San Jose Museum of Art FY19 Annual Report

SAN JOSE MUSEUM OF ART

FY19 Annual Report

July 1, 2018–June 30, 2019

Board of Trustees Peter Cross Anneke Dury William Faulkner, Treasurer Eileen Fernandes Tad Freese, Co-president Jerry Hiura; Lucia Cha Lys House Jeannine Jacobsen Richard A. Karp Cheryl Kiddoo, Co-president Robert Lindo Peter W. Lipman Hung Liu Lisa Lubliner Susan McGowan Evelyn Neely Sarah North Jeannie Pedroza Cornelia Pendleton, Secretary Hildy Shandell Marsha Witkin

Mission Statement The San José Museum of Art reflects the diverse cultures and innovative spirit of Silicon Valley.

Through its exhibitions, programs, scholarship, and collections, SJMA connects the present and the past, the art of the West Coast and the world. The Museum fosters awareness of artists’ broad contributions to society and engages audiences with the art of our time and the vitality of the creative process.

Vision Statement SJMA launched a five-year strategic plan in 2018 to become a borderless museum, essential to creative life throughout the diverse communities of San José and Silicon Valley. The innovative ethos of Silicon Valley informs who we are and who we serve—locally and globally—as we reimagine ourselves as a Museum for the audience of the future. We strive for both artistic excellence and community relevance in our exhibitions, programs, community collaborations, and education programs and are guided by the belief that creativity is a shared value that transcends disciplines and industries.

Photo by Gary Sexton

Contents Letter from Oshman Executive Director

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Susan Sayre Batton

Strategic Plan Year One Exhibitions On View

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Won Ju Lim: Calfornia Dreamin' Conversion: Art and Engineering Dinh Q. Lê: True Journey Is Return Other Walks, Other Lines Undersoul: Jay DeFeo Screen Acts: Women in Film and Video Catherine Wagner: Paradox Observed Rina Banerjee: Make Me a Summary of the World

Loans from the Permanent Collection

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Acquisitions

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Museum Experience and Education

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School Tour Program Classroom Residencies

Gallery Interpretation Spaces

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Public Programs

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Borderlessness

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Attendance and Benchmarks

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Development

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Honor Roll

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Donor Wall Staff Volunteers

Photo by JKA Photography

Letter from Oshman Executive Director Susan Sayre Batton

Left: Photo by Tony Chew, Middle: Photo by Frederick Liang, Right: Photo by Tony Chew.

To "become a borderless museum, essential to creative life throughout the diverse communities of San José and Silicon Valley.” With this overarching goal, the cornerstone of a new strategic plan, the fiscal year of July 1, 2018–June 30, 2019 (FY19) embodied the definition of “transformative” for the Museum. Passed by the Board of Trustees in November 2018, the plan redoubles the Museum's commitment to supporting artists as both visionaries and problem solvers. It highlights creativity as a shared value that transcends disciplines and industries across Silicon Valley. It places new emphasis on programs and exhibitions at the crossroads of art and technology. The plan also deepens the Museum's commitment to diversity of both program and audience, calling for new access programs and initiatives to better reach underserved communities as well as renewed efforts to build an internal culture of innovation, inclusion, collaboration, and teamwork that radiates outward into the community.

In support of this strategic work, SJMA’s ambitious exhibition program in FY19 continued its commitment to community partnerships and issues-based exhibitions. The Museum furthered the work of its Vietnamese Community Engagement Initiative and launched its 50th anniversary season with an institution-wide program of work by women artists that honored the Museum's female founders and showcased its commitment to inclusive exhibition and collecting practices. Three major original exhibitions resumed SJMA’s production of original exhibition catalogues including significant new contributions to scholarship, heightening SJMA's stature in both the local diasporic communities that we serve and the national art world. Undersoul: Jay DeFeo contextualized four permanent collection works by the Bay Area native with photographic works drawn from the rich holdings of The Jay DeFeo Foundation. Rina Banerjee: Make Me a Summary of the World was a major mid-career retrospective co-organized by SJMA and the Pennsylvania Academy of Fine Arts.

Dinh Q. Lê: True Journey Is Return was the largest solo exhibition of the acclaimed Vietnamese artist's work in the United States in more than a decade and was accompanied by "Stories from the Farther Shore," a special four-day program of Southeast Asian film inspired by the exhibition's focus on storytelling. Supported by Cal Humanities, a first for SJMA, the series showcased twelve recent films, many previously inaccessible outside of Asia, at six locations in the Bay Area. In conjunction with the film program, SJMA commissioned San José State University Professor of Art Robin Lasser to create and present a video mapping installation. Featuring interviews with individuals from San José's multi-generational Vietnamese-American community, it was projected onto SJMA's building façade on March 21, 2019—thus connecting a Bay Area-wide initiative locally.

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The Museum also showcased its long-standing commitment to community relevance with group exhibitions that tackle important issues. The House Imaginary, a permanent collection exhibition, was inspired by the housing crisis in the Silicon Valley. Other Walks, Other Lines explored the politics and pleasures of walking. It was presented as part of a community-wide series of programs on mobility and migration called "New Terrains: Mobility and Migration” that was spearheaded by the Museum in conjunction with a steering committee of local arts organizations. "New Terrains" was carried out in conjunction with 39 partner organizations, 11 of which, including the College for Adaptive Arts and South Bay Clean Creeks, were new partners for SJMA. In all of these endeavors and more, SJMA moved concretely into its first year enacting its borderless vision. The programs detailed in this report inspire us—ever increasing the relevance of their content and reducing barriers of access. All of our exhibition texts in the Museum are now offered in English, Vietnamese, and Spanish, the official languages of San José. New, expanded evening hours and free admission for youth, students, and their teachers were provided by new major funders who believe, as we do, in these steps to make access to arts and culture more inclusive in the South Bay. We at SJMA were spurred on in this work by unprecedented support from major funders. In addition to grants from such prestigious entities as the National Endowment for the Arts, the Asian Cultural Council, and the Andy Warhol Foundation for the Visual Arts, SJMA received its first-ever awards from the Henry Luce Foundation and California Humanities. This support—along with the ongoing generosity of our loyal donors, members, corporate sponsors, and the City of San José— assures that the Museum is on the right path to the future.

Our devoted and talented staff, volunteers, and Board of Trustees make this possible—and contributed to the intense process of strategic planning and visioning. As we work together, we succeed in raising the bar on implementing these ambitious goals. A museum is only the sum of its people, and through the support of our members and donors, we deepen the relationships that connect communities to the power of art in support of learning and public life. SJMA is poised to celebrate its 50th Anniversary season as a stronger and more responsive institution.

Susan Sayre Batton Oshman Executive Director San José Museum of Art

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Photo by Gary Sexton

Strategic Plan 2019–23

Strategic Plan 2018–23 Launch In November 2018, the Board of Trustees passed an ambitious new strategic plan with the overarching goal to “become a borderless museum, essential to creative life throughout the diverse communities of San José and Silicon Valley.” In FY19, the Museum made key accomplishments to advance the plan's three objectives: OBJECTIVE #1: Develop a far-reaching creative presence throughout Silicon Valley and beyond.

Desired Impact: Attract individuals from a variety of backgrounds and professions around the power of art to inspire connection, joy, and change.

SJMA advanced this objective in FY19 with the following: •

Three major original exhibitions—Dinh Q. Lê: True Journey Is Return, Undersoul: Jay DeFeo, and Rina Banerjee: Make Me a Summary of the World—were accompanied by original catalogs with significant new contributions to scholarship that heightened SJMA’s stature in the local, national, and international art world.

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Two projects demonstrated SJMA’s new commitment to “borderlessness” with expansive off-site programming that increased the geographic reach of the Museum’s work. The community-wide series of programs on mobility and migration, called “New Terrains: Mobility and Migration,” encompassed programming by 39 partners spread out from Santa Cruz to San Francisco. In conjunction with Dinh Q. Lê: True Journey Is Return, SJMA presented “Stories from the Farther Shore: Southeast Asian Film” a four-day film program at six venues in San José and San Francisco.

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SJMA’s arts education curriculum expanded its cross-disciplinary reach in FY19: its award winning STEAM (Science Technology Engineering Arts and Math) classroom residency program, Sowing Creativity, expanded to include a fifth-grade art-and-engineering curriculum rooted in the principles of design thinking, which was beta tested with 2000 students in 72 schools.

OBJECTIVE #2: Rewrite the conventions of how museums operate Desired Impact: Become known throughout SJMA’s community and the field as a uniquely collaborative and empathic institution, internally and externally SJMA advanced this objective in FY19 with the following: • SJMA launched two new access programs. In February 2019, it started Facebook First Fridays, a transformational new program supported by the Facebook Art Department that opens the Museum for free on the first Friday evening of each month. The program includes music, a cash bar, and open galleries. The first four events attracted 3,271 people, many of them first-time visitors to the Museum. In March 2019, SJMA launched a new access program that makes admission free for youth through age 17, college students with ID, and teachers. This significant reduction in admissions fees—intended to build closer ties with the community and to promote return visitation—resulted in a 60% increase in attendance from college students in the first three months.

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Top: Members from the Áo Dà festival pose with visitors at SJMA's annual Lunar New Year Community Day event held on February 16, 2019, photo by: Frederick Liang; Bottom: Visitors pose at SJMA's inaugural Facebook First Friday on February 1, 2019, photo by: Eye Adept Photography.

