San Jose Museum of Art FY20 Annual Report

SAN JOSE MUSEUM OF ART

FY20 Annual Report

July 1, 2019–June 30, 2020

Board of Trustees Hildy Shandell Beville, Treasurer Jerry Hiura*; Lucia Cha Peter Cross Clarice Dent Glenda Dorchak, Vice President Anneke Dury William Faulkner Eileen Fernandes Tad Freese, Co-president Chandra Gnanasambandam Cole Harrell Jeannine Jacobsen Richard A. Karp Cheryl Kiddoo, Co-president Jennie Lamensdorf Robert Lindo Kimberly Lin Peter Lipman Hung Liu Lisa Lubliner Susan McGowan Evelyn Neely Sarah North Jeannie Pedroza Cornelia Pendleton, Secretary 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 Frederick Liang

Contents Letter from Oshman Executive Director

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Susan Sayre Batton

Exhibitions On View

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Beta Space: Pae White Almost Human: Digital Art from the Permanent Collection With Drawn Arms: Glenn Kaino and Tommie Smith Speed City: From Civil Rights to Black Power Koret Gallery: Art Learning Lab Woody De Othello: Breathing Room Sonya Rapoport: biorhythm

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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Press and Social Media Highlights

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Borderlessness

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Museum from Home

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SJMA's Response to COVID-19

Development Events

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Honor Roll

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Donor Wall Staff Volunteers

Photo by Sharon Kenney

Letter from Oshman Executive Director Susan Sayre Batton

Photo by Sharon Kenney

The fiscal year 2019–2020 began as a year of celebration for the San José Museum of Art and concluded in the midst of unforeseen and unprecedented challenges.

SJMA opened our 50th Anniversary year by celebrating visionary women artists on the centennial of women’s suffrage in the United States. To kick off the summer of 2019, the Museum opened Beta Space: Pae White, which featured this imaginative, Los Angeles-based artist’s new work including a monumental tapestry and a hanging sculptural mobile (a prototype for a major commission to come). We were equally energized by our new strategic objectives to occupy the digital realm and explore the intersection between art and innovation. Almost Human: Digital Art in the Permanent Collection highlighted artists who use digital and emergent technologies, from custom computer electronics to virtual reality. The exhibition included works ranging from early Jim Campbell to one of the latest artists to enter the collection, Ian Cheng. Almost Human was a destination exhibition that celebrated artists who work in an increasingly digital world.

These exhibitions launched a year that was supported by another strategic objective: to approach fundraising and philanthropy with imagination and ambition. The 2019 Gala + Auction raised over one million dollars in support of education programs and exhibitions, a first for the Museum. With this momentum, SJMA was buoyed by a new burst of enthusiasm.

Fulfilling our desire to be more inclusive, we opened three exhibitions on a free First Friday in November, inviting the public to join us as we welcomed artists, activists, and the NBC Bay Area News cameras. Olympian Tommie Smith, fresh from his induction into the United States Olympic Hall of Fame, joined us to open With Drawn Arms: Glenn Kaino and Tommie Smith. This exhibition celebrated Smith’s act of protest in 1968 at the Mexico City games, allowing us to “pass the baton” to activists engaged in today’s most pressing struggles. That same night SJMA collaborated with History San José to show Speed City: From Civil Rights to Black Power, an exhibition examining the broader history of athletics at San José State University within the historical framework of the 1960s civil rights movement. And finally, we presented Woody De Othello: Breathing Room, the first solo museum exhibition for the Oakland-based ceramic artist.

These exhibitions connected to innovative education initiatives, including deeper teacher engagement, and the California Arts Council supported Two-Part Art field trips to the Museum for students in Title I schools.

As we turned the corner into 2020, we were truly basking in the golden glow of the exhibition Sonya Rapoport: biorhythm, a celebration of this under-recognized Bay Area artist and her exploration of computer-collected and analyzed personal data. Little did we know that February evening that the world was about to radically change forever.

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On March 13, 2020, SJMA halted its on-site programming to help flatten the infection curve of COVID-19, and our focus turned to the safety and health of our families and community. We faced new hardships: balancing the care of others with the unfamiliarity of working from home, feeling isolated from friends and families, and dealing with economic anxiety. Our leadership team and Board worked hand in hand to plan scenarios for our uncertain future as the staff pivoted to support our audience and community with a host of new virtual programs and educational offerings on the Museum’s website and Facebook page. SJMA supported San José Mayor Sam Liccardo’s “Silicon Valley Strong” initiative with a compilation video of education activities that was distributed widely through the City’s networks.

By early June, our attention and that of the nation was on nationwide protests and the Black Lives Matter movement. SJMA stood united with the families of George Floyd, Breonna Taylor, and countless others whose lives were senselessly cut short by police brutality caused by systemic racism. The Museum publicly condemned the ongoing discrimination and inequality suffered by Black and brown communities nationwide. SJMA continued its internal work to become an antiracist Museum, and leadership joined civic and business leaders on the Downtown San Jose Economic Recovery Task Force to envision and encourage a new and better society.

Despite devastating loss of revenue caused by the pandemic, we identified institution-wide goals for the COVID-19 crisis, including ensuring the long-term sustainability of the Museum by retaining staff as well as maintaining and strengthening SJMA’s value to our community and stakeholders.

Exceptional Trustees, foundations, and donors stepped up during emergency fundraising challenges. I will be forever grateful for their heartfelt support during the most challenging season of the Museum’s history. As James Baldwin said, “the challenge is in the moment; the time is always now.”

Susan Sayre Batton Oshman Executive Director San José Museum of Art

Photos by Frederick Liang

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Photo by JKA Photography

Exhibitions On View

Photo by JKA Photography

Beta Space: Pae White July 18, 2019 – January 19, 2020 The work of internationally renowned artist Pae White transcends nearly all traditional boundaries— between art and design, craft and fine art, architecture and installation, theory and practice. Her probing curiosity with the world manifests in her transformation of ordinary objects and phenomena (chandeliers, clocks, popcorn, tapestries, birdsongs, fog, smoke) into exhilarating experiences that defy logic yet remain oddly familiar. Always kinaesthetic—as much a bodily as visual experience that plays with the senses—her work is as alluring as it is ambiguous, suggesting that things may not be as they may seem. The handmade nature of her work, combined with sophisticated technologies and inventive processes, allow for a high degree of improvisation.

