experiences facilitated by teaching artists
and local experts. These three-hour, studio “crash-courses” expose adult participants to new
materials and techniques used by artists in the Museum’s permanent collection. This fiscal year,
the ART 101 series grew immensely to offer evening workshops, accompanying musical
performances, and more varied media. Four of six ART 101 programs sold out prior to the
program date, and three workshops were expanded to accommodate five additional participants
per program, serving a total of 142 people.
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Booze and Brushes, September 18, 2014
Portrait Drawing, September 28, 2014
Mobile-Making, November 16, 2014
Street Photography, January 25, 2015
Booze and Brushes, March 19, 2015
Origami, May 3, 2015
Curator-led Gallery Talks
Visitors often ask about the creative process behind the Museum’s exhibitions. SJMA connects
the public to its behind-the-scenes team to address these burning questions. For each exhibition,
the curator gives a public tour in the gallery and discusses the major themes, shares interesting
anecdotes about the artwork and artists, and answers visitors’ questions. Assistant Curator Rory
Padeken, Oshman Executive Director Susan Krane, collector Michael Wornick, and Special
Projects Coordinator Robin Treen shared their insights on the following exhibitions:
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Momentum: an experiment in the unexpected with Robin Treen, November 13, 2014: 21
participants
José Clemente Orozco: Figure Studies with Susan Krane and Michael Wornick, April 30,
2015: 26 participants
Beta Space: Diana Thater with Rory Padeken, May 28, 2015: 22 participants
Lunchtime Lectures
The Museum’s series of lunchtime programs on the first Wednesday of the month from
September through May (with a summer break for art camp) has received compliments from San
Jose’s downtown workforce and from loyal museum members as a “hidden gem.” The series
strives to illuminate and grapple with contemporary art issues through cross-disciplinary
perspectives offered by experts and educators.
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“Misadventures in Art and Nanoscience,” Kate Nichols, September 3, 2014: 53
participants
“Robert Henri’s California,” Derrick Cartwright, October 1, 2014: 78 participants
“Post Portrait, Post Identity, Post Photography,” Viêt Lê, November 5, 2014: 56
participants
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“Have You Heard Of…,” Jennifer Brandon and Beth Dungan, December 3, 2014: 45
participants
“The Future is Urban,” Leah Toeniskoetter, January 7, 2015: 87 participants
“Birds to Bridges: Accessing Creativity,” Matthew Jervis, February 4, 2015: 52
participants
“Camera India: Excerpts from a Global History of Photography,” Atreyee Gupta, March
4, 2015: 53 participants
“Fooling the Art World: Originals, Copies, and Fakes,” Stephanie Brown, April 1, 2015:
71 participants
“We Are Stardust,” Puragra (Raja) Guha Thakurta, May 5, 2015: 54 participants
I feel privileged to happen upon this lecture during my museum visit and thank
coordinators for making it available to all. Very eye-opening to the extent that
discrimination still prevails in our ‘modern’ society. Thank you!
——D. Elm, “Post Portrait, Post Identity, Post Photography”
participant
The content and topic of discussion was pretty informative. The speaker covered so many
topics of materials and composition of our galaxy. Very well versed and witty at the same
time. Made the session lively!! Thank you. Very much enjoyed his topic.
——E. Canal, “We Are Stardust” participant
Third Thursdays and ArtRage
With the general aim to engage and delight diverse audiences from first-time visitor to regular
supporter, the Museum presents extended evening hours on the third Thursday of each month.
These varied evenings range from casual, social-networking fun to informative, thoughtprovoking presentations. Three times over the course of the year, the Museum presented ArtRage
with live music, a photo-booth and photo-sharing opportunities, hands-on DIY activities, and
exhibition-themed cocktails. In fiscal year 2014 – 2015, Our diverse Third Thursday programs
served 1,390 participants.