• Two accomplishments helped to launch SJMA’s new commitment to diversity, equity, and inclusion. The Museum received a grant from the Association of Art Museum Directors to support a paid intern from an underrepresented background in summer 2019. SJMA also secured funding from the Packard Foundation to work with consultant Nayantara Sen to launch an institution-wide Diversity, Equity, Inclusion, and Accessibility (DEIA) training program in FY20.

OBJECTIVE #3: Approach fundraising and philanthropy with imagination and ambition.

Desired impact: Cultivate a more robust, loyal support base by measuring and articulating the indelible impact of art and creativity.

• SJMA successfully grew the size and impact of its annual gala, The Wonder Ball, in 2019, thereby increasing a critical renewable source of general operating support. The event exceeded the net revenue goal by 42%, exceeded the corporate sponsorship goal by 40%, and increased attendance at both the gala itself (33%) and the after-party (20%).

• SJMA increased institutional visibility with new illuminated exterior signage on Market and San Fernando Streets. The sign was designed by National Design Award winner Morla Design, San Francisco, in a partnership that advanced the objective to “collaborate with creative individuals and organizations to solve critical issues in and around SJMA.” • SJMA rolled out infrastructure improvements to its main public program venue, the Charlotte Wendel Education Center, in FY19, including adding new ceiling-mounted state-of-the-art laser projectors, a new industry-standard custom-made podium, and a new portable sound system. These changes support a wider range of programming that will benefit both the Museum and its community partners.

• SJMA participated in a pilot partnership with New York-based design studio Dome to create innovative ways to collect feedback from visitors about their experiences in the Museum. The data collected through this partnership in spring 2019 will inform future improvements to visitor experience as well as the development of ongoing sustainable mechanisms for collecting and evaluating audience responses to SJMA’s programs, a key strategic goal.

• SJMA began active efforts to grow its Board in FY19 and elected four new Trustees, including artist Hung Liu as the Museum’s first artist Board member.

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Photo by Benjamin Blackwell

Exhibitions On View

Photos by JKA Photography

Won Ju Lim: California Dreamin’ June 22, 2018–September 30, 2018 In haunting tableaus and otherworldly environments, Won Ju Lim unleashes the psychic dimensions of time and space. Inspired by Baroque architecture, science fiction films, and the urban landscape, Lim explores the intersections between reality and fantasy, real and imagined space. Her vivid and colorful rooms are filled with found objects, miniature models, and prefabricated structures that reflect, absorb, and transmit light. Shadows cloak her mesmerizing, spectacular interiors in deliberate mystery.

California Dreamin’ (2002), recently acquired by SJMA, had never before been seen in the United States. It was inspired by sixteenth-century Spanish author Garci Rodríguez de Montalvo’s fictional account of California as an earthly paradise and by the fantastical metropolises of classic science fiction films Blade Runner and Logan’s Run. Lim located work within mythical and historical contexts to conceptualize her idea of “futuristic ruins”—cinematic cityscapes that unite the classical past with Hollywood fantasies of the future.

Lim created California Dreamin’ while living abroad in Germany and feeling intensely homesick for Southern California. Her empty, multicolored Plexiglas constructions are bathed in soothing yet elusive imagery of Los Angeles. Picturesque sunsets, swaying palm trees, and glittering street lights dissolve as quickly as a desert mirage, casting this ethereal urban oasis into the imaginary sphere. By enveloping the gallery in cinematic wonder and spatial incongruity, Lim transforms clichéd images of the city into an experience of the sublime.

Also on view were softly illuminated lightboxes from Lim’s series “Memory Palaces, Terrace 49” (2003), which create ghostly silhouettes of homes and trees perched along a hillside. In Piece of Echo Park, from the series “A Piece of...” (2007), yellow Plexiglas encases a topographic profile of this East Los Angeles neighborhood where homes sit above brilliantly colored melted layers of the earth. Both series reference Los Angeles’s hilly terrain and neighborhoods, thus geographically linking these works to the room-size California Dreamin’. In all these works, Lim explores the ideas of interiority and exteriority, illusion and allusion, expansion and contraction that give shape to memory and imagination.

Organized by Rory Padeken, associate curator.

Sponsored by the Richard A. Karp Charitable Foundation.

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Photos by Benjamin Blackwell

Dinh Q. Lê: True Journey Is Return September 14, 2018–April 7, 2019 Dinh Q. Lê: True Journey Is Return was the largest solo exhibition in the United States in more than a decade of the work of the internationally-renowned artist. The exhibition featured five major video and photography installations that entwined rarely heard narratives of war and migration from people in North Vietnam, the Vietnamese diaspora, and refugees who, like Lê, returned to live in their home country.

Prior to this exhibition Lê was best known in the United States for his unique photo weavings—interlaced vertical and horizontal strips of documentary photographs and Hollywood films stills about the Vietnam War. Dinh Q. Lê: True Journey Is Return, by contrast, highlighted the artist's ongoing experimentations in video and photography installation, which focused on stories seemingly on the verge of being erased from historical memory. Whereas Lê’s iconic photoweavings were borne of the artist’s personal relationship to Vietnam's complicated cultural and political history, the video and photography installations marked a significant shift outwards towards engaging other Vietnamese voices, perspectives, and experiences. Lê assembled these obscure stories through collections of found photographs, artists’ war sketches, and oral histories. The resulting works collectively presented a multifaceted story about Vietnamese life before, during, and after the Vietnam War. The exhibition also included a selection of rarely seen images of flowers photographed by Lê in Saigon’s flower market. Abstracted through the artist’s signature photo weaving technique, these beautiful yet elegiac floral compositions memorialized lives lost to war and violence in Vietnam while also symbolizing a promising and bountiful future for the country.

Dinh Q. Lê: True Journey Is Return was presented as the fourth exhibition in SJMA’s ongoing series New Stories from the Edge of Asia, which features work by artists from Pacific Rim countries and cultures who push the boundaries of narrative in contemporary art.

Organized by Rory Padeken, associate curator.

DinhQ.Lê:TrueJourneyIsReturn was made possible in part by grant support from the Henry Luce Foundation, the National Endowment for the Arts, the Asian Cultural Council, and the E. Rhodes and Leona B. Carpenter Foundation. The exhibition was sponsored by The Lipman Family Foundation, the Richard A. Karp Charitable Foundation, Tad Freese and Brook Hartzell, Lucia Cha and Dr. Jerrold Hiura, and Evelyn and Rick Neely.

Additional support came from Lisa and Keith Lubliner. In-kind support for equipment was provided by Genelec, NEC Display Solutions, and BrightSign.

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Photo by JKA Photography

Pope.L, The Great White Way, 22 miles, 9 years, 1 street, 2000–09 performance, courtesy of the artist and Mitchell-Innes & Nash, NY, © Pope.L

Other Walks, Other Lines November 2, 2018–March 10, 2019 One of our most elemental behaviors as human beings—like eating, sleeping, and breathing—is walking. It’s an amateur activity. But what happens when we become explicit, inquisitive, and deliberate about what is as natural to us as eating and breathing? Walking is both universal and idiosyncratic; we all walk but choose different paths, peppered by unique interactions and experiences. As Rebecca Solnit says, “walking is a mode of making the world as well as being in it.”

This project examined the variety of ways in which artists reflect on this specific, mundane activity, and use it to make meaning.

Other Walks, Other Lines considered what walking means in a contemporary context, touching upon topics such as urban planning, immigration, and the dérive.

Organized by the San José Museum of Art and curated by Lauren Schell Dickens, curator; Rory Padeken, associate curator; and Kathryn Wade, curatorial associate, Other Walks, Other Lines focused on artwork made during the last thirty years by artists around the world who use walking as a mode of making the world, as well as being in it. The exhibition was divided into six sections: Meaning of Ordinariness; Pilgrimage and Psychogeography; A Body Measured Against the Earth: Immigration and Land Wars; Access/Ability; Street Life: Processions and Protests; and Other Walks: Gabriel Orozco. In conjunction with the exhibition, performances activated the gallery and took the exhibition outside of SJMA’s building. Choreographer and artist Brendan Fernandes addressed the borders that are constructed within a museum’s walls. In his commissioned work Inaction, Fernandes choreographed the movements of dancers to explore boundaries and thresholds within SJMA’s building. Lara Schnitger’s Suffragette City—a participatory procession and protest—extended the exhibition's focus on artists using street demonstrations as another form of public art.

Artists included were Yuji Agematsu, Francis Alÿs, Ginny Bishton, Jennifer Allora and Guillermo Calzadilla, Brendan Fernandes, Ana Teresa Fernandéz, Regina José Galindo, Hiwa K, Brad Kahlhamer, Glenn Kaino, Suki Seokyeong Kang, Kimsooja, Pope.L, Omar Mismar, Paulo Nazareth, Gabriel Orozco, Wilfredo Prieto, Lordy Rodriguez, Michal Rovner, Lara Schnitger, Clarissa Tossin, and Charwei Tsai.

Other Walks, Other Lines was sponsored by Applied Materials Foundation and Melanie and Peter Cross. In-kind support for equipment was provided by BrightSign. Supported, in part, by a Cultural Affairs grant from the City of San José.