In celebration of SJMA’s 50th anniversary, White presented a compendium of new works and recent installations for the sixth iteration of the Museum’s exhibition series “Beta Space.” White’s peripatetic practice across various media and disciplines captured the spirit of this series: her work brims with artistic risk taking and experimentation and reflects the wildly creative and innovative ethos of Silicon Valley.

Beta Space: Pae White featured newly made artworks that furthered White’s interest in shifting our associations and perceptions of everyday objects, materials, and phenomena. In addition, the exhibition featured two monumental installations that upend traditional ideas regarding architecture, museum display practices, fine art, and craft. At 127-feet long, foreverago (2017) is the artist’s largest tapestry to date. Shown in the United States for the first time, it meandered through the gallery, creating a sinuous wall-like structure that presented both the front and back of the weaving.

Revolutionizing the genre of tapestry for the 21st century, White relied on the help of skilled artisans while employing advanced digital imaging techniques to weave together colorful cotton, cashmere, and metallic threads, and used custom software that randomizes distribution patterns to produce her seemingly chaotic scene. Part of the artist’s ongoing series “Bugz + Drugs,” foreverago explodes with a cacophony of insects—ladybugs, dragonflies, grasshoppers, and crickets— descending on plants known for their psychoactive, calming effects: mushrooms, poppies, and cannabis. Renderings of antique Japanese kimono fabric samples and Byzantine icons further enhance an already rich and visually abundant composition.

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In her intuitive approach to materials and images, White maintains a critical eye on popular manifestations and wildly kitsch derivatives of high modernist ideals. In AGAMEMNOMICS (2013), she presents a massive assemblage of chess pieces of her own device. While scouring the design collections of the Museum of Applied Arts (MAK), Vienna, the artist encountered a trove of forgotten toys made by an unknown Viennese designer in the 1920s. From this group she fashioned a chess set and sent images of nine objects to artisans and fabricators in China, Ethiopia, Germany, Lithuania, and Mexico, as well as to artists working in the Los Angeles area.

Each workshop rendered interpretations of these objects in materials of their own specialty: glass, wood, clay, porcelain, plastic, and rubber. Leaving her project to chance and spontaneity, White rescued these toys from the confines of the design archive and cast them back into realms of the imagination and play.

Organized by Rory Padeken, associate curator.

Beta Space: Pae White was supported by the SJMA Exhibitions Fund with generous contributions from the Richard A. Karp

Charitable Foundation, Doris and Alan Burgess, Theres and Dennis Rohan, Tad Freese and Brook Hartzell, and Mary Mocas and Marv Tseu. Additional support was provided by Hildy Shandell Beville and Ross Harwood Beville; 1301PE, Los Angeles; and Roxanne Fleming and David Soward. In-kind support was provided by Alaska Airlines, the exclusive and official airline partner of the San José Museum of Art.

Programs at SJMA are made possible by generous support from the Museum's Board of Trustees, a Cultural Affairs Grant from the City of San José, the Lipman Family Foundation, Yvonne and Mike Nevens, Facebook Art Department, the Richard A. Karp Charitable Foundation, The David and Lucile Packard Foundation, Yellow Chair Foundation, the SJMA Director's Council and Council of 100, the SJMA Endowment Fund established by the John S. and James L. Knight Foundation at the Silicon Valley Community Foundation, and The William Randolph Hearst Foundation.

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Photo by JKA Photography

Photo by JKA Photography

Almost Human: Digital Art from the Permanent Collection September 22, 2019 – September 27, 2020 The technologies developed in Silicon Valley have intrigued and inspired artistic experimentation for more than three decades and pave a way toward the future. Almost Human: Digital Art from the Permanent Collection highlighted artists who use digital and emergent technologies from custom computer electronics and early robotics to virtual reality and artificial intelligence.

Artists in the exhibition include Andrea Ackerman, Jim Campbell, Ian Cheng, Petra Cortright, Mark Hansen and Ben Rubin, Zara Houshmand and Tamiko Thiel, Tony Oursler, Alan Rath, Jacolby Satterwhite, Jennifer Steinkamp, Diana Thater, and Bill Viola.

Organized by Kathryn Wade, curatorial associate.

Exhibitions at San José Museum of Art are supported by the SJMA Exhibitions Fund with generous contributions from the Lipman Family Foundation, Tad Freese and Brook Hartzell, and Cheryl and Bruce Kiddoo.

Support for Almost Human: Digital Art from the Permanent Collection was also provided by Google’s Product Inclusion Division, which advocates for an inclusive lens in the creative process and mirrors the ethos embraced by many of the minority and female artists featured in this exhibition.

Additional support was provided by the San José Museum of Art Docent Council, Let’s Look at Art Volunteers, and Store Guild and Volunteers, in honor of SJMA’s 50th Anniversary.

Programs at the San José Museum of Art are made possible by generous support from the Museum's Board of Trustees, a Cultural Affairs Grant from the City of San José, the Lipman Family Foundation, Yvonne and Mike Nevens, Facebook Art Department, the Richard A. Karp Charitable Foundation, The David and Lucile Packard Foundation, Yellow Chair Foundation, the SJMA Director's Council and Council of 100, the San José Museum of Art Endowment Fund established by the John S. and James L. Knight Foundation at the Silicon Valley Community Foundation, and The William Randolph Hearst Foundation.

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Photos by JKA Photography

Photos by JKA Photography

Woody De Othello: Breathing Room November 1, 2019 – April 5, 2020

Oakland-based artist Woody De Othello creates anthropomorphized household objects in ceramic.

Belying their cheery and colorful veneers is a darkly comedic sense of exhaustion. Born in Miami to a family of Haitian descent, Othello is interested in the nature of many African objects, which offer both ritual and utilitarian functions and possess a spirit of their own. His sculptures express a tension between the animate and inanimate and draw humor from a place of pain. For his project at the SJMA—the artist’s first solo museum presentation—Othello created a new body of work based around Defeated, depleted (2018), a sculpture recently acquired by San José Museum of Art. Organized by Lauren Schell Dickens, curator.