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ArtRage: Legacy, July 17, 2014
Creative Minds, August 21, 2014
ART 101: Booze and Brushes, September 18, 2014
Zombie-O-Rama 2014, October 16, 2014
ArtRage: Momentum: an experiment in the unexpected, November 20, 2014
Holiday Music, December 18, 2014
SJMADE Music Pop-In @ SJMA, January 15, 2015
ArtRage: Momentum: an experiment in the unexpected closing party, February 19, 2015
ART 101: Booze and Brushes, March 19, 2015
Sixth-Annual Poetry Invitational, April 16, 2015
Full STEAM Ahead, May 21, 2015
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Eye on India, June 18, 2015
Community Collaborations
SJMA initiates meaningful collaborations with area nonprofit groups and arts and cultural
organizations to highlight the many connections between art and other disciplines. Recent
community partners include:
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23 Skidoo
Ballet San Jose
Cado dos Santos
City of San José Office of Cultural Affairs
Celista
Center for Asian American Media (CAAM)
The Commons
Connie Lurie College of Education at San José State University
ContainHer
Emma Prusch Farm Park Foundation
EnActe Arts
EnArte Arts YEP
Eye on India
Freya Seeburger
Grace-Anne Powers and Austin Moholt-Siebert
Indian Raga
Isaiah Pekary
Jackie Gage
Los Lupeños de San Jose
Mariachi San Jose
“Mighty” Mike McGee
Nalli Silks
Notre Dame High School
PechaKucha San Jose
Poetry Center San Jose
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Rachelle Doorley, TinkerLab
Rising Phoenix Lion Dance Association
San Francisco Planning and Urban Research Association (SPUR)
San Jose Downtown Association
San Jose Jazz
San Jose Jazz ensemble the High-School All-Stars
San Jose Made (SJMADE)
San Jose Multicultural Artists Guild
San Jose Museum of Quilts and Textiles
San Jose State University
Santa Clara County Office of Education
The School of Arts and Culture at the Mexican Heritage Plaza
Shamina
Silicon Valley Chapter of the American Harp Society
Stanford University
Swingtime
The Tech Museum of Innovation
Thingamajigs
Trace Elementary Choir
University of California, Berkeley
Visual Thinking Strategies
Youth Ensemble Success (YES)
Youth Science Institute
Zombie-o-rama and SLG Publishing’s Art Boutiki & Gallery
Gallery Activities
SJMA’s education, curatorial, marketing, and installation teams work together to present
innovative interpretive areas in the galleries. Linked in concept or technique to the works on
view, these activities encourage visitors to spend time in the galleries and to consider the ideas at
hand.
Art Packs: See What You Think
SJMA’s well-loved Art Packs were completely redesigned and updated this year. Inspired by the
tag line “See What You Think,” each pack contains sketching exercises, writing prompts,
activities for thoughtful looking, and art supplies. Available for all visitors to borrow during their
visit, Art Packs are a popular way to connect with the art and with each other.
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Examples of Art Pack materials
Momentum: an experiment in the unexpected
Visitors were invited to “talk back” to the exhibition through unexpected, open-ended, and selfcurated modes of participation. Based on the premise that meaning is not fixed, the project
created a concentric feedback to add to our collective interest in and understanding of works in
the permanent collection and of the Museum itself as well.
SJMA provided the following items for “self-curated modes of participation.”
• Meditation cushions
• Poetry-writing activity
• Dance floor
Our 6-Year old loved the museum. It was great to be invited to sit, draw, and even dance. The
Koret Gallery was particularly good for her—the targeting was right on!
——Anonymous, parent and Momentum visitor
Robert Henri’s California: Realism, Region and Race, 1914 – 25
DVD – Robert Henri and the Art Spirit, Light Struck Press, LLC
José Clemente Orozco: Figure Studies
Man of Fire video
Micro-website: http://sjmusart.org/orozco/instituto-cultural-cabanas
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Came to see the Orozco exhibit. I really enjoyed it, and liked the table with the reading
material as well as the program ‘man of fire’ as it helped give the exhibition more depth
and a greater understanding of the artist his work and its history.
——David Collins, Museum visitor
Postdate: Photography and Inherited History in India
1947 Partition Archive videos:
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Ravi Chopra
Witness Voice: Untold stories of South Asia's Partition
Abdul Jabbar
Mrs. Radhika Kishin Chehnani
City Limits, City Life
The future of the city
In cities worldwide, there are now 3.88 billion people. The proportion of urban residents globally
increased from 47% in 2000 to 54% in 2014, approximately one billion more people.
Urbanization produces both desirable and adverse outcomes. Cities offer economic opportunities,
access to health and social services, and increased educational resources. However, many cities
have generated large inequalities: 863 million urban residents live in slum conditions.
San Jose is the tenth largest city in the United States; in 2014, its population passed the one
million mark. The last hundred years have seen rapid shifts from agriculture to industrialization,
waves of immigration, suburban sprawl, and urban renewal.
What are the priorities for San Jose now? What are the solutions we need to implement to tackle
twenty-first-century challenges? How can we transform San Jose into the city of our dreams?
Yes!!! I loved my experience here. This is my second time coming to the museum…Very
welcoming and helpful staff. I appreciate that it is accessible to students, like myself. I
specially appreciate the ‘City Limits, City Life’ Exhibit as I myself am studying Urban
Planning/Community Development. Thank you for creating the space for artistic
expression and dialogue on these issues!
——Cecilia Ang, Museum visitor
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Museum visitors “tagged” a chain-link fence as part of City Limits, City Life
Maker Space
The act of making (whether it be artistic or scientific) with the goal of producing a more
beautiful and better world is part of the human impulse. Makers demonstrate an “I can do it”
attitude. They use materials in new ways, upcycle discarded objects, challenge familiar ways of
doing things and invent new ones. Sometimes creativity, a force inherent in all of us, just needs a
little inspiration. In this spirit, the Koret Family Gallery showcased artworks made of new
materials in new ways and invited visitors to take a Maker challenge and rekindle their creative
spark. This exhibition included works from SJMA’s permanent collection by Clayton Bailey,
Ray Beldner, Ruth Bernhard, Vik Muniz, and Gay Outlaw.