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Photo by JKA Photography

Gabriel Orozco, Right couple, 2010, chromogenic print, 16 × 20 inches, courtesy of the artist and Marian Goodman Gallery. ©Gabriel Orozco

Other Walks: Gabriel Orozco November 2, 2018–February 17, 2019 A show within a show, Other Walks: Gabriel Orozco was an in-depth look at the photographs and videos of Gabriel Orozco, who since art school has walked the streets and experimented with what he encounters. For Orozco, photography is less a medium than a tool for collecting his interactions with circumstances and objects. He sees his straightforward photographs—rainwater collected in an umbrella, fleeting footprints embalmed in concrete, steam rising from a grate—as containers of events or phenomena that are still occurring, still being experienced, through the viewers’ act of looking. The photographs were accompanied by three rarely shown videos shot on the streets of Amsterdam and New York and in a London supermarket.

Other Walks: Gabriel Orozco was part of the larger exhibition, Other Walks, Other Lines, on view until March 10, 2019.

Organized by Lauren Schell Dickens, curator.

Other Walks, Other Lines was sponsored by Applied Materials Foundation and Melanie and Peter Cross. In-kind support for equipment was provided by BrightSign. Supported in part by a Cultural Affairs grant from the City of San José.

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Photo by Phil Bond Photography

Jay DeFeo, Untitled, 1971, gelatin silver print, 2 5/8 × 4 3/4 inches, Estate no. P1284. Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas, © 2019 The Jay DeFeo Foundation / Artists Rights Society (ARS), New York.

Undersoul: Jay DeFeo March 8, 2019–July 7, 2019

Jay DeFeo (born 1929, Hanover, New Hampshire, died 1989, Oakland, California) was relentlessly experimental. Though known primarily for her monumental painting The Rose (1958–66), her visual and poetic associations played across a remarkable array of media and material. This focused exhibition highlighted DeFeo’s prolific use of photographic practices as an under-examined but critical facet of her transmutative process. Building upon four works in SJMA’s permanent collection as guiding linchpins, the exhibition drew largely on previously unpublished and unexhibited works from the rich holdings of The Jay DeFeo Foundation to consider this important element of DeFeo’s practice within the context of her multimedia work, significantly deepening and extending her important legacy beyond painting and drawing.

Though used throughout her career to record, compose and revisit, DeFeo’s photographic output increased dramatically during the 1970s. DeFeo famously produced no artwork from 1966 to 1970, resting and recovering after the emotional, physical, and creative toll of The Rose. It was the camera that facilitated her return to artmaking. As DeFeo herself put it, for three years from 1973 to 1975, “I did nothing but photography.” (Despite the inaccuracy of this statement, her enthusiasm for the medium is clear.) Rather than signaling a new direction, however, the large body of photographs DeFeo produced during the 1970s was both reflective of and integral to her painting and drawing process. “More so than most artists, I maintain a kind of consciousness of everything I’ve ever done while I’m engaged on a current work,” DeFeo wrote in 1978. Her photographic work operates within a prolonged consideration of primal forms and elemental symbols, an exploration of the mythological and symbolic links that unite the cosmos with studio objects and life around her: the undersoul, as her friend, the Beat poet Michael McClure, termed it. DeFeo used the camera to capture symbolic resonances in formal qualities—texture, line, and shape—of objects and artworks in her studio and the world around her, which then transmute across media.

Undersoul: Jay DeFeo featured unique photographs, photo collages, photocopies, drawings, and paintings from the 1970s and 1980s that tracked the artist’s visual vocabulary across media and subject matter.

Curated by Lauren Schell Dickens, curator, and Kathryn Wade, curatorial associate.

Sponsored by the Myra Reinhard Family Foundation, the Jay DeFeo Foundation, and Tad Freese and Brook Hartzell. Additional support provided by Sotheby's and M.Bernadette Castor and David Packard. Supported, in part, by a Cultural Affairs grant from the City of San José.

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The catalogue was supported by The JayDeFeo Foundation and M. Bernadette Castor and David Packard.

Elena Damiani, Intersticio, 2012 (video still), two-channel video, running time 5 minutes, 25 seconds. Image courtesy of the artist.

Screen Acts: Women in Film and Video April 5, 2019–June 30, 2019 This series highlighted women artists and filmmakers whose works draw on the histories of representation and performance in film and video to address some of the most pressing social issues of our time. Topics ranged from representations of African Americans in vernacular culture to the politics of space and collective memory.

Artists in this program included Elena Damiani, Steffani Jemison, Jazmín López, Carrie Mae Weems, and the Ethnocine Collective (Emily Hong, Miasarah Lai, and Mariangela Mihai).

Curated by Rory Padeken, associate curator and Kathryn Wade, curatorial associate.

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Photos by Phil Bond Photography

Catherine Wagner: Paradox Observed April 5, 2019–August 18, 2019 Catherine Wagner: Paradox Observed presented the monumental installation Pomegranate Wall (2000) along with stunning photographs of plant, animal, and cosmic matter from Wagner’s visual investigation of science. Taken behind the closed doors of distinguished laboratories, her photographs capture the mystery and beauty of the scientific endeavor—the desire and struggle to empirically understand the nature of our being. With analytical clarity and larger-than-life scale, the works in the exhibition evoked the parallel pursuits of science and art to decipher the codes and structures of human existence though observation.

With scientific matters as her subject, Wagner adopted its tools of observation using imaging devices typically reserved for scientific study as she would her camera. Working with magnetic resonance imaging (MRI) machines and scanning electron microscopes (SEM), she captured organic materials like the cross section of an onion and the textured surface of a shark’s tooth with crisp precision. At the center of the exhibition was Wagner’s immersive installation Pomegranate Wall, a glowing eight-by-forty-foot arc of photographs taken with an MRI machine.

The crisp precision and compositional structure of Wagner’s photographs are characteristic of the scientific process. Just as a Petri dish isolates its contents for study and a microscope frames a researcher’s view, Wagner’s compositions contain, classify, and sequence visual information. A sixpart typology of meteorites depicts various modes of visual analysis, including x-ray, chemical, and topographic studies, to make meaning of cosmic specimens. Obsolete three-dimensional molecular models encased within glass vitrines show historic attempts to visualize the complex relationships in order to understand our biological makeup. As alluded to in the title of Wagner’s "Frankenstein" series, which depicts anthropomorphic looking ultra-high vacuum chambers used in state-of-the-art physics research, the tools of science shape society. As new technologies open up possibilities for a deeper understanding of ourselves and the world around us, Wagner’s photographs look critically at how scientific knowledge and the systems through which we interpret the essence of being are created.

Curated by Kathryn Wade, curatorial associate.

Sponsored by Casey Jack Carsten and Tad Freese and Brook Hartzell. In-kind support provided by Anglim Gilbert Gallery and Gallery Luisotti.

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Photos by JKA Photography

Rina Banerjee: Make Me a Summary of the World May 16, 2019–October 6, 2019 Rina Banerjee: Make Me a Summary of the World was the first mid-career retrospective of the artist’s work. Co-organized by the Pennsylvania Academy of the Fine Arts, Philadelphia, and San José Museum of Art, the exhibition presented almost twenty years of Banerjee’s large-scale installations, sculptures, and paintings—including a re-creation of her work from the 2000 Whitney Biennial; sculptures featured in the 2017 Venice Biennale, and recent work for Prospect 4 New Orleans.

Banerjee creates vivid sculptures and installations made from materials sourced throughout the world. She is a voracious gatherer of objects: in a single sculpture one can find African tribal jewelry, colorful feathers, light bulbs, Murano glass, and South Asian antiques in conflict and conversation with one another. These sensuous assemblages reverberate with bright colors and surprising textures present simultaneously as familiar and unfamiliar.

Rina Banerjee: Make Me a Summary of the World focused on four interdependent themes in Banerjee’s work that coincide with important issues of our time: immigration and identity; the lasting effects of colonialism and its relationship to globalization; feminism; and climate change.

Curated by Lauren Dickens, curator, SJMA, and Jodi Throckmorton, curator of contemporary art, Pennsylvania Academy of the Fine Arts.

Exhibition co-organized by the Pennsylvania Academy of the Fine Arts, Philadelphia, and San José Museum of Art. Sponsored by The Andy Warhol Foundation for the Visual Arts, the Richard A. Karp Charitable Foundation, the Lipman Family Foundation, Tad Freeze and Brook Hartzell, Marsha and Jon Witkin, Melanie and Peter Cross, Hosfelt Gallery, Cheryl and Bruce Kiddoo, McManis Faulkner, Latham & Watkins, Shruti and Pawan Tewari, Peggy and Yogen Dalal, Elaine Cardinale, and Lisa and Keith Lubliner. Additional support provided by Leelade Souza Bransten and Peter Bransten, Lucia Chad and Dr. Jerrold Hiura, Christie's, Glenda and Gary Dorchak, Pamela Hornik, Wanda Kownacki, Elena Lebedev and Alvin Smith, Rachel and Simon Segars, and Sotheby's. Supported in part by a Cultural Affairs grant from the City of San José. The catalogue was supported by Hosfelt Gallery, San Francisco, CA, and L.A. Louver, Venice, CA.

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Photos by Jeff Bordona

Conversion: Art and Engineering Wednesday, June 20, 2018–April 7, 2019 Conversion is the third installment of exhibitions in the Koret Family Gallery to focus on STEAM education (Science, Technology, Engineering, Art, and Math). The exhibition explored the intersection of art and engineering through artwork selected from SJMA’s permanent collection.