Woody De Othello: Breathing Room was supported by the San José Museum of Art's exhibitions fund, with contributions from Tad Freese and Brook Hartzell, the Lipman Family Foundation, and Donna and Marvin C. Schwartz.

Programs at SJMA are made possible by generous support from the Museum's Board of Trustees, a Cultural Affairs Grant from the City of San José, the Lipman Family Foundation, Yvonne and Mike Nevens, Facebook Art Department, the Richard A. Karp Charitable Foundation, The David and Lucile Packard Foundation, Yellow Chair Foundation, the SJMA Director's Council and Council of 100, the SJMA Endowment Fund established by the John S. and James L. Knight Foundation at the Silicon Valley Community Foundation, and The William Randolph Hearst Foundation.

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Photos by JKA Photography

With Drawn Arms: Glenn Kaino and Tommie Smith November 1, 2019 – April 5, 2020 In 1968, at the Summer Olympic Games in Mexico City, San José State University runner Tommie Smith raised a gloved fist during the medal ceremony to protest human rights abuses around the world and to bring international attention to the struggle for civil rights in the United States. This act of protest, which still reverberates today, was explored in a series of collaborations between Smith and Los Angeles-based conceptual artist Glenn Kaino. The exhibition included monumental sculpture, print-based projects, and memorabilia from Smith’s personal collection that reflect his time as an athlete and civil rights activist.

Organized by Lauren Schell Dickens, curator.

With Drawn Arms: Glenn Kaino and Tommie Smith was sponsored by the San José Museum of Art's Exhibitions Fund with

generous grants from the John S. and James L. Knight Foundation, Applied Materials Foundation, and the National Endowment for the Arts, and contributions from McManis Faulkner, Tad Freese and Brook Hartzell, and Tech CU. Programs at the San José Museum of Art are made possible by generous support from the Museum's Board of Trustees, a Cultural Affairs Grant from the City of San José, the Lipman Family Foundation, Yvonne and Mike Nevens, Facebook Art Department, the Richard A. Karp Charitable Foundation, The David and Lucile Packard Foundation, Yellow Chair Foundation, the SJMA Director's Council and Council of 100, the San José Museum of Art Endowment Fund established by the John S. and James L. Knight Foundation at the Silicon Valley Community Foundation, and The William Randolph Hearst Foundation.

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Photo by JKA Photography

Speed City: From Civil Rights to Black Power November 1, 2019 – May 3, 2020 This archival exhibition, examined the broader history of athletics at San José State (now San José State University) beyond Tommie Smith and within the historical framework of the civil rights movement in the 1960s. Featuring memorabilia, ephemera, photographs, and archival documents, Speed City: From Civil Rights to Black Power revealed the unique cross-section of sports and activism fostered at SJSU from the late 1940s through 1969.

Presented at the San José Museum of Art in partnership with History San José, the exhibition was originally guest-curated by Urla Hill in 2007.

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Photo by Frederick Liang

Koret Family Gallery: Art Learning Lab January 11, 2020 – June 6, 2021 Art Learning Lab is a dedicated exhibition space inspired by Sowing Creativity, the Museum’s award-winning STEAM (Science, Technology, Engineering, Art and Math) education program.

Featuring a diverse selection of work from the permanent collection, the Art Learning Lab reveals how artists engage cross-disciplinary concepts in their approach to artmaking.

Through interactive play and experimentation, visitors are encouraged to draw their own connections between individual creative exploration and the ideas, tools, and techniques used in the artwork on display.

Organized by Jeff Bordona, director of education.

The education fund at SJMA is supported in part by a Cultural Affairs Grant from the City of San José, and generous funding from the Leo M. Shortino Family Foundation, Google, the Koret Foundation, California Arts Council, the William Randolph Hearst Foundation, the Swenson Foundation, KPMG LLP, the Walter and Karla Goldschmidt Foundation, and SVCreates, in partnership with the County of Santa Clara.

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Do Ho Suh, Karma, 2010 (cast 2017). Bronze and copper-plated steel.

On loan from the collection of an anonymous charitable foundation

Doh Ho Suh, Karma, (2010) February 7, 2020 – January 3, 2022 Do Ho Suh’s sculpture Karma (2010) is a 23-foot tower of bronze male figures, each perched atop another’s shoulders and shielding that figure’s eyes with his hands. Suh—who divides his time between Seoul, New York, and London—often creates meditations on coexistence. The sculpture, on loan from an anonymous charitable foundation, is on view in the Oshman Sculpture Court.

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Photos by Johnna Arnold Impact Photography

Sonya Rapoport: biorhythm February 7, 2020 – September 27, 2020 In 1984, artist Sonya Rapoport imagined a future fantasy world in which we consult computers to assess how we feel. Using data gathered at her 1983 interactive performance at WORKS/San José, Rapoport created a fictional computer program that could dictate participants’ moods. Computer Says I Feel . . . (1984) was the third phase of the multiyear project Biorhythm (1980–86), for which she collected and analyzed personal data through both self-assessment and technology-based calculation.

Using then-popular biorhythm computers to measure and plot users’ emotional, physical, and intellectual states and comparing the data to personal accounts—including verbal statements made by performance participants and her own diarylike pictorial collages made daily over the course of a year —Rapoport charted the correlation between computed and personal assessment. Biorhythm questions the reflex that cultural theorist Jeanne Randolph described: our primary assumption about technology is that it works.

Rapoport’s early exploration of computer-human interaction suggests an enthusiastic but ambivalent relationship to technology. The artist’s career-long interest in linkages between systems and the self incited her pioneering computer-based practice, as well as work with symbolic language, data collection, and the aesthetics of scientific and computer data representation. In the 1960s she created a personal iconography with stencil shapes influenced by models of reproductive anatomy and botanical drawings. Using spray acrylic and graphite, she layered her icons with grids and sinuous lines that she adopted from found survey charts and medical imagery. She produced large-scale paintings like Beginning (1974)—now in SJMA’s permanent collection, having been shown in a solo exhibition at SJMA the year of its completion—and drawings made on computer printout paper to explore feminist themes and synthesize knowledge from disparate fields such as chemistry, politics, and psychology.