Clean, fresh, inspiring, interactive beautiful museum. Kids (12 of them) loved it as well.
Loved the do-it yourself corners .
——Nathalie, Museum visitor
I had a really awesome experience! I enjoyed the Maker Space.
——Jenn Figueroa, Museum visitor
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Maker Space in the Koret Family Gallery
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Development Report
Corporate, Foundation, and Government
Exhibitions and programs at the San Jose Museum of Art reflect the character of Silicon Valley:
they promote cultural diversity, global perspectives, transformative creative thinking, new ideas,
and a belief in the social power of innovation. This work is made possible, in part, by
corporations, foundations, and government agencies that provide invaluable support for our
work, from early-stage curatorial research to plans for our dynamic roster of community-wide
public programming, from essential operating support to the vital education services that make
SJMA the largest provider of in-school arts education in Santa Clara County.
We extend special thanks to the City of San José and the David and Lucile Packard Foundation
for their operating support and to the Richard A. Karp Charitable Foundation, the Walter and
Karla Goldschmidt Foundation, the Myra Reinhard Family Foundation, and The John S. and
James L. Knight Foundation for their investment in programs.
We wish to express our appreciation for the significant friendships with the Bank of America,
Applied Materials, SanDisk Corporation, and Xilinx Community Fund. We extend special thanks
to the companies that have increased support or initiated relationships with the San Jose Museum
of Art this past year: Adobe Systems, SanDisk Corporation, Latham & Watkins LLP, Morrison
& Foerster Foundation, UBS Financial Services Inc., Umpqua Bank, and US Trust.
We thank our leading donors for their support in fiscal year 2014 – 2015:
$250,000 and above
City of San José
$100,000 – 249,000
The David and Lucile Packard Foundation
$50,000 – $99,999
The John S. and James L. Knight Foundation
Walter and Karla Goldschmidt Foundation
Richard A. Karp Charitable Foundation
Applied Materials
Bank of America
$24,000 – $49,000
Leo M. Shortino Family Foundation
The National Endowment for the Arts
SanDisk Corporation
Myra Reinhard Family Foundation
$10,000 – $24,999
Adobe Systems, Inc.
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Bank of America Museums on Us
Christie’s
KPMG LLP
McManis Faulkner
Samsung Electronics
Wells Fargo Foundation
Xilinx Community Fund
$5,000 – $9,999
Cisco Systems, Inc.
City National
Crowd Poll by Cloud Parity
Focus Business Bank, now Heritage Bank of Commerce
House Family Foundation
Latham & Watkins LLP
Morrison & Foerster Foundation
Lockheed Martin
Tech CU
Joel Dean Foundation, Inc.
Japan Foundation
Yellow Chair Foundation
$2,500 – $4,999
Hitachi Data Systems
Umpqua Bank
UBS Financial Services Inc.
$1,000 – $2,499
Farrington Historical Foundation
Kieve Foundation
The Hans and Elizabeth Wolf Foundation
US Trust
In-Kind Donations
Adobe Systems, Inc.
Anthony Meier Fine Arts
Chester Arnold
Val Britton
Catharine Clark Gallery
Catered Too!
Chuck Close
Dolby Chadwick Gallery
Gallery Paule Anglim
Gallery Wendi Norris
Hackett | Mill
Hosfelt Gallery
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Hung Liu and Jeff Kelley
Connie Hwang Design
Jitish Kallat
LA Louver Gallery
Magnolia Editions
Danae Mattes
McManis Faulkner
Patricia Sweetow Gallery
Paulson Bott Press
Alan Rath
Clare Rojas
Alison Saar
Samsung Semiconductor, Inc.
Cornelia Schulz
StudioMoon
Vintage Wine Merchants
Whole Foods
Window Solutions
Winfield Gallery
Susan and Bruce Worster
Individual Giving
The San Jose Museum of Art continues to be fortunate in its donors: pioneers from the founding
in 1969; those connected to the Museum for the last twenty-five years; and our more recent
friends. Our trustees, individual exhibition and program sponsors, along with the members of the
Director’s Council and the Council of 100 (C100), help to enhance and build the Museum during
transformative years with extensive creative community collaborations and increased artist
commissions, which exemplify the Museum’s vision for adventurous presentations.
This past year, SJMA’s major donors experienced the work of remarkable artists through private
collections and public on-site environments, which expanded their knowledge of contemporary
art. During their trip to New York, they were introduced to the work of Chris Doyle, which
informed their choice of artwork to be added to the permanent collection at the C100’s annual
ArtPick.