In the Koret Family Gallery’s interactive Art Learning Labs, visitors made observations, asked questions, and participated in creative experimentation.

Organized by Jeff Bordona, director of education.

Sponsored by the Koret Foundation.

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Ruth Asawa, Untitled (S.155, Hanging Seven-Lobed, Multilayered Interlocking Continuous Form with a Sphere-Suspended in the Top and Fifth Lobes), ca.1958, copper and brass wire. Gift of the artist in honor of the San José Museum of Art's 35th anniversary, 2003.28.01.

Loans from the Permanent Collection

Loans from the Permanent Collection Alan Rath: Virtual Reality, Institute of Contemporary Art, San José, CA, February 16 – June 2, 2019 Alan Rath Absolutely, 2012 Pheasant feathers, aluminum, fiberglass and custom electronics, 180 x 144 x 144 inches Gift of the Lipman Family Foundation 2013.06.02

See Something, Say Something, Museum of Sonoma County, Santa Rosa, CA, February 9, 2019 – April 20, 2019 Evri Kwong Big Red, 2004 Oil and ink on canvas 83 ½ x 95 ½ inches Museum purchase with funds contributed by the Collection Committee 2005.38

Ruth Asawa: Life’s Work, Pulitzer Arts Foundation, St. Louis, MO, September 14, 2018 – February 16, 2019 Ruth Asawa Untitled (S.155, Hanging Seven-Lobed, Multilayered Interlocking Continuous Form with a Sphere Suspended in the Top and Fifth Lobes), from “Group of Architectural Works,” ca. 1958 Brass and copper wire 79 x 15 ½ x15 ½ inches Gift of the artist in honor of the San José Museum of Art's 35th anniversary 2003.28.01 Untitled (S.113, Hanging Five-Lobed, Multilayered Continuous Form within a Form with Spheres in the First and Third Lobes), from “Group of Architectural Works,” ca. 1958 Copper and brass wire 90 x 16 ½ x 16 ½ inches Gift of the artist in honor of the San José Museum of Art's 35th anniversary 2003.28.02 Untitled (S. 035, Hanging Six-Lobed, Multilayered Interlocking Continuous Form within Form with Spheres in the Second, Fifth, and Sixth Lobes), from “Group of Architectural Works,” ca. 1962 Brass and copper wire 89 x 15 ½ x15½ inches Gift of the artist in honor of the San José Museum of Art's 35th anniversary 2003.28.03

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Untitled (S.036, Hanging Seven-Lobed, Multilayered Interlocking, Continuous Form within a Form, with Spheres in the First, Sixth, and Seventh Lobes), from "Group of Architectural Works," ca. 1962 Oxidized copper wire 137½ x 17 x 17 inches Gift of the artist with additional support from the Collection Committee, in honor of the San José Museum of Art's 35th anniversary 2003.28.04

Irving Marcus, Jan Shrem and Maria Manetti Shrem Museum, University of California, Davis, September 27, 2018 – December 30, 2018 Irving Marcus Tsunami, 2003 Oil on canvas 42 x 54 inches Gift of Carla Marcus 2008.04.01

Diana Al-Hadid: Delirious Matter, The Bronx Museum of the Arts, NY, July 18, 2018 – October 14, 2018 Diana Al-Hadid South East North West, 2017 Polymer gypsum, fiberglass, steel, plaster, gold leaf, copper leaf, painter's tape, pigment Diptych: 130 x 168 x 5 inches Gift of the Lipman Family Foundation 2018.01.02a-b

Firelei Bá ez, Contemporary Arts Center, Lois & Richard Rosenthal Center for Contemporary Art, Cincinnati, OH, May 18 - August 19, 2018 Firelei Báez To see beyond it and to access the places that we know lie outside its walls, 2015 Gouache on paper 84 ½ x 50 inches Museum purchase with funds provided by Tad and Jackson Freese 2016.04

Soul Mining , Vincent Price Art Museum, East Los Angeles College, Monterey Park, CA, March 17 – July 14, 2018, (organized by the Arizona State University Art Museum, Tempe, AZ) Hung Liu Resident Alien, 1988 Oil on canvas 60 x 90 inches Gift of the Lipman Family Foundation 2005.32

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Photo by JKA Photography

FY19 Acquisitions

Acquisitions Rina Banerjee Winter’s Flower—Raw materials from seas and from foul and even from some exotic mice was eaten by a world hungry for commerce made these into flower, disguised could be savoured alongside whitened rice, 2009 Oyster shells, fish bone, thread, cowrie shells, fur, deity eyes, copper trim, ostrich egg, epoxy American buffalo horns, steel, fabricated umbrella structure, steel stand, pigeon feather fans 21 5/8 x 61 x 78 3/8 inches Museum purchase with funds provided by the Lipman Acquisitions Fund with additional funds contributed by the Acquisitions Committee 2018.10 Ian Cheng Emissary Forks for You, 2016 Live simulation with sound Running time: infinite Unique; edition 5 of 10 plus 2 artist’s proofs Museum purchase with funds contributed by the Acquisitions Committee 2018.11 Jean Conner BLUE PYRAMID, 1970 Collage on paper 10 ¾ x 9 ¾ inches Museum purchase with funds provided by the Lipman Family Foundation 2018.09.01 Jean Conner ADORATION, 1973 Collage on paper 29 x 39 5/8 inches Museum purchase with funds provided by the Lipman Family Foundation 2018.09.02 Jean Conner MOTHER DAUGHTER, 1980 Collage on paper 13 ½ x 9 ¾ inches Museum purchase with funds provided by the Lipman Family Foundation 2018.09.03 Sam Francis Untitled, 1983 Aquatint and etching 26 x 11 inches Gift of Ann-Marie Mix 2018.12.03 Chitra Ganesh Sultana's Dream, 2018 Suite of 27 linocut prints Each 20 1/8 x 16 1/8 inches Edition 7 of 35 Museum purchase with funds contributed by the Council of 100 2019.01.01–.27 27

Jasper Johns Untitled, 1977 Color screenprint on parchment paper 10 X 10 inches Edition of 3000 Catalogue cover for Jasper Johns/screenprints published by Brooke Alexander Editions Gift of Ann-Marie Mix 2018.12.04 Robert Minervini Improvised Garden II (Water Street), 2017 Acrylic on canvas 84 X 72 inches Gift of the artist and Rena Bransten Gallery, San Francisco 2018.08 Nathan Oliveira Standing Figure with Black Band on Face 1979 Watercolor and acrylic on paper 29 X 22 inches Gift of Ann-Marie Mix 2018.12.01 WoodyDe Othello Defeated, depleted, 2018 Ceramic with underglaze and glaze Two parts; vessel: 22 x 22 x 19 inches; base: 16 x 15 x 13 inches Museum purchase with funds provided by Tad Freese and the Lipman Family Foundation 2018.13 Frank Stella Polar Co-ordinates I, 1980 Offset color lithograph and silkscreen on paper 39 X 38 inches Gift of Ann-Marie Mix 2018.12.02 Josephine Taylor BAD, 2016 Acrylic ink and graphite on paper 63 ½ X 124 inches Museum purchase with funds provided by the Lipman Family Foundation and Evelyn and Rick Neely 2019.02

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Museum Experience and Education

Museum Experience and Education The Museum Experience and Education department encourages audiences to access personal creativity and proceeds 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, artmaking workshops, and free community days promote lifelong learning. SJMA provides ongoing arts education for school children, educators, university faculty, and college students. 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.

Onsite Programs: School Tour Program Guided K–12 School Tours Guided tours focus on the careful observation and discussion of a limited number of thoughtfully selected objects. Lessons conform to the California State Visual Art Standards of Artistic Perception, Aesthetic Valuing, and Connections, Relationships, Applications.

Two-Part Art K–12 School Tours SJMA's premier field trip offering, Two-Part Art, encourages children to experience art as both viewer and maker. The program engages students with an hour-long, inquiry-based guided tour followed by a related hands-on artmaking activity led by an SJMA teaching artist. With grant support from the California Arts Council and Xilinx, SJMA was able to provide free Two-Part Art tours to 4096 students in Title 1 schools in FY19.

Kids' Art Camp 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 student artwork and approximately 350 visitors, including the young artists' friends and family members, all celebrated student creativity.

Support from the California Arts Council allowed SJMA to provide offsite summer camp programming for students at two Title 1 schools (Grant Elementary and Horace Mann Elementary) in the San José Unified School District.

In-School Programs: Classroom Residencies Sowing Creativity Sowing Creativity is an integrated visual arts residency program developed by the San José Museum of Art to address the California Common Core State Standards and to meet the urgent need to promote creativity across disciplines. Sowing Creativity places the Museum's veteran teaching artists in classrooms for ten consecutive weeks of scaffolded art lessons designed to build creativity while introducing students to critical cross-curricular STEM concepts. The program responds to the longterm achievement gap in STEM subjects by using art to promote at-risk students' academic engagement with STEM at crucial "turning point" moments in elementary school. The program originally focused on serving third-grade students through an art and science curriculum. In FY19 the Museum rolled out a new fourth-grade art and math curriculum called "Show Your Work." It uses art to teach scale, proportion, symmetry, and fractions. This year the Museum also developed and beta tested the program's fifth-grade art-and-engineering curriculum. All Sowing Creativity students visit the Museum for an inquiry-based tour and a hands-on artmaking activity.