Sonya Rapoport: biorhythm focused on a decade of rapid transformation in the artist’s practice—from that first exhibition at SJMA to her interactive performances. Charting the transition from abstract painting to computer-based work, the exhibition considered the artist’s prescient exploration of computer-collected and -analyzed personal data and its aesthetic and cultural implications.

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Sonya Rapoport (1923–2015, born Brookline, Massachusetts; lived and worked in Berkeley, California) received an MA in painting from the University of California, Berkeley, in 1949. She had her first solo exhibition in 1963 at the Legion of Honor, San Francisco. The subject of late-career retrospective exhibitions at Kala Art Institute, Berkeley (2011); Mills College Art Museum, Oakland (2012); and Fresno Art Museum (2013), her work can be found in the Bay Area public collections of the Berkeley Art Museum and Pacific Film Archive; Mills College Art Museum; San Francisco Museum of Modern Art; and San José Museum of Art. Rapoport was a frequent contributor to Leonardo, an art, science and technology journal published by the MIT Press.

Organized by Kathryn Wade, assistant curator, with gratitude to the Sonya Rapoport Legacy Trust.

Sonya Rapoport: biorhythm was supported by the SJMA Exhibitions Fund with a generous grant from the Myra Reinhard Family Foundation, and contributions from Wanda Kownacki, and Hildy Shandell Beville and Ross Harwood Beville.

Programs at the San José Museum of Art are made possible by generous support from the Museum's Board of Trustees, a Cultural Affairs Grant from the City of San José, the Lipman Family Foundation, Yvonne and Mike Nevens, Facebook Art Department, the Richard A. Karp Charitable Foundation, The David and Lucile Packard Foundation, Adobe, Yellow Chair Foundation, the SJMA Director's Council and Council of 100, the San José Museum of Art Endowment Fund established by the John S. and James L. Knight Foundation at the Silicon Valley Community Foundation, and The William Randolph Hearst Foundation.

Photos by Johnna Arnold Impact Photography

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Ranu Mukherjee, Radiant Chromosphere (move towards what is approaching), 2012, Hybrid film on DVD, 4 minutes, 59 seconds, dimensions variable. Gift of Barbara and William Hyland, 2012.07.02

Loans from the Permanent Collection

Loans from the Permanent Collection Rina Banerjee: Make me a Summary of the World San José Museum of Art: May 16, 2019 – October 6, 2019 Fowler Museum, University of California, Los Angeles: December 8, 2019 – May 31, 2020 Rina Banerjee Winter’s Flower-Raw materials from sea and from foul and even from some exotic mice was eaten by a world hungry for commerce made these into flower, disguised could be savored 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 Purchase with funds provided by the Lipman Acquisitions Fund with additional funds contributed by the Acquisitions Committee.

2018.10 An-My Lê: On Contested Terrain Carnegie Museum of Art, Pittsburgh: March 14 (June 26, 2020 – January 18, 2021 Amon Carter Museum of American Art: Fort Worth, Texas, April 17 – August 8, 2021 An-My Lê Noncombatant Evacuation Operations, Marine Corps Training Area, Bellows Air Force Station, Waimanalo, Hawaii, 2012 Inkjet print 40 x 56 ½ inches image, each 41 x 57 ½ x 1 ½ inches frame, each Museum purchase with funds provided by the Lipman Acquisitions Fund and the Acquisitions Committee.

2019.09 San Francisco. Californian Dreams, September 13, 2019 – January 12, 2020 Kunst-und Ausstellungshelle der Bundesrepublik (Bundeskunsthalle Deutschland, Bonn (Art and Exhibition Hall of the Federal Republic of Germany, Bonn John Gutmann Lunch Hour, San Francisco, 1934 Gelatin silver print 11 ½ x 10 inches Gift of David Devine, San Francisco, California.

1982.55 Doug Hall Chrysopylae, 2012 Two channel wall installation with sound 28 minutes Gift in part of the Lipman Family Foundation with additional funds contributed by the Acquisitions Committee.

2012.09

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Hung Liu Resident Alien, 1988 Oil on canvas 60 x 90 inches Gift of the Lipman Family Foundation 2005.32 Erle Loran San Francisco Burning II, 1944 Gouache and ink on paper 14 ¾ x 21 ½ inches Gift of Ruth Schorer Loran 1999.24.05 Ranu Mukherjee Radiant Chromosphere (move towards what is approaching), 2012 Hybrid film on DVD, 4 minutes 59 seconds Dimensions variable Gift of Barbara and William Hyland 2012.07.02 Robert Schwartz In the New Year, 1996 Gouache on paper 7 ½ x 8 ½ inches In loving memory of Rudy Driscoll, Sr. 2004.01 Robert Schwartz The Shapeless Street, 1997 Oil on panel 8 1/4 x 9 ¾ in.

In loving memory of Rudy Driscoll, Sr. 2001.39.02 Peter Stackpole View from Ferry, 1935 Gelatin silver print 9 x 13 inches Gift of David Devine, San Francisco 1982.61 Peter Stackpole Workers Going Home, 1935 Gelatin silver print 9 x 13 inches Gift of David Devine, San Francisco 1982.60

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Rina Banerjee, Captured as hostage, a threat from sky, hide or you may die, sit in reverse position, fold back your legs, pinned in the mother shepard’s carpet, with for tides that stay up high why why my mother’s wild nature opens and cleanse, cleared me a place to stay not hide, 2009. Acrylic, faux fur, false eye lashes, and mixed media on paper, 30 x 22 inches. Museum purchase with funds provided by the Acquisitions Committee, 2019.04