Director’s Council and Council of 100’s Highlights:
On November 14, 2014, our donors visited the exhibition of new installations created specifically
for Alcatraz by the internationally renowned Chinese artist Ai Weiwei. Ai responded to the
island’s layered legacy as a nineteenth-century military fortress, a notorious federal penitentiary,
a site of Native American heritage and protest, and now one of America’s most visited national
parks. Revealing new perspectives on Alcatraz, the exhibition raised questions about freedom of
expression and human rights that resonated far beyond this particular place.
The Council of 100 commenced the new year on January 25, 2015 with a visit to Recology, San
Francisco’s central trash-processing and recycling facility, where artists-in-residence Kara Maria
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and Imin Yeh spoke about their current exhibition. Members also visited the George and
Dorothy Saxe collection of studio glass, which includes works by well-known, international
artists such as Linda Benglis, Mildred Howard, Christopher Wilmarth, and Pablo Picasso. The
council also viewed the private collection of local philanthropists Ruth and Alan Stein, on
Russian Hill in San Francisco. Their holdings include a strong base of Bay Area artists such as
David Park, Joan Brown, and Wayne Thiebaud, and a number of more contemporary artists such
as Ed Ruscha, Vik Muniz, and Christopher Wool, along with emerging artists working in video,
fluorescent light, and glass.
The annual Council of 100 Dinner on February 27, 2015 featured artist Liza Lou, whose talk that
evening was inspiring and thought-provoking. Educated at the San Francisco Art Institute, Lou
stopped painting and began working with cheap beads, relishing their gaudy, low-brow, and
homemade associations, although her inspirations were the decorative embellishments and rich
mosaics she had seen in churches in Florence and Venice.
Lou’s early works Chair with Sports Jacket; Dungarees; Sock; and Sock (all ca. 1994–95), gifts
to SJMA’s permanent collection from Katie and Drew Gibson, were featured in the exhibition
Sleight of Hand from October 2, 2014, to February 22, 2015. Her work speaks volumes to the
unsung traditions of women’s handicrafts and pop culture. After making individual objects, Lou
garnered international attention when her room-size sculpture Kitchen (1991–96) was shown at
the New Museum of Contemporary Art, New York, in 1996. Kitchen took Lou five years to
complete; it would later play a prominent role in SJMA’s exhibition Domestic Odyssey in 2004.
Artist Liza Lou at Council of 100 dinner, February 27, 2015
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The Director’s Council began its national trip with a welcoming cocktail reception hosted by
artist Rina Banerjee and Oshman Executive Director Susan Krane. During May 12 – 17, 2015,
donors experienced exciting works of art in Manhattan, Brooklyn, and beyond. They visited a
private collection in Westchester, New York, whose owners were featured in ArtNews as among
the Top 200 Collectors in the world. They enjoyed a private tour of Christie’s Post-War and
Contemporary Art showrooms followed by a private tea reception in its boardroom and
culminating with a viewing of the Frieze Art Fair.
Trips to Storm King Art Center (one of the world’s leading sculpture parks and just an hour
outside of New York), a VIP tour of the Brooklyn Museum’s exhibitions Jean-Michel Basquiat:
The Unknown Notebooks and Kehinde Wiley: A New Republic, and an exclusive private tour of
the Whitney Museum of American Art’s new Renzo Piano- designed building in the
Meatpacking District thrilled our donors.
Exciting for everyone were the visits to artists’ studios where the group met Vik Muniz, who
composes his ingenious images out of quotidian objects from toys to straight pins; Petah Coyne,
whose fantastical sculptures display her penchant for wild materials, fine craftsmanship, and
theatricality; Rina Banerjee, whose richly metaphorical sculptures are inspired by her
background as a scientist; and Chris Doyle, a New York-based multimedia artist whose work
Apocalypse Management (telling about being one being living) (2009) was on view in SJMA’s
recent exhibition City Limits, City Life.
Finally, current members of the Council of 100 chose the artwork for its annual ArtPick, which
determines its yearly contribution to SJMA’s permanent collection. On May 20, 2015, members
voted for the aforementioned work by Chris Doyle.
Besides the corporate sponsorships, the core revenue for the annual gala, Full Spectrum, comes
from table sponsorships by our individual donors. We deeply appreciate the commitment of this
year’s gala co-chairs Cornelia Pendleton and Claudia Weber; the gala’s major sponsors Yvonne
and Mike Nevens; and our loyal ongoing supporters Melanie and Peter Cross, Anneke and David
Dury, Eileen and Al Fernandes, Sarah Ratchye and Ed Frank, Cheryl and Bruce Kiddoo, Beverly
and Peter Lipman, Dipti and Rakesh Mathur, Ann Marie Mix, Hildy Shandell, Mary Mocas and
Marvin Tseu, Claudia and Sven Weber, and Susan and Bruce Worster. Past and present trustees
on the gala auction committee included Tad Freese, Peter Lipman, Mary Mocas, Rita Norton,
and Carol Parker.