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Top: Visitors participate in the Cardboard Craze activity at Community Day: Maker Day held on June 1, 2019, photo by: Frederick Liang; Bottom: Chinese Calligrapher Tuan Vo offers free calligraphy to visitors at Lunar New Year Community Day, February 16, 2019, photo by: Frederick Liang.

Multi-Part Art The Multi-Part Art program extends SJMA's visual arts education resources directly into Santa Clara County schools via six-, eight- or ten-week residencies. Conducted by studio arts educators, this program delivers a series of stimulating artmaking experiences in the school classroom, where professional artists lead students in challenging and engaging hands-on art activities for 60 to 90 minutes. With a focus on Museum exhibitions, this progressive program gives students an in-depth, hands- and brains-on art experience.

Students visit SJMA to build on the classroom experience and participate in active discussions about original works of art. Back in the classroom, students continue to learn art skills and create their own work inspired by the art and artists they have encountered.

Let's Look at Art Let's Look at Art (LLAA) is a free classroom-based docent program that that serves more than 30,000 students in Santa Clara County each year and reaches all 31 of San José 's school districts. Forty-eight percent of the students served by this highimpact program are based in low-income Title I schools. For many, it is their first introduction to art. LLAA brings trained SJMA docents to K–12 classrooms to lead students in a lively hour-long inquiry-based discussion of reproductions of well-known works of art. Students learn vocabulary, cultural literacy, and concepts that align with California's Visual and Performing Arts standards—state-wide core requirements that many schools find difficult to meet. Portfolio programs incorporate poster­sized reproductions to serve K–5 students while Art in the Dark digital programs serve grades 6–12 and include a teacher's guide that provides vocabulary, subject matter, and suggestions for follow-up activities to accompany the in-classroom presentation.

Teach er Professional Development As Silicon Valley's leading institution dedicated to the art of our time, SJMA presents modern and contemporary exhibitions—the perfect backdrop for writing assignments, research projects, and exploring the creative process. Teachers participate in a customized experience with SJMA's professional education staff. For example, museum studies or education students explore the constructivist nature of learning in art museums with SJMA's director of education, gallery teachers, and teaching artists.

Every year SJMA hosts the Marion Cilker Conference for Arts Education. Cosponsored by the Connie L. Lurie College of Education at San José State University and the Santa Clara County Office of Education, this event brings pre-K to 8th-grade teachers together with local artists and arts organizations to share the joy of teaching through the art.

New Access Program: Free Individual Admission for K-12, College students, and Educators In March 2019, SJMA launched a new access program that gives free admission to youth through age 17, college students with ID, and teachers. This significant reduction in admissions fees, intended to build closer ties with the community and to promote return visitation, resulted in a 60% increase in attendance from college students in the first three months.

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FY19 Education Onsite and Offsite Programming Attendance

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Free Individual Admission for K-12, college students, and educators

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Photo by JKA Photography

Gallery Interpretation

Gallery Interpretation Spaces Answering the questions that visitors have while visiting art museums is one of the biggest challenges for any museum. The sheer number of visitors who range widely in age, cultural background and level of expertise results in millions of possible questions each year. SJMA’s solution is to build environments that are maximally responsive to the ways that we learn. By designing interpretive strategies that engage the visitor and by ensuring that the necessary components to facilitate learning are in place, we create space where visitors have the opportunity to answer their own questions. Through the creative use of technology, interpretation stations, and in-person contact with docents and museum experience representatives, the MEE Department implements a constructivist approach to learning.

SJMA is committed to creating meaningful and relevant experiences for all its visitors.

We achieve this by: • increasing the choices for what visitors experience and learn in the galleries to ensure that our visitors never feel intimidated, alienated, or out of place; • creating environments and conditions for engagement and inquiry, in which adults and children naturally enjoy learning; • increasing the variety and accessibility of information available to visitors to accommodate different learning styles; • creating vehicles for a continuous dialogue between the Museum and its visitors in order to let visitors reflect on and share their ideas about the art; • designing gallery environments and convocation spaces that are based on current audience research and feedback in order to ensure that the Museum accommodates visitor needs; • designing gallery environments that foster looking and first-hand experience of original art objects, regardless of familiarity with the subject matter; • recognizing that the content and context of the exhibition influences the design of the gallery environment in order to ensure that the visitors form connections among the artists, images, ideas, processes, and creative experiences; • recognizing that our Museum exists because artists have experiences that inspire them to make works of art and visitors have the opportunity to share in that experience.

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Share Your Journey Dinh Q. Lê: True Journey Is Return September 14, 2018–April 7, 2019 Dinh Q. Lê: True Journey Is Return highlighted the artist’s ongoing experimentation in narrative and storytelling, focusing on multimedia documentary video and found photography installations that capture stories seemingly on the verge of being erased from historical memory. In this space we honored memory, history, and identity and invited vistiors to share their stories in our community journal. We asked, "What are the moments or memories in your life that shaped who you are today? We all have a story to tell, what’s yours?"

Viet Stories Dinh Q. Lê: True Journey Is Return September 14, 2018–April 7, 2019 Oral histories teach us about past events through the first-hand experiences of people who have lived through them. This space includes interview quotes and videos produced by Viet Stories: Vietnamese Oral History Project at the University of California, Irvine. The project captures oral histories of first-generation Vietnamese Americans who have memories of life in Vietnam, the Vietnam War, and the displacement and resettlement of refugees from Vietnam.

Take a walk. Leave a walk Other Walks, Other Lines November 2, 2018–March 10, 2019 Visitors added descriptions, drawings, and/or GPS coordinates of their favorite meaningful/ cathartic/exciting/purposeful walk to the map of the Bay Area Ridge Trail and grew the crowdsourced walks. Visitors could review pinned walks left by others and take one to experience themselves. The crowdsourced walks were provided inspiration for exploring Other Walks, Other Lines in one’s own life.

Rina Banerjee Art Learning Lab Rina Banerjee: Make Me a Summary of the World April 9, 2019–October 6, 2019 Artist Rina Banerjee's unusally long and poetic titles are an important part of her work. SJMA collaborated with the New York-based design studio Dome on an interactive sound experience that used RFID technology. Inspired by Banerjee's titles, visitors built their own sequence of words into an audio version of magnetic poetry, translated in English, Spanish, and Vietnamese. Visitors also explored Banerjee’s use of material (materials wall, video viewer and materials shelf) and played with language using magnetic words based on titles in the exhibition. In the Koret Learning Lab, visitors are encouraged to make observations, ask questions, and participate in creative experimentation.

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Photo by Rikki Ward

Public Programs

Public Programs Facebook First Fridays SJMA launched Facebook First Fridays on February 2, 2019, when 941 visitors attended from 5 to 10pm. Guests at these free monthly programs enjoy a lounge-like atmosphere with a DJ, bar, and open galleries. Facebook First Fridays increase accessibility by removing the admission barrier and offering worker-friendly hours. In the first six months of the program more than 48% of visitors were visiting SJMA for the first time.

Third Thursday SJMA offers evening hours on the third Thursday of each month. Casual social-networking is encouraged and accompanying public programs engage and delight audiences, many of whom are new to the Museum. FY19 programs included: Third Thursday: 10th Annual Poetry Invitational Third Thursday: Creative Minds: Brendan Fernandes Third Thursday: Exotopia and San José Stories: The Vietnamese Diaspora Third Thursday: Holiday Music Third Thursday: Pecha Kucha Night: New Terrains/San José 2040 Third Thursday: Soundscaping

Creative Minds SJMA is dedicated to building new audiences with wide-ranging and cross-disciplinary public programs for adults, from university professors and students to young professionals and lifelong learners. Topics in FY19 included: Creative Minds: A Conversation with Brendan Fernandes Creative Minds: Catherine Wagner and Glen Helfand Creative Minds: Rina Banerjee Community Days SJMA’s free community days include in-gallery and hands-on art activities taught by gallery teachers and studio arts educators as well as live performances by dance troupes, storytellers, musicians, and eclectic performers. Programs are geared for children and family audiences, with a focus on multicultural celebrations and multigenerational activities. These dynamic family days further the Museum’s commitment to reach a broad cross-section of the region’s population.

Día de los Muertos Lunar New Year Maker Day DIY Art SJMA embraces the popular “do-it-yourself” culture with programs that bring out the inner artist in everyone. SJMA’s staff or guest artists lead participatory drop-in programs inspired by selected exhibitions or artworks.

Art 101 Art 101 programs are three-hour studio “crash courses” that are inspired by the artistic processes used to create artworks in current exhibitions.

Art 101: Booze and Brushes Art 101: Contemplative Walking with Kathleen Callan Art 101: Street Photography Art 101: Urban Sketching with Suhita Shirodkar

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Lunchtime Lectures The Museum’s monthly series of Lunchtime Lecture is designed for San José’s downtown workforce. From September through May, the series illuminates and grapples with contemporary art issues through cross-disciplinary perspectives offered by experts and educators.

Building Community Archives and Documenting Stories of Refugees and Immigrants Flower Power For Freedoms Town Hall with Anna Martine Whitehead Living in a Material World Spontaneous Minds: The Creative Ethos of 1950s San Francisco Thanksgiving on Mars: Planning for Space Migration The Intersection of Art and Science The New York Times Feminist Reading Group Think Like an Activist: Embracing Hopes and Utopian Visions

Ballet dancers from The New Ballet Studio Company perform choreography by Brendan Fernandes titled, Inaction as part of Third Thursday: Creative Minds with Brendan Fernandes on February 21, 2019, photo by: Frederick Liang.