Recent Acquisitions

Acquisitions Rina Banerjee Captured as hostage, a threat from sky, hide or you may die, sit in reverse position, fold back your legs, pinned in the mother shepard’s carpet, with for tides that stay up high why why my mother’s wild nature opens and cleanse, cleared me a place to stay not hide, 2009 Acrylic, faux fur, false eye lashes, and mixed media on paper 30 x 22 inches Museum purchase with funds provided by the Acquisitions Committee 2019.04 Tiffany Chung finding one’s shadow in ruins and rubble, from the “Syria Project,” 2014 31 hand crafted mahogany boxes, found photographs printed on plexiglass, LED lights, electrical wire Boxes range from 7 x 7 x 3 ½ to 16 x 7 x 3 ½ inches each, overall width approx. 156 inches Edition 1 of 3 +1 artist’s proof Museum purchase with funds contributed by the Acquisitions Committee 2019.08 Jay DeFeo Untitled, 1971 Gelatin silver print 4 7/8 x 4 ¾ inches, framed Inscription: “2-2-5” on verso in pencil in artist’s hand Gift of The Jay DeFeo Foundation in honor of the Museum’s 50th Anniversary 2019.07 Jay DeFeo Untitled, 1972 Gelatin silver print 4 3/16 x 6 5/16 inches Inscription: “4-2-8 ?” on verso in pencil in artist’s hand Museum purchase with funds contributed by the Acquisitions Committee 2019.10.01 Jay DeFeo Untitled, 1973 Gelatin silver print Image: 4 13/16 x 4 ¾ inches; Sheet: 5 7/16 x 5 inches, framed Inscription: “Vg. 3 ½ - 2-5, +10, H” on verso in pencil in artist’s hand Gift of The Jay DeFeo Foundation 2019.10.02

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Tony Feher Untitled, 2011 Spray paint on rock, cardboard, and wood Five boxes, A: 14 x 18 x 16 inches; B: 12 x 12 x 12 inches; C: 9 x10 ½ x 8 ¼ inches; D: 6 x 7 x 7 inches; E: 8 x 4 x 4 inches Pallet: 42 x 42 x 4 ¼ inches Overall: 55 x 42 x 42 inches Gift of the Estate of Tony Feher 2019.11.02 Tony Feher Laying Between Green and Violet #2, 2015 Blue painter’s tape on UV Plexiglas, wood, bar clamps, and clamp lights Plexiglas: 79 ½ x 47 ½ inches Wood: 96 x 53 ½ inches Gift of the Estate of Tony Feher 2019.11.01 An-My Lê Noncombatant Evacuation Operations, Marine Corps Training Area, Bellows, Hawaii, from the series “Events Ashore,” 2012 Inkjet print Two parts, each 40 5/16 x 56 ¾ inches Edition 5 of 5 Museum purchase with funds provided by the Lipman Acquisitions Fund and the Acquisitions Committee 2019.09a-b Dinh Q. Lê Witness III, 2014 Chromogenic print and linen tape 80 x 36 inches Gift of Yvonne and Mike Nevens 2019.03 Hung Liu Missing Parts, 1992 Woodcut, embossing, and collage 46 x 72 inches Gift of Catherine Wagner 2019.06

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Ruben Ochoa What if walls created spaces?, 2007 Lenticular print Four parts, each 48 x 24 inches Edition 3 of 3 Gift of Will Leben 2020.01 Leo Villareal Cloud Drawing 3, 2017 LEDs, powder coated steel, electrical hardware and custom software 52 ½ x 52 ½ x 3 inches Museum purchase with funds from the Lipman Family Foundation in honor of the 50th Anniversary 2019.05 Don Voisine Blue Chill, 2018 Oil and acrylic on panel 48 x 48 inches Gift of the artist and Gregory Lind Gallery, San Francisco 2020.02 William T. Wiley Vetka and the Harvest, 1994 Acrylic, charcoal, and graphite on canvas 71 ¾ x 51 inches Gift of Wanda Hansen Ashe and Matthew Ashe in memory of Dianne O’Day 2019.12.01 William T. Wiley Enigma Doggy, 1966 Wood, lead, canvas, latex, chain, and paint 23 ½ x 26 x 6 inches Museum purchase with funds provided by the Lipman Family Foundation 2019.12.02

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Photo by Frederick Liang

Museum Experience and Education

Museum Experience and Education The Museum Experience and Education department encourages audiences to access personal creativity. It 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.

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 With support from the California Arts Council (CAC, SJMA was able to offer its premier field trip program, Two-Part Art (which includes a museum tour and a hands-on artmaking lesson for free to Santa Clara County Title I schools the third year in a row. Before the Museum closed following Santa Clara County’s shelter-in-place order due to the COVID-19 public health emergency, 1,948 students from 34 schools participated in programs. Students toured SJMA exhibitions Almost Human: Digital Art from the Permanent Collection and Beta Space: Pae White. They engaged in inquiry-based tours that focused particularly on Mark Hansen's and Ben Rubin’s Listening Post (2002–06, a piece that pulls archived conversation from the world wide web and Pae White’s mobile, Whistleblower (2019. Following these tours students engaged in a onehour artmaking activity led by a teaching artist. Students each built one component of a collective class mobile to take back to their classrooms.

Teachers were asked to fill out surveys to evaluate the program on a range of topics, from scheduling process and pre-visit materials, to age appropriateness and student engagement. The majority of respondents chose the highest ranking. Written comments included: • • • •

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“The children really enjoyed the art project and touring the gallery. The staff were great and very informative.”

“One of my quieter students spoke so much today! She really enjoyed herself!”

“My experience with SJMA has always been excellent. This 2 part art experience is always the best for our students. As a Title I school we are so appreciative of this opportunity to give our students this experience that will change their lives.”

“Very well organized and enthusiastic staff.”

Photo by Frederick Liang

In-School Programs: Classroom Residencies Sowing Creativity In fall 2019, SJMA completed the multi-year curriculum development phase of “Sowing Creativity,” its award-winning STEAM (Science, Technology, Engineering, Art, and Math program for upper elementary school students in Title I schools. Although delivery this year was disrupted by school closures, the Museum can now offer a full three-year program of ten-week courses in Art and Science, Art and Math, and Art and Engineering to upper elementary school students in Santa Clara County. Sowing Creativity’s fifth-grade curriculum, Engineering, Art, and Design Thinking, was formally launched with students at Grant and Lowell Elementary schools in fall 2019. The program’s kick-off followed a summer of collaborative curriculum design by SJMA educators, including teaching artists, gallery teachers, education staff, and outside curriculum consultant Greg Brown. Lessons rooted in science and engineering practices call for students to “define problems, use drawings and models, plan and carry out tests, analyze data, use computational thinking, design solutions, argue from evidence, obtain evaluate, and communicate info.”