Full Spectrum 2014 attendees, September 13, 2014
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Membership
Members play a significant role in the success of the San Jose Museum of Art. Not only do they
provide vital funds for SJMA’s many dynamic exhibitions and programs, but they also act as
SJMA’s ambassadors within the community. With their enthusiasm, energy, and diversity,
SJMA’s members help the Museum execute its mission to engage wide-ranging audiences and to
celebrate new ideas. Between July 1, 2014, and June 30, 2015, more than 350 new members
joined the SJMA family.
SJMA hosted two opening exhibition receptions and one summer reception for its members this
year. The first, on October 8, 2014, celebrated four exhibitions: Robert Henri’s California
Portraits: Realism, Race and Region, 1914 – 25; Momentum: an experiment in the unexpected;
Sleight of Hand: Painting and Illusion; and Post-Portrait. The opening featured a pop-up poetry
reading by David Perez, poet laureate of Santa Clara County. The exhibitions Postdate:
Photography and Inherited History in India; Beta Space: Diana Thater; and José Clemente
Orozco: Figure Studies were celebrated at the spring opening on March 4, 2015. In June 2015,
members were able to dive deeper into Beta Space: Diana Thater with a curator-led tour and a
gallery talk with Puragra (Raja) Guha Thakurta, professor of astronomy and astrophysics at the
University of California, Santa Cruz at the summer reception. Members enjoyed many other
opportunities to engage with the exhibitions and stayed posted on what’s to come at SJMA
through the monthly e-newsletters and a quarterly print newsletter.
Visitors compare Chris Fraser’s Emmanuelle (2013) with bicycle designer Craig Calfee’s intervention in Momentum
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Attendance and Benchmarks
FY 15
FY 14
FY 13
FY 12
37,453
44,262
37,661
34,065
education programs
50,470
43,134
41,368
39,180
events and activities
13,941
15,741
12,715
11,349
101,864
103,137
91,744
85,564
555,319
192,330
735,655
237,944
706,356
226,833
691,372
214,612
YouTube
Subscribers
Views
1,382
48,713
1,209
67,955
975
105,238
848
224,633
Twitter followers
4,957
3,991
2,914
1,929
Facebook fans/likes
5,856
5,292
4,607
3,473
Attendance
general attendance
Total
Web visits
sanjosemuseumofart.org
page views
unique visitors
Benchmarks
During fiscal year 2014 – 2015 based on SJMA’s audited financials:
• 79% of functional expenses were devoted to programs and services
• 11% of functional expenses were spent on management and administration costs
• 17 cents were spent for each dollar raised
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SAN JOSE MUSEUM OF ART ASSOCIATION
Statement of Financial Position
June 30, 2015
(With Comparative Totals as of June 30, 2014)
Total
Temporarily
Restricted
Unrestricted
Permanently
Restricted
2015
2014
ASSETS
Cash and cash equivalents
Accounts receivable
Contributions receivable
Museum store inventory
Note receivable - related party
Deferred exhibition costs and prepaids
Investments
Property and equipment, net
Beneficial interest in perpetual trust
Total assets
$
968,332
74,449
188,590
81,440
250,000
81,831
15,215
-
$
585,014
5,574
1,892,096
2,186,450
-
$
194,737
7,230,491
930,117
$
1,553,346
80,023
2,275,423
81,440
250,000
81,831
9,416,941
15,215
930,117
$
1,248,608
57,363
2,843,700
76,401
250,000
109,416
9,272,815
20,439
930,117
$
1,659,857
$
4,669,134
$
8,355,345
$
14,684,336
$
14,808,859
$
93,847
141,015
154,690
389,552
$
$
93,847
141,015
154,690
389,552
$
52,684
193,819
101,890
348,393
LIABILITIES AND NET ASSETS
Liabilities
Accounts payable
Accrued liabilities
Unearned revenue
Total liabilities
Net assets
Unrestricted net assets
Temporarily restricted net assets
Permanently restricted net assets
Total net assets
Total liabilities and net assets
1,270,305
1,270,305
$
1,659,857
-
$