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Public Program Attendance FY19

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Photo by Samantha Hull

Borderlessness

Stories from the Farther Shore: Southeast Asian Film March 20, 2019–March 24, 2019

The San José Museum of Art (SJMA) and the Asian Art Museum of San Francisco partnered to copresent Stories from the Farther Shore: Southeast Asian Film, a showcase of recent documentary, art, and feature-length films by Southeast Asian filmmakers. Screenings included Finding Phong (2015) by Tran Phuong Thao and Swann Dubus, which examined struggles with transgender identity; Malila: The Farewell Flower (2017), Anucha Boonyawatana’s meditation on love, loss, and mortality between two former gay lovers; and Tuan Andrew Nguyen’s The Island (2017), a dystopian art film shot on the Malaysian island of Pulau Bidong−the site of the largest and longest-operating refugee camp after the Vietnam War.

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In conjunction with the exhibition Other Walks, Other Lines, SJMA worked with a steering committee of ten organizations to create “New Terrains: Mobility and Migration,” a multidisciplinary, community-wide initiative focused on “how bodies move through social and political spaces.” The steering committee collectively decided on "New Terrains" as a governing theme, and 39 institutions contributed to the project. Of these, 11 were new partnerships for SJMA. SJMA supported these partnerships with a shared website, newterrains.org, that included a map, list of things to do and see (exhibitions, special projects, performing arts, talks and discussions and family activities), and information on each partnering organization. The Museum also hosted a community party, in conjunction with the opening celebration of Other Walks, Other Lines, that showcased partner work. The party coincided with the conclusion of Montalvo Arts Center’s contribution, a 24-hour marathon broadcast project conducted in a self-driving vehicle by the international artist collective Radioee.net.

SJMA received many positive comments from visitors, colleagues, and partner organizations about the inclusive nature of its collaborative work with partners. As one colleague wrote, “It is exciting to see the ways in which you are building new relationships with both big and small organizations in the region. I look forward to exploring the many exhibitions and programs of New Terrains in the coming months.”

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New Terrains: Mobility and Migration featured contributions from the following organizations: • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Art Ark Gallery Art Object Gallery Cantor Arts Center at Stanford University Chamber Music Silicon Valley Children’s Discovery Museum Chopsticks Alley Art City Lights Theater Company College of Adaptive Arts Consulado General de Mexico en San José The de Saisset Museum, Santa Clara University FWD.us/Wecome.us/genArts Silicon Valley History San José Institute of the Arts and Sciences and The Arboretum, University of California, Santa Cruz Institute of Contemporary Art San José San José Museum of Quilts and Textiles San José Public Library Santa Cruz Museum of Art and History SETI Institute Soul Focus Sports South Bay Clean Creeks Coalition Teatro Visión The Tech Museum of Innovation MACLA/Movimiento de Arte y Cultura Latino Americana Montavlo Arts Center New Museum of Los Gatos Pajaro Valley Arts Palo Alto Art Center Research Center for the Americas, University of California, Santa Cruz Sangam Arts San Jose Jazz Walk San José Works/San José Yu-Ai Kai Senior Community Center ZERO1

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Photo by Drew Altizer Photography

Attendance and Two-Year Benchmarks

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Social Media Benchmarks FY17–FY19

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Development

Membership at SJMA Nearly 1,500 households comprised SJMA’s paid membership base in FY19, generating $154,000 in annual membership revenue (three percent of the Museum’s operating income). Levels ranged from $35 to $3,000, with benefits including free year-round admission to all of SJMA’s exhibitions, reduced pricing on public and ticketed programs, discounts at the Museum Store and Café, and invitations to special members-only events. Members at the dual/family level and above received reciprocal benefits at up to 900 participating Museums across the United States. In addition to their membership contributions, SJMA’s members gave $40,000 in annual donations for general operating support.

New in FY19, SJMA established a Permanent Collection Artist membership program, which provides complimentary individual level memberships to 651 individual artists whose work is included in SJMA’s permanent collection.

Patron Level Membership

Central to SJMA’s major giving program for individuals, members of the Council of 100 and Director’s Council are integral investors for social impact at the San José Museum of Art. Members are intimately engaged in the life of the Museum, connecting with curators, artists, and SJMA leadership; and provide crucial growth capital to support the institution’s overarching goal to become a borderless museum, essential to creative life in San José and Silicon Valley. During FY19, the C100 and DC giving programs generated $273,400 for general operating support.

The Director’s Council and Council of 100 influence the acquisition of artwork for SJMA’s permanent collection through an annual ArtPick event with the Museum’s curators, and they share a special dinner and conversation with a cutting-edge contemporary artist each year, such as Alison Saar, Hayal Pozanti, Eric Fischl, Linda Besemer, Leo Villareal, and Tony Oursler. Members venture on day trips to visit artist studios, private collections, and behind-the-scenes throughout the Bay Area and Northern California art community—and they also travel nationally and internationally with SJMA’s executive director.

Director’s Council: 39 Households Members invest $10,000 and above annually and enjoy: • private curator-led tours of SJMA’s exhibitions • receptions at homes of top local collectors • invitation to travel biennially with SJMA’s executive director to prime destinations for art lovers, such as Germany, India, China, Portugal, Spain, and Japan • and all benefits of the Council of 100.

Council of 100: 14 Households Members contribute between $5,000 and $9,999 annually and enjoy: • the Council of 100’s Annual Dinner, which features artists discussing art today • annual ArtPick, to vote for an acquisition to the Museum’s permanent collection with funding provided by a portion of the Councils’ annual investments • annual day trip to visit artists' studios, private art collections, and other exclusive destinations • invitation to travel with SJMA to national art destinations such as San Diego, Scottsdale, Arizona, Houston, Los Angeles, and Chicago.

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FY19 Membership Households

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Development Events Opening Receptions SJMA hosted four celebrations for its FY19 exhibitions. The openings of Dinh Q. Lê: True Journey Is Return, Undersoul: Jay DeFeo, and Rina Banerjee: Make Me a Summary of the World included special receptions for sponsors and patron-level members, followed by after-hours access for all levels of membership. Private dinners for the artists, exhibition sponsors, and artwork lenders were also hosted.

The opening celebration for Other Walks, Other Lines and New Terrains took place as part of SJMA’s Third Thursday public programming. Produced in partnership with 19 community partner organizations, it featured performances by Ensemble Folklorico, Mosaic Silicon Valley, Play On Words, and sjDANCEco. Dinh Q. Lê: True Journey Is Return, September 12, 2018 Other Walks, Other Lines and New Terrains, November 15, 2018 Undersoul: Jay DeFeo, March 9, 2019 Rina Banerjee: Make Me a Summary of the World, May 15, 2019 Young Professional Events Members of SJMA’s Young Professional group were offered unique opportunities for professional and social networking with Silicon Valley art enthusiasts and next-generation community leaders.

Members enjoyed exclusive after-hours events, reciprocal membership benefits at hundreds of other museums in California and across the United States, and the chance to connect with downtown San José’s thriving community of young professionals.

Young Professionals’ Halloween at California Academy of Sciences, October 25, 2018 Young Professionals’ Holiday Cocktail Party at SJMA, December 6, 2018 Patron Level Member Events + Travel Program In FY19 the group’s annual dinner featured artist Alison Saar as guest speaker. Members traveled to Chicago with Oshman Executive Director Sayre Batton to tour artists' studios, private collections, and museums. The annual ArtPick held on April 17, 2019, provided members an opportunity to help build the Museum’s permanent collection; two photographs by Los Angeles-based artist Genevieve Gaignard were selected through attendees' votes.

C100 Day Trip to Wine Country, October 20, 2018 C100 Annual Dinner, February 2, 2019 Art Pick, April 17, 2019 C100 National Trip to Chicago, May 1–6, 2019 | Corporate Leadership Council The Corporate Leadership Council of SJMA celebrated Silicon Valley’s leading female professionals and creatives through its annual program “Women in Leadership.” On June 13, 2019, this signature event provided after-hours access to four exhibitions featured the work of visionary women artists, as well as a panel discussion on the topic of intersectional feminism, moderated by Holly Shen, deputy director, SJMA, with guest panelists Annie Jean Baptiste (Google), Annabel Chang ( and Alaska Airlines), Kim Walesh (City of San José).

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Top: Members of the Young Professional group pose at the 2019 Holiday Party Mixer held annually at SJMA; Bottom: Rory Padeken, assistant curator, converses with C100 member Mary Mocas at the 2019 C100 dinner; Photos by Sharon Kenney.

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Contemporary Curator’s Circle (CCC) This new affinity membership group established by Curator Lauren Schell Dickens and volunteer Kelly Huang brings young collectors and aspiring collectors together to visit artists' studios and local collections, to gain an inside perspective into Dickens' work at SJMA, and to build an intimate community among the next generation of fellow Bay Area art lovers.

Long-time SJMA Trustee Peter Lipman and his wife Beverly hosted the group’s inaugural gathering at their home in Portola Valley on May 29, 2019. Prospective CCC members toured the Lipmans' collection and learned more about the CCC and plans for future gatherings and events.