Sowing Creativity continues to be particularly effective at reaching students who are difficult to reach in other areas. Several teachers noted its success with students with autism in particular. One teacher explained, “Many of my students who have trouble sitting still and staying focused in class actually are much more engaged in art.” Another identified a specific student and remarked, “He’s never this eager to participate in any of our regular classroom activities – it is wonderful to see him so focused and engaged!”

The social and emotional benefits of regular arts instruction are also consistently praised. As one teacher explained, “I find that the art class allows students to use the creative side of their brain. This helps them to relieve stress and anxiety which they often bring to school.

Many of our students shut down in math or other subjects. On the days when they have art I find they are more relaxed and in a better mood.”

In FY20, Sowing Creativity served 782 out of 1001 students scheduled. Of the scheduled students, 489 were third graders, 409 were fourth graders, 103 were fifth graders.

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.

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Photos by Frederick Liang

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Let’s Look at Art Let’s Look at Art (LLAA) is a free, classroom-based docent program that serves more than 30,000 students in Santa Clara County each year and reaches all 31 of San Jose’s school districts. Forty-eight percent of the students served by this high-impact 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 aligned with California’s Visual and Performing Arts standards—statewide 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.

Teacher Engagement The free admission program has jump-started a more focused teacher-engagement program at SJMA that has helped to deepen partnerships between the Museum and educators. In the twelve months since the free admission program launched, 995 teachers have taken advantage of the offer and 700 teachers have subscribed to the Museum’s email distribution list, a particularly critical increase as the Museum pivots to virtual educational programming in FY21.

SJMA has also held its first Teacher Appreciation evening on Facebook First Friday in September 2019. This evening invited educators, regardless of the subject they teach, to learn more about SJMA’s programs (including its cross-curricular initiatives, and its free admission policy for educators) and to relate to the Museum as an educational resource for their students. Teacher feedback from the free event was very positive and included, “This was terrific…we are looking for activities to give to our whole school…can't wait to plan something” and “I appreciate your excellent (advanced) work in making the transition to online offerings.”

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Top: Museum Docent, (NAME) gives tour of the exhibition Sonya Rapoport: biorhythm; Photo by Frederick Liang.

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FY20 Education Onsite and Offsite Attendance by Program

, , , and ,

and

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Free Individual Admission for K–12 Students, College students, and Educators

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Photo by Sharon Kenney

Gallery Interpretation Spaces

Gallery Interpretation Spaces Answering the questions that visitors have while visiting art museums is one of the greatest challenges for any museum. The sheer number of visitors range widely in age, cultural background, and level of expertise, resulting 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 with the necessary components to facilitate learning in place, SJMA creates 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 visitor needs; • designing gallery environments that foster looking and first-hand experience of original art objects, regardless of with the subject matter; • recognizing that the content and context of the exhibition informs 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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Photo by JKA Photography

Passing the Baton- Raise Your Fist For...

With Drawn Arms: Glenn Kaino and Tommie Smith November 2019 – March 2020 Olympian Tommie Smith and artist Glenn Kaino led drawing rallies around the United States, inviting participants to use the Osmo mirroring device (pictured below to retrace the monumental moments that led him to champion his beliefs.

This interpretive space allowed visitors to explore the metaphor of “passing the baton” by reflecting upon personal causes and sharing what causes they would raise their fists (like Smith did at the 1968 Olympics to support. Visitors were also invited to explore more with a reading list created in partnership with the San José Public Library.

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This word map shows the most common words used by visitors in the advocacy activity

! ! ! !

! ! ! ! ! !

Photo by Jeff Bordona

Koret Family Gallery: Art Learning Lab January 2020–June 2021 The Art Learning Lab (ALL) offers an entryway to works in SJMA's collection, allowing visitors to engage with art using a cross-disciplinary STEAM approach to learning. Youth and adult audiences experiment, play, and create as they make connections between their own creative explorations and the ideas, tools, and techniques they encounter in the works on view. Art Learning Lab is an iterative space that uses human-centered design thinking, current museum pedagogy, and visitor feedback to meet the needs of our diverse audience. The Art learning Lab can take on many forms, such as “ALL For You,” a prototyping space where visitors have an active role in developing content and ideas for future ALL iterations, or “ALL For Science,” where the science behind art conservation is highlighted. The Art Learning Lab includes interpretation stations, a reading gallery, and designated evaluation stations, which the MEE department uses to conduct audience research and gain insight about audience interests and suggestions for future learning lab iterations.

The goals for the Art Learning Lab are:

• • • • • • 40

To stimulate curiosity, inquiry, and reflection; Encourage transformational experiences of seeing, connecting, creating with works of art; Increase appreciation and enjoyment of objects in the Museum; Transition visitors unfamiliar with the Museum to a state of confidence in their ability to visit any gallery; Educate visitors about art museums as institutions, to help them to better understand our strength and mission; Act as a place where families feel comfortable.

21st-Century Self-Portrait Sonya Rapoport: biorhythm February–March 2020 Inspired by Rapoport’s computer-generated, chart-like work A 20th-Century Portrait (1982), this participation space invited visitors to experiment with composition using stencils and personal data visualization to create their own “21st-century self-portraits.”

Photos by Frederick Liang

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Photo by Frederick Liang

Public Programs

Public Programs Facebook First Friday Facebook First Friday was introduced at SJMA on the first Friday of February 2019. The program has continued every first Friday since.

Third Thursday Extended evening hours on the third Thursday of each month offer a casual, social-networking experience for a wide variety of audiences, many of whom were new to the Museum. Each month features a public program to engage and delight audiences.

Creative Minds SJMA is dedicated to building new audiences by presenting wide-ranging and cross-disciplinary public programs for adult constituencies, including university professors and students, young professionals, and lifelong learners.

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.

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.

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.

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Top: Los Lupeños de San José perform traditional Mexican folk dance at Día de los Muertos Community Day, November 2, 2019; Bottom: Rising Phoenix Lion Dance Association performs at Lunar New Year Community Day, February 22, 2020; Photos by Frederick Liang.