4,669,134
4,669,134
$
4,669,134
8,355,345
8,355,345
$
8,355,345
1,270,305
4,669,134
8,355,345
14,294,784
$
14,684,336
943,064
5,274,646
8,242,756
14,460,466
$
14,808,859
80
SAN JOSE MUSEUM OF ART ASSOCIATION
Statement of Activities
For the Year Ended June 30, 2015
(With Comparative Totals for the Year Ended June 30, 2014)
_________________________
2015
Temporarily Permanently
Restricted
Restricted
Unrestricted
Operating support and revenue
Contributions
$ 1,030,041 $ 1,127,919 $
Other in-kind support
385,035
Public programs
353,968
Membership dues
186,183
Museum store
193,162
Event rental income
72,875
Other revenue
31,248
Special event revenue (includes contributions in-kind of
$186,008 in 2015 and $1,392 in 2014)
570,087
Less: direct expenses (includes contributions in-kind
(357,559)
of $186,008 in 2015 and $1,392 in 2014)
Art class contracts and tuition
35,830
Net assets released from restrictions - operations
1,950,179
(1,950,179)
4,451,049
(822,260)
In-kind rent
Total operating support and revenue
1,544,400
5,995,449
(822,260)
102,200
-
2014
Total
Total
$ 2,260,160
385,035
353,968
186,183
193,162
72,875
31,248
$ 2,608,278
452,907
425,835
187,665
211,756
90,429
42,111
570,087
305,236
102,200
(357,559)
35,830
3,730,989
(113,469)
30,390
4,241,138
102,200
1,544,400
5,275,389
1,310,400
5,551,538
-
Operating expenses
Program services
Exhibitions
Education
Museum store
Total program services
2,885,549
1,180,919
384,050
4,450,518
-
-
2,885,549
1,180,919
384,050
4,450,518
2,846,914
1,233,643
368,365
4,448,922
Supporting services
Management and general
Fundraising
Total supporting services
630,956
587,587
1,218,543
-
-
630,956
587,587
1,218,543
642,034
576,236
1,218,270
5,669,061
-
-
5,669,061
5,667,192
Total operating expenses
Change in net assets from operations
326,388
(822,260)
102,200
(393,672)
(115,654)
Nonoperating activities
Endowment investment income, net
Endowment contributions
Contributions for art collection items
General investment income, net
Depreciation and amortization
Net assets released from restriction - art acquisition
Purchased art collection items
Pro bono professional services support
Pro bono professional services expense
Litigation settlement expense
Total nonoperating activities
6,077
(5,224)
28,359
(28,359)
853
177,345
67,762
(28,359)
216,748
10,389
10,389
177,345
10,389
67,762
6,077
(5,224)
(28,359)
227,990
1,294,289
15,379
97,199
4,982
(12,658)
(34,914)
988,824
(988,824)
(275,000)
1,089,277
Change in net assets
327,241
(605,512)
112,589
(165,682)
973,623
Net assets, beginning of year
943,064
5,274,646
8,242,756
14,460,466
13,486,843
$ 1,270,305
$ 4,669,134
$ 8,355,345
$ 14,294,784
$ 14,460,466
Net assets, end of year
81
SAN JOSE MUSEUM OF ART ASSOCIATION
Statement of Functional Expenses
For the Year Ended June 30, 2015
(With Comparative Totals for the Year Ended June 30, 2014)
_________________________
Program Services
Exhibitions
Operating expenses
Salaries and wages
$
Payroll taxes and benefits
Total salaries and related expenses
In-kind rent
Volunteer services
Outside services and security
Marketing
Travel
Exhibition costs
Cost of goods sold
Shipping and storage
In-kind support expense
Materials
Catering
Software maintenance
Telephone and utilities
Equipment expenses
Insurance
Miscellaneous
Printing and web design
Legal and accounting
Recruiting
Office supplies and postage
Bank charges
Conservation
Meetings and lunches
Total operating expenses
Nonoperating expenses
Depreciation and amortization
Purchased art collection items
Pro bono professional services
Litigation settlement
Total functional expenses
$
Percentage of Total
Total functional expenses
Nonrecurring pro bono professional
services excluded
Nonrecurring litigation settlement
excluded
Total functional expenses
excluding non-recurring items
Percentage of total
Education
911,534
163,766
1,075,300
$
$
Museum Store
425,522
83,332