Trustee and Major Donor-Sponsored Salons In the spirit of philanthropic leadership and peer-led fundraising, SJMA’s closest supporters host intimate gatherings in the their homes or at the Museum. They invite individuals to join them as investors in the Museum’s operations and strategic initiatives. During FY19, three private events helped to generate significant funding, build a stronger culture of individual philanthropy, and cultivate new donors, members, and Trustees: Visionary Women Artists hosted by Mary Mocas and Marv Tseu, November 10, 2018 Marsha and Jon Witkin Fundraising Salon, February 24, 2019 SJMA 50th Anniversary Dinner hosted by Yvonne and Mike Nevens, March 2, 2019

Photo by Gary Sexton

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Photos by Drew Altizer Photography

The Wonder Ball Honoring Toby and Barry Fernald and Artist Hung Liu

Annual Gala Celebration September 22, 2018 The Wonder Ball: a gala in honor of benefactors Toby and Barry Fernald and artist Hung Liu Saturday, September 22, 2018 5:30pm–midnight Dubbed “one of the most creative events of the year” by Sal Pizarro of The Mercury News, SJMA’s The Wonder Ball is a crown jewel of the Silicon Valley arts scene. With internationally celebrated artists in attendance, a live auction of contemporary fine art, and an after-party with live music and dancing, it showcases the highest level of hospitality and artistry. The 2018 celebration honored great benefactors Toby and Barry Fernald for their years of leadership, support, and advocacy for art education. In celebration of the worldwide contributions that artists make to society and all our lives, the Museum also presented its inaugural artist award to one of the most beloved artists represented in its collection: renowned artist Hung Liu. The Mirror Ball, the after-party for The Wonder Ball, offered an extended evening of cocktails, latenight comfort food, live music from No Water After Midnight, dancing, and after-hours access to all exhibitions, including, Won Ju Lim: California Dreamin'.

With nearly 700 guests in attendance, the FY19 Wonder Ball was the most successful fundraising event in the Museum’s 49-year history. The Wonder Ball raised $870,000 to support the Museum’s landmark exhibitions, inclusive public programs, and education initiatives. Following a reception in the Museum, by Cellista, New Ballet Studio Company, and San Jose Jazz performed.

Cocktails were served by Sipsmith, the official gin of the San José Museum of Art, and wine was generously provided by Total Wine & More. More than twenty artists attended, including Matthew Angelo Harrison, Mildred Howard, Ramekon O’Arwisters, Mel Prest, Lava Thomas, and Xiaoze Xie. Gala Co-chairs Nicolette St. Angel and Robert Lindo Auction Chair Tad Freese Guest Auctioneer Robbie Gordy, Christie's, New York

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Top left: Robbie Gordy, Guest Auctioneer, Christie's New York poses under SJMA's art portal; Top right: Artist Honoree Hung Liu gives speech at the Gala dinner; Bottom: Gala attendees dance at the Mirror Ball After Party; Photos by Drew Alitzer Photograhpy

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Top Left: Gala attendees dance at the Mirror Ball After Party; Top Right: Gala attendee raises her paddle to bid during the Gala auction; Bottom: Gala honorees Toby and Barry Fernald give thank you speech to Gala attendees; Photos by Drew Alitzer Photography

Photo by Drew Altizer Photography

Honor Roll

FY19 DONORS July 1, 2018–June 30, 2019 $1,000,000+

City of San José

$250,000–$999,999

Lipman Family Foundation

$100,000–$249,000 California Arts Council Facebook Art Department Tad Freese and Brook Hartzell Institute of Library and Museum Services John S. and James L. Knight Foundation Richard A. Karp Charitable Foundation The David and Lucile Packard Foundation The Yellow Chair Foundation

$50,000–$99,999 Applied Materials Foundation Doris and Alan Burgess Lucia Cha and Dr. Jerrold Hiura Melanie and Peter Cross Toby and Barry Fernald Cheryl and Bruce Kiddoo Yvonne and Mike Nevens Sipsmith London, the official gin of the San José Museum of Art Unibail Rodamco-Westfield Group Sara Wigh and Jim McManis

$25,000–$49,999 Bank of America Koret Foundation Wanda Kownacki Elena Lebedeva and Alvin Smith Leo M. Shortino Family Foundation Lisa and Keith Lubliner Grace Liu and Thang Do McManis Faulkner Mary Mocas and Marv Tseu Myra Reinhard Family Foundation National Endowment for the Arts Evelyn and Rick Neely Marjorie and Kenneth Nissly Carol and Gerhard Parker Turner Carroll Gallery

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$10,000–$24,999 Alaska Airlines, the official and exclusive airline partner of the San José Museum of Art Jo and Barry Ariko Asian Cultural Council Hildy Shandell Beville and Ross Harwood Beville Elaine Cardinale Casey and Jack Carsten Casino M8trix Peggy and Yogen Dalal Deloitte Glenda and Gary Dorchak Anneke and David Dury Eileen and Alfred Fernandes Google Heritage Bank of Commerce Hosfelt Gallery Deborah Irmas J. Lohr Vineyards & Wines Diane Jonte-Pace and David Pace KPMG LLP Lorri Kershner Tammy and Tom Kiely Wendy and Mike Kirst Latham & Watkins LLP Worth and Andy Ludwick Marsh Private Client Services Deedee and Burton* McMurtry Chris Mengarelli and Dale Elliott Ann Marie Mix Rita and Kent Norton Alyce and Mike Parsons Cornelia and Nathan Pendleton Theres* and Dennis Rohan Rachel and Simon Segars Shustek Dubinsky Family Philanthropic Fund Timi and John M. Sobrato Nicolette and Lindo St. Angel Lisa and Case Swenson Kim Swig Roselyne Chroman Swig Tech CU Shruti and Pawan Tewari Dr. Jan Newstrom Thompson and Paul Goldstein Jamie and Patrick Tierney Walter and Karla Goldschmidt Foundation Daphne and Stuart Wells The William Randolph Hearst Foundation Marsha and Jon Witkin

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$5,000–$9,999 Association of Art Museum Directors Bay 101 Blackstone Gaming Boydston Foundation Brilliant General Maintenance Priya Chandrasekar and Chandra Gnanasambandam Christie's Rana and Artie Davis Leela de Souza Bransten and Peter Bransten Devcon Construction E. Rhodes and Leona B. Carpenter Foundation FABICash Susan and Robert Finocchio, Jr. Cathy Grape Greenfield Southwick LLP Susan Hartt Maryellen and Frank Herringer Pamela and David Hornik Lys and Lee House J.P. Morgan Securities The Jay DeFeo Foundation Joel Dean Foundation Sally Lucas Carolyn Lund and Norman Lariviere Suzette Mahr Katherine and Robert Maxfield Maxim Integrated Milligan Family Foundation Sarah and Denny North Ian Reinhard Elizabeth and Byron Ryono Eileen Silver Sotheby's Alexandra and Murphy Stein Maja Thomas and Sayre Batton Susan and Sanjay Vaswani Claudia and Sven Weber

$2,500–$4,999 Lorna Meyer Calas and Dennis Calas M. Bernadette Castor and David Packard Dolby Chadwick Gallery eBay Maureen Ellenberg Farrington Historical Foundation Rebecca and Pete Helme William Lapcevic

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Robert S. Lindo Dianne Lynch and Michael Riley Rosemarie and Barry Mirkin Ann and Kanwal Rekhi Elizabeth and Mark Striebeck The Morrison & Foerster Foundation University Art Vivian G. Crummey Benevolent Trust

$1,000–$2,499 Nola and Harvey Armstrong Kristin and Christopher Bertrand Ellen and Richard Brown Kathleen Callan and Thomas O'Brien Consuelo Cervantes Shania Chang Libby and Paul Conrado Susan and George Crow Rex Cumming and Chris Gonzalez Susan and Paul Curtin Valentine and Nicolas Denjoy Celia and Jim Dudley Elizabeth Leach Gallery Jacquie and Bill Faulkner Barbara and Martin Fishman Martin Fox and John Green Pamela and Marc Garibaldi Mary Jo and Dick Garrett Geschke Foundation Carol Harell Tricia Hill Trudy and Dan Hirschfeld Liz Hoffman and Morrie Druzin Kelly Huang Carolyn and Joseph Hyatt John S. Ettelson Fund in honor of Charlotte Wendel* Alicia and Kevin Jung Betty and James M. Kasson Rose and Tom Kausek Jean and James Kellett Kieve Foundation Linda and Kurt Klein Kay Knox Ph.D. Karen and Keith Lantz Kim Light Thomas Matson Mary Murphy and Mark Stevens Susan and Ray McGowan, Jr. Rob McQuilkin

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Shauna Mika and Richard Callison Diana Morabito and Keith Ball Melanee Murphree and Gary Robertson Rosemarie and Robert O. Muzio Nancy Hoffman Gallery Pace Gallery Joseph Rozier and Benson Lai Dorothy Saxe Liza and Eric Scaff Silicon Valley Community Foundation Jessica Silverman Eta and Sass Somekh David Stonesifer and Larry Arzie Beatrice Strickland in memory of James L. Strickland* Elle Travers and J. Michael Bewley Wilson Sonsini Goodrich & Rosati Michelle Winner