Top: Artist Kathy Aoki leads Art 101: Protest Signs and Printmaking workshop on March 7, 2020; Bottom: Gallery Teacher Aubrey Beam leads activity at Facebook First Friday Back2Skool Teacher Appreciation Night event on September 6, 2019; Photos by Frederick Liang.

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Public Program Attendance July 2019–March 2020

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With Drawn Arms

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Photo by Frederick Liang

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Silicon Alleys: SJSU Track Stars Couldn't Outrun Racism in the 1950s November 13, 2019 by Gary Singh

Leave it to the San Jos to trigger forgotten spo

Installation lliewol "Beta Space: PaeWMe,• San JoSl!I Muset.m ol Art, 201�20. Photo: Courtesy San Jose Museom ol Art

out, the San Jose of 6C

Pae White: Material History

much more happening realize.

Last week a conversati

January7,2020byKmlleal Pae White's primary material might well be the history ofapplied &rts. In a new show at the San J(.)5e Museum of Art (on view through January 19, 2020),she draW!; on at least 2,000years of artistic practice, from gold work to carpet weaving, bookbinding,printmaking, and painting. The materials on display are fantastically diverse: from cashmere to cotton, clay,and glass,to porcelain, plastic, aaylie, rubber,and polished stainless steel. It's not a surprise that White repeatedly expresses a desire for an aesthetic ofthe ad infinitum. What is surprising is that the L.o!i Angeles-based artist worked out ofa 600-square -footstudiofor 20ycal'!I.

museum's lunchtime le "Black Athletes and the at San Jose State Colli local sports historian U

Walking around her recently installed exhibition,White says that her unique approach to scale was born of necessity. After finishing her MFA at Art Center in Pasadena in 199 1, she had a tiny studio and not much money, but she did ha,·e time and tenacity. She explains, "I didn't have a shop; I didn't have a team. I cut a lotofpaperbyhand. That was my way to get volume."When hung in grids, the hundreds of pieces created the appearance ofsomething large scale,even ifit could all "fit in a shoebox."

sprinter Bob Poynter di renowned track progra

Her materials,too, have changed o,,er the yeal'!I. Whist/.tbluwer (2019),a hanging piece installed at San Josi!,consists ofmore than 3,000 sheets of thin electroplated steel,cut into hexagons and tied at about foot-long intervals on string. White says, "I wanted something that would reflect ad infinitum, 50 you're not really sure what you're looking at." She takes hold ofone ofthe shape1, turning it m.,er to see the top side: "This one is green.• lnad\'ertently she makes her point; it's not green. She keeps searching: "One of these is green, and it's reflecting onto those," she says, pointing at the cloud ofsil\'et surfaces suspended above us. As we walk under the installation, colol'!I sweep through the mass ofshapes, an effect that White calls a "blush." Spring grocn,jade,a little pink: the hexagons look like shimmering wa,,e patterns reflected into trees overhanging \\-atcr. The thin steel sheet.I are produced by a company that makes metal business cards. White says,"My old interests are still there,but now that I'm working with fabricatol'!I and oomputel'!I and we're writing software,"'C can get something much more specific."

Whether White cuts each piece by hand or collaborates with other artists and fabricalon,labor and the scnsc ofscale remainclosc\y rclatcd inher work.

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City: From Civil Rights an exhibit Hill original!�

FIELDING QUESTIONS: Former sprinter Bob Poynter recalls San Jose State"s successful track program in the '50s in a conversation with sports historian Urla Hill at SJMA. Photo courtesy of San Jose Museum of Art

History San Jose in 20( display at the museum.

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LOCAL NEWS ------ARTS & CULTURE

At SJMA, Rina Banerjee's Retrospective Embraces a Fluid Complexity

By Jeffrey Edalatpour

Photos: Day of the Dead celebrations

0000

Sep 6, 2019

a When I stepped inside New York-based artist Rina Banerjee's flamingo-pink, floating Taj Mahal, it felt like the artist had wrapped me in a valentine the size of a small house. The sculpture Take me, take me, take me ... to the Palace of love is suspended from the ceiling at the San Jose Museum of Art, held aloft by wires a few feet above the ground. It's not an exact replica of Shah Jahan's memorial to his wife Mumtaz, but you can't mistake the turrets and distinctive window shapes for any other structure on Earth.

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Make Me a Summary of the World-Banerjee's career retrospective, first shown at the Pennsylvania Academy of Fine Arts and on a U.S. tour that runs through 2021-fills three galleries on the SJMA's top floor with so many sculptures and paintings they spill out into the hallways. Nothing about her work suggests containment. Even the acrylic paintings that simulate watercolors bleed into and past the edges of their frames. Meanings, too, and when and where you can find or interpret them, are just as fluid.

SANJOSE, CA• NOV. 2: Aka Usan �m 1hret1 hou�gemng into her Dia de Los Muertos stele1on (OStume to help en1ertainviSltors anhe San JOSI! Mvs.eum I ofM'sfret1commun1tyday�n1, Saturd;oy, Nov. z. 2019,m �JOS1!.C,1If,�r1Mondon/BayArnNewsGroup)

By DOUG DURAN I dduran@bayareanewsgroup.com and KARL MON DON I PUBL!SHfD: Nowm�r 2. 2019 at 4:48 p.m. I UPDATED: Now,mbff Z. 2019 at 8:64 p.m.

pick here ifyou ,ue having trouble viewing the slideshow on a mobile device.

Day of the Dead celebrations were held at the San Jose Museum of Art. Chapel of the Chimes in

Hay,...ard and Barrios Unidos in Santa Cruz. The events featured Aztec and traditional Mexican folk

dancers. live entertainment. cultural demonstrations and Calaveras de Azucar (sugar sl<:uUs used tosymbolize deathand rebirthJdecoratingfor children.

Families visiting the cemetery at Chapel of the Chimes also decorated the graves of their loved

ones. Dia de los Muertos MDay of the Dead� celebrates the lives of the deceased with food, drink. parties and activities

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USIC • CLUBS CULTURE

First Friday at San Jose Museum of Art IN CULTURE

DECEMBER 30, 2019 by WALLACE BAINE

PAST IS PRESENT: Tommie Smith revists his famous political statement in new exhibit 'With Drawn Arms.'