508,854
$
101,974
19,568
121,542
Total
$
1,439,030
266,666
1,705,696
$
241,900
59,147
301,047
Total
Fundraising
$
Total
282,207
60,396
342,603
$
2015
524,107
119,543
643,650
$
2014
1,963,137
386,209
2,349,346
$
2,049,160
339,453
2,388,613
1,007,780
237,825
143,470
17,135
103,118
97,034
14,400
28,120
10,290
18,928
14,189
31,507
38,113
7,972
24,274
9,400
2,511
4,174
9
2,885,549
195,230
279,360
24,221
116
76,871
369
14,400
29,328
22,600
1,496
5,338
1,910
2,093
8,251
3,659
100
3,266
3,417
40
1,180,919
125,760
19,475
39
929
101,502
212
1,141
1,331
6
1,348
992
22
75
2,364
7,226
86
384,050
1,328,770
298,835
262,085
143,586
94,935
103,118
101,502
97,615
28,800
57,448
32,890
21,565
20,858
33,423
41,554
17,215
27,955
175
15,030
13,154
4,174
135
4,450,518
107,815
15,038
2,889
13,929
45,900
489
7,151
19,040
14,025
2,656
11,318
1,083
39,287
36,724
11,166
548
851
630,956
107,815
21,296
5,473
3,531
39
11,500
47
20,215
21,995
9,319
646
1,156
11,425
12,948
510
5,760
10,839
470
587,587
215,630
36,334
8,362
17,460
39
57,400
47
20,704
29,146
28,359
14,671
3,812
22,743
14,031
39,287
37,234
16,926
11,387
1,321
1,218,543
1,544,400
298,835
298,419
151,948
112,395
103,118
101,502
97,654
86,200
57,495
53,594
50,711
49,217
48,094
45,366
39,958
41,986
39,287
37,409
31,956
24,541
4,174
1,456
5,669,061
1,310,400
302,395
321,163
119,928
152,940
144,302
111,573
143,076
151,904
67,158
55,640
58,204
54,437
28,239
37,809
37,814
33,118
69,890
1,235
26,909
40,138
9,298
1,009
5,667,192
2,612
28,359
-
1,567
-
522
-
4,701
28,359
-
262
-
261
-
523
-
5,224
28,359
-
12,658
34,914
988,824
275,000
2,916,520
$
51.2%
$
Supporting Services
Management and
General
2,916,520
1,182,486
$
20.7%
$
1,182,486
384,572
$
6.7%
$
384,572
4,483,578
$
78.6%
$
4,483,578
631,218
$
11.1%
$
631,218
587,848
$
10.3%
$
587,848
1,219,066
$
21.4%
$
1,219,066
5,702,644
$
6,978,588
$
6,978,588
100.0%
$
5,702,644
-
-
-
-
-
-
-
-
(988,824)
-
-
-
-
-
-
-
-
(275,000)
2,916,520
51.2%
$
1,182,486
20.7%
$
384,572
6.7%
$
4,483,578
78.6%
$
631,218
11.1%
$
587,848
10.3%
$
1,219,066
21.4%
$
5,702,644
$
100.0%
82
5,714,764
Volunteers
Board and Community Committees
Executive Committee
Hildy Shandell, chair
William Faulkner
Tad Freese
Peter Lipman
T. Michael Nevens
Bruce Worster
Finance and Policy Committee
William Faulkner, chair
Peter Cross
Glenn Daniel
Glenda Dorchak
Tom Matson
Al Smith
Acquisitions Committee
Rita Norton, chair
J. Michael Bewley
Doris Burgess
Elaine Cardinale
Peter Lipman
Ann Marie Mix
Barbara Oshman
Carol Parker
Theres Rohan
John Zarobell
Audit Committee
Anneke Dury, chair
Peter Cross
Chris James
Lawrence Lee
David Sacarelos
Development Committee
Cornelia Pendleton, co-chair
Bruce Worster, co-chair
Roger Bowie
Tad Freese
Cheryl Kiddoo
Elena Lebedeva
Evelyn Neely
Yvonne Nevens
Hildy Shandell
Full Spectrum 2014 Gala Committee
Cornelia Pendleton, co-chair
Claudia Weber, co-chair
Auction Committee
Tad Freese
Lisa James
Susan Krane
Peter Lipman
Mary Mocas
Volunteer Groups
Store Volunteers
Dorothy Atkins
Marilyn August
Irene Baker
Connie Bantillo
Lynne Brown
Pat Caporal
Ida Carbullido
Linda Darnall
Char Devich
Lois Gil
83
Rachel Karklin
Michele Kelly
Madelyn Lee
Jeannie Liu
Chris Mengarelli
Jeannie Pedroza
Anita Phagan
Jeff Ramirez
Carla Rosenblum
Shu Katahira Rosenthal
Sara Selbo-Bruns
Lynore Slaten
Norika (Nori) Takada
Mitsu Wasano
Alisa Wetzel
Nancy Wylde
Docent Council
Mary Allan
Ursula M. Anderson
Michael G. Arellano
Evelyn Bookwalter
Sharon Bosley
Lauren Buchholz
Doris Burgess
Kathi Cambiano
Emme Carl
Sandra Churchill
Susan Crow
Lisa Daidone
Dolores Fajardo
Peter Fargo
Betty Faultner
Lorraine Fitch
Cathleen Fortune
Linda Foster
Lisa Gallo
Kathy Gibson
Martina Glenn
Carole Gonsalves
Barbara Hansen
Kim Harris
Sharlyn Heron
Tricia Hill
Lys House
Karen Huitric
Abby Hunter
Marilyn Katz
Ruth Koffman
Diana Loew
Janet Lonvick
Ted Lorraine
Lisa Lubliner
Suzette Mahr
Ellen McInnis
Shauna Mika