In-Kind Donations Adobe Alaska Airlines Anglim Gilbert Gallery Marianne Boesky Gallery The Bott Collection Brian Gross Fine Art BrightSign Catered Too! Catharine Clark Gallery District Restaurant Dolby Chadwick Gallery Gallery Luisotti Glenda and Gary Dorchak Robbie Gordy Haines Gallery The Jay DeFeo Foundation Beverly and Peter Lipman Hung Liu Walter Maciel Gallery Magnolia Editions Morla Design Mary Mocas and Marv Tseu NEC Display Solutions Nox Cookie Bar Jessica Silverman Gallery Patricia Sweetow Gallery Maja Thomas and Sayre Batton Nancy Toomey Fine Art Total Wine & More Marsha and Jon Witkin

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Donors to the Permanent Collection Acquisitions Committee Council of 100 Tad J. Freese Lipman Family Foundation Ann Marie Mix Evelyn and Rick Neely Rena Bransten Gallery

Founders' Society Bequests and planned giving Doris and Alan Burgess Ron Casentini The Marion Sarah Cilker* Administrative Trust Rosa and Werner Cohn* Caroline Crummey* Vivian Crummey* Faith C. and Paul L. Davies* Glenda and Gary Dorchak John Ettelson* in honor of Charlotte Wendel Dixon* and Barbara Farley Toby and Barry Fernald Tad J. Freese Zelda Glaze* Dr. Jan Newstrom Thompson and Paul Goldstein Michele Kelly-Jones and William Jones Suzette Mahr Chris Mengarelli and Dale Elliott Ruth Mirassou* Yvonne and Mike Nevens Deborah D. and Henry F. Norberg Ena Weisskopf Passarini* Ann Ratcliffe Frederick and Marcella Sherman* Living Trust Marcia and Howard Summers* Larene Wambsganss* Daphne and Stuart Wells Elizabeth and Bobby Yount William Zoller* *Deceased

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Staff Chris Alexander Anamarie Alongi Sayre Batton Daniel Becker Kristin Bertrand Jeff Bordona Randy Bricco Alysia Caryl Trami Cron Aquiles de la Torre Nathaniel Decena Daphne Deitchman Lauren Dickens Pat Downward Laura Eliasieh Dharma Funder Amanda Helton Samantha Hull Sherrill Ingalls Richard Karson Frederick Liang Aaron Lee Khai Nguyen Bbora Park Nguyen Adrianna Nunez Rory Padeken Anthony Palomo Jody Parry Karen Rapp Amanda Rawson Cheryl Rediger Melanie Samay Natalie Sanchez Holly Shen Brian Spang Athena Synder Jai Tanju Aquiles de la Torre Claire Tsai Robin Treen Paulina Vu Kathryn Wade Jessica Yee

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Manager of Interactive Technology (–January 2019) Registrar Oshman Executive Director Associate Exhibition Designer Director of Development Director of Education Facilities Manager Manager of Youth Programs Special Project Manager Digital Content & Graphic Design Specialist Museum Store Sale Associate (April 2019–) Accounting Specialist, Museum Store Sales Associate (–April 2019) Curator Director of Retail Operations IMLS Project Research Curator (–December 2018) Human Resources Manager (–January 2019) IMLS Project Database Registrar Education Program Coordinator Director of Marketing and Communications (–August 2018) Director of Design and Operations Public Relations and Marketing Assistant Preparator Staff Accountant Development Events and Rentals Coordinator Former Membership and Annual Fund Coordinator (–February 2019) Associate Curator Development Events and Rentals Assistant (–April 2019) Human Resources Manager (May 2019–) Director of Grants and Special Project Funding Major Gifts Officer (–November 2018) Museum Store Sales Associate Director of Marketing and Communications (July 2018–) Development Stewardship Coordinator Deputy Director (November 2018–) Director of Finance Development Associate Facilities and Events Assistant (February 2019–) Digital Content and Graphic Design Specialist Development and Membership Assistant Special Projects Coordinator Manager of Museum Experience Curatorial Associate Manager, Director’s Office

Museum Experience Representatives Viridiana Alcaraz Alvarez Matthew Casey Rachael Chamberlain Erin Edwards Jigme Farber Brooke Finnister Grethe Von Frausing-Borch Marygrace Halilli Berenice Hernandez Stephanie Ho Julie Hughes Joanna Le Julie Le ShiYao Lin Di Liu Carla Torres Montero Amanda Marie Pascual Gilberto Ramirez Christina Rea Angelica Rodriguez Joseph Toro

Gallery Teachers and Studio Arts Educators Michael Arellano Katherine Andres Emilio Banuelos Aubrey Beam Brittany Benjamin Amante Roan Bontempo Corozon Collen Annissa Conditt Midori Endo Maria Fox Linda Franklin Erika Gomez Henao Katherine Hanks Andalusia Khechfe Hannah Lehman Stuart Mahoney Kathryn Peck Carol Pfahl Jessica Richter Abigail Sinclair Shannon Stearns Radhika Tandon

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Installation Crew Nathan Cox Christopher Dubois Kyle Farbin Pace Gatherer Uhn-Na Guile Genevieve Hastings Isaac Lewin Ricardo Oseguera Christina Rea Jai Tanju Jeri Yasukawa

Interns Jayann Bella Jessica Kwong

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Docent Council Ursula M. Anderson Michael Arellano Lauren Buchholz Doris Burgess Kathi Cambiano Jamie Chambliss Sandra Churchill Francine Craven Clarice Dent Fran Dordick Dolores Fajardo Peter Fargo Betty Faulnter Lorraine Fitch Cathleen Fortune Linda Foster Kenna French Lisa Gallo Kathy Gibson Barbara Hansen Kim Harris Sharlyn Heron Tricia Hill Lys House Karen Huitric Ruth Kifer Michaela Landrok Diana Loew Erin Lu Lucy Lu Lisa Lubliner Suzette Mahr Ellen McInnis Martha McKee-Hayden Shauna Mika Ann Marie Mix Peggy Yep Morrow Evelyn Neely Tammy Nickel Susanne Offensend Maryana Petrenko Miho Poelman Pirjo Polari-Khan Leah Read Monica Rojano-Moguel Elizabeth Ryono

Elizabeth Seiden Ursula Shultz Nicolette St. Angel Bob Strain Ellen Tafeen Jeanne Torre Hal Turk Nathalie Verma Rick Vierhus Richard Volle Eli Yasek Alayne Yellum

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Let’s Look At Art Active Carol Absalom Julie Anderson Marilyn August Carol Bower Eve Brasfield Kathi Cambiano Susan Curtin Ellen de Vargas Nancy Dunne Harriet Erbes Norma Faulkner Robin Feinman-Marino Toby Fernald Cathy Fraser Lisa Gallo Melinda Ghavi Karen Harrington Kim Harris Julia Hartman Beth Herner Tricia Hill Dave Himmelblau Lorraine Hoff Judith Horn Julia Jacobson Teja Karra Gail Kefauver Jean Kellett Linda Klein Marcia Klein Anar Kotadia Karen Lantz Andrea Lee Laurel Lee Chuck Lucchesi Loyce Mandella Nancy Mathews Susan McGowan Tony Misch Linda Mitchell Barbara Nelson Maria Quillard Amy Rapport Pamela Ryalls-Boyd Elizabeth Seiden Nancy Unger Sybil Wolden 70

Sustaining Mary Ann Barr Christy Cali Kathleen Callan Char Devich Connie Dimmitt Lorraine Fitch Linda Foster Linda Gallo Donna Bee-Gates Linda Goldberg Joan Gorham Barbara Hansen Carole Kilik Christine Lee Mary Ann Lewis Loretta Lopez Beverly Lundstedt Janet Mannina Ellen McInnis Rosemarie Mirkin Mary Muntz Linda Pfeiffer Jane Pomeroy Linda Robles Carrie Ross Joan Sharrock Liz Summerhayes Diana Taylor Bobbie Wood Nancy Wlde Christine Zheng

Store Guild and Store Volunteers Marilyn August Connie Bantillo Nancy Beckman Lawrie Brown Sara Selbo-Bruns Pat Caporal Bill Jones Michele Kelly-Jones Rachel Karklin Madelyn Lee Chris Mengarelli Jeannie Pedroza Anita Phagan Carla Rosenblum Shu Rosenthal Shelley Smith Norika (Nori) Takada Mitsu Wasano Alisa Wetzel Nancy Wylde

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Board of Trustees Community Committees Acquisitions Committee Lisa Lubliner, chair J. Michael Bewley Elaine Cardinale Rana Davis Cheryl Kiddoo Peter Lipman Ann Marie Mix Rita Norton David Pace Theres Rohan John Weber Marsha Witkin Audit Committee Anneke Dury, chair Peter Cross Chris James Lawrence Lee Sarah North David Sacarelos Development Committee Cornelia Pendleton, chair Cheryl Kiddoo Toby Fernald Yvonne Nevens Evelyn Neely Robert Lindo Eileen Fernandes Nicolette St. Angel Felicia Gray Lys House Claudia Weber Marsha Witkin Executive Committee Tad Freese, co-chair Cheryl Kiddoo, co-chair William Faulkner Peter W. Lipman Cornelia Pendleton Hildy Shandell

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Finance and Policy Committee William Faulkner, chair Peter Cross Anneke Dury Glenda Dorchak Tad Freese Cheryl Kiddoo Tom Matson Al Smith The Wonder Ball 2018 Auction Committee Tad Freese, chair Anita Heriot Cheryl Kiddoo Peter Lipman Mary Mocas Nicolette St. Angel

FY19 Annual Report All Rights Reserved 2020 110 South Market Street San José, CA 95113 SanJoseMuseumofArt.org