San Jose's glorious Museum of Art stays open late one night a month for an evening of live music, night bites and encounters with art. This months First Friday celebration, sponsored by Facebook, features music by Guera/April Garcia and DJ Chale Brown. The museum cafe is open, as are all the current exhibitions at SJMA, including Speed City, an archival look back at the civil rights struggle through the prism of athletics; and the related exhibit With Drawn Arms, in which San Jose State sprinter Tommie Smith collaborated with artist Glenn Kaino to explore the dimensions of Smiths famous raised-fist protest at the 1968 Olympic Games.

Michelle Frey @michellange 1 Nov 2019 Awaiting Tommie Smith's arrival @sjmusart from his Athletic Hall of Fame induction! Critical shows to see #SocialJustice #sjsuwordstoaction #speedcity #historysanjose #art #SJSU #withdrawnarms

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2020

WOODY DE 0TH ELLO MIXES PLAYFUL WITH POLITICAL ELIZABETH

KARP-EVANS

Oakland~based artist Woody de Othello draws on the city's artistic lineage as well as its political legacy to create his surreal, anthropomorphic sculpture. A ceramist first-although he paints, draws and works with found objects-his sculpture is loose and large, often slumped precariously and fired in a multitude of colors reminiscent of Ron Nagle, though adapting none of Nagle's sleek compact forms. Mlt's a question of 'how can I afflict the sculptures with a human quality or an emotive quality?'" he says, citing Ruby Neri and others from the Mission School as inspiration. When we speak, he is working on his first institutional solo show at San Jose Museum of Art, which will run through April 2020.

In 2018, successful exhibitions at San Francisco's Jessica Silverman GallerY. and Karma in New York saw the familiar arrangement of oversized household objects sporting characteristic arms and legs, ears and lips, but it was at the latter space where a rather symmetric presentation of pared-back sculpture necessitated viewers· acknowledgment that humor isn't always at the bottom of what de Othello creates. Sets of oversized prayer hands and unadorned glasswork paired with ceramic bars, glazed in pewter-like quicksilver and moody blues, were a subdued yet weighty reminder of the futility felt by black and brown bodies within the police state-and of the tenuous political environment within which art is now made. "I hear about the work being cartoonish, I always hear about humor. Those are all legitimate readings," he emphasizes. "But when you look at them formally, outside of some of the color decisions, they are manipulated and slumped over. They're constrained, uneasy."

Whether creating life-size figurative work, anthropomorphic everyday objects, or the sober, elegant ceramics of late, one thing is clear for de Othello: "Since the first time I touched the material, it's been this constant in mylife. So many other things have changed, but ceramics has always been there, driving my spirit forward."

wndrgalya · Follow

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rjayrivera_

ART NEWS:Feb.02 Among the first women to earn an MA in Painting from UC Berkeley in 1949 was Sonya

Rapoport. The exhibition "Biorhythm" focuses

on a decade of rapid transformation in the

artist's practice (from that first SJMA exhibition to her interactive performances). Charting the transition from abstract painting to computer­

/

based work, the exhibition considers the

artist's prescient exploration of computer­

collected and -analyzed personal data and its

aesthetic and cultural implications. In 1984

Sonya Rapoport imagined a future fantasy world in which we consult computers to assess

how we feel. Using data gathered at her 1983 interactive performance at WORKS/San Jose,

Rapoport created a fictional computer program that could dictate participants' moods.

"Computer Says I Feel ..." (1984) was the third phase of the multiyear project "Biorhythm" (1980-86), for which she collected and analyzed personal data through both self-assessment

and technology-based calculation.Using then-popular biorhythm computers to measure and plot users' emotional, physical, and intellectual states and comparing the data to personal

accounts, including verbal statements made by performance participants and her own

diarylike pictorial collages made daily over the course of a year, Rapoport charted the

correlation between computed and personal assessment. Her Biorhythm project questions

the reflex that cultural theorist Jeanne Randolph described: our primary assumption about technology being that it works.Info: San Jose Museum of Art, 110 South Market Street, San

•

Jose, Duration: 7/2-5/7/20, Days & Hours: Tue-Sun 11:00-17:00, https://sjmusart.org

Mark Hansen @cocteau

23 Sep 2019

After many years in a crate Listening Post is installed again at @sjmusart If you're in the Bay Area, drop by! It's one of the things I've worked on that I am most proud of. sjmusart.org/exhibition/alm ...

Ben Rubin

@earstudio

Listening Post - my 2002 collaboration with @cocteau - is back! It opened this weekend @sjmusart after 10 years in mothballs. #listeningpost

Thanks f'or fol1111inl us!

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7:20am 24 Sep 2019 Twitter for iPhone ®San Jose, CA, United States

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Photo by Frederick Liang

Borderlessness

Photos by Chris Bolor. Courtesy of Chopsticks Alley

Hidden Heritages SJMA and Chopsticks Alley launched Hidden Heritages: San José’s Vietnamese Legacy in 2019–20.

Hidden Heritages is a two-year partnership among the San José Museum of Art, Chopsticks Alley, and the City of San José Office of Cultural Affairs. It brings Vietnamese artists and community members together to share, amplify, and artistically present stories that reveal the contributions of Vietnamese Americans to San José, one of California’s most diverse cities. Renowned Vietnamese artists Binh Danh, Trinh Mai, and Van-Anh (Vanessa Vo have designed a series of community-based, creative learning workshops that provide opportunities to share personal experiences and memories and to reflect on the transformational impact Vietnamese Americans have had on San José’s culture and economy, as well as its identity as the capital of Silicon Valley. New artworks inspired by the workshops and incorporating stories from workshop participants will form the basis for a series of programs held over two years, including an exhibition and public performance to take place at City Hall in April and May 2021.

Major accomplishments that took place during FY20 include: •

In partnership with Chopsticks Alley Art’s “Adventures in Contemporary Art” program, 35 Vietnamese elders experienced a Vietnamese language tour of SJMA’s exhibitions on November 10, 2019. The visit was the first visit to SJMA for all participants, who received free passes to return to the Museum with up to eight family members.

•

The project’s first workshop, “We