Ann Marie Mix
Peggy Yep Morrow
Evelyn Neely
Dian Nusantari
Susanne Offensend
Joyce Oyama
Pirjo Polari-Khan
Carol Roosen
Elizabeth Ryono
Elizabeth Seiden
Ursula Shultz
Bob Strain
Elizabeth Striebeck
Alan Tanenbaum
Georgette Tanenbaum
Jeanne Torre
Hal Turk
Rick Vierhus
Richard Volle
Linda Vrabel
Eli Yasek
Alayne Yellum
Martine Yingling
Let’s Look at Art – Active docents
Terry Abell
Marilyn August
Lisa Beatty
Donna Bee-Gates
Carol Bower
Jennifer Busam
Christy Cali
Kathleen Callan
84
Kathi Cambiano
Susan Curtin
Char Devich
Nancy Dunne
Norma Faulkner
Toby Fernald
Cathy Fraser
Linda Gallo
Lisa Gallo
Linda Goldberg
Nancy Graham
Karen Harrington
Julia Hartman
Beth Herner
Tricia Hill
Dave Himmelblau
Lorraine Hoff
Julia Jacobson
Gail Kefauver
Jean Jellet
Isabel Kennedy
Carole Kilik
Linda Klein
Jeanne Langridge
Karen Lantz
Christene Lee
Let’s Look at Art – Sustaining docents
Diane Baer
Mary Ann Barr
Sue Bisceglia
Barbara Bogomilsky
Michelle Cohen
Susan Crow
Arlene DeMoss
Beverly Diehl
Connie Dimmitt
Carol Dyson
Lorraine Fitch
Linda Foster
Joan Gorham
Barbara Hansen
MaryAnn Lewis
Liss Lohmann
Loyce Mandella
Janet Mannina
Nancy Mathews
Mardi Maxwell
Susan McGowan
Angie Miraflor
Tony Misch
Sharon Morales
Linda Pfeiffer
Maria Quillard
Amy Rapport
Linda Robles
Elizabeth Seiden
Jim Shuett
GayAnn Southwell
Liz Summerhayes
Shelley Sweet
Jeanne Toms
Mary True
Linda White
Sybil Wolden
Janet Wolf
Christine Zheng
Carole Harris
Loretta Lopez
Beverly Lundstedt
Gerri Lurya
Ellen McInnis
Rosemarie Mirkin
Lupe Morishige
Izzie Nixon
Jane Pomeroy
Carrie Ross
Joan Sharrock
Diane Stoiber
Diana Taylor
Nancy Wylde
85
Staff
Anamarie Alongi
Valerie Aquila
Stephanie Battle
Jeff Bordona
Randall Bricco
Susan Christensen
Aquiles de la Torre
Leigh Dickerson
Pat Downward
Katherine Gallagher
Lilly Giraldo
Sean Glaes
Karen Hsu
Sherrill Ingalls
Lisa James
Richard Karson
Jessica Knudtzon
Kat Koh
Susan Krane
Denise Liberi
Lucy Larson
Susan Leask
Rachel Marguet-Smith
LT Beaton
Deborah Norberg
Rory Padeken
Carol Pizzo
Karen Rapp
Cherri Rediger
John Renzel
Elizabeth Rock
Laura Skelton
Brian Spang
Matthew Taylor-Siegel
Tai Tran
Robin Treen
Marja van der Loo
Paulina Vu
Jessica Yee
Registrar
Former Assistant to the Executive Director for Museum
Administration
Former Project Registrar
Manager of Youth and Family Services, Director of
Education
Preparator
Development Operations Manager
Marketing Assistant
Associate Exhibition Designer
Director of Retail Operations
Sales Associate
Assistant to the Executive Director for Museum
Administration
Accounting Specialist
Public Relations and Marketing Assistant
Director of Marketing and Communications
Director of Development
Chief of Design and Installation
Former Development Assistant
Former Interim Curatorial Assistant
Oshman Executive Director
Education Specialist, Manager of Youth Programs
Former Director of Education
Former Acting Senior Curator
Education Coordinator
Former Events Manager
Deputy Director, Operations
Assistant Curator
Director of Legacy Stewardship
Grants Officer
Sales Associate
Facilities Manager
Membership and Annual Fund Coordinator
Events Manager
Director of Finance
Major Gifts Officer
Staff Accountant
Special Projects Coordinator
Curatorial Associate
Manager of Museum Experience
Curatorial Assistant
Museum Experience Representatives (MERs)
86
Christina Ayson
Terra Fuller
Anna Horning
Hope Kusy
Erika Lara
Emily Law
Joanna Le
Frederick Liang
Gallery Teachers
Michael Arellano
Vi Faragalli
Meiru Huang
James Sugg
Andrew Mendoza
Gilberto Ramirez
Raymond Ramirez
Jehoiakim Santos
Eduardo Silva
Sarah Wolk
Martin Solorio
Travis Warner
Studio Art Educators
Emilio Banuelos
Maytal Gotesman
Cecilia Sanchez-Cruz
Stuart Mahoney
Installation Crew
Ian Barrigan
Adam Bontrager
Ramon Cartwright
Nathan Cox
Chris Dubois
Aaron Lee
Lauren O’Conner-Korb
Interns
Madison Connor, registration volunteer
Kali Horita, finance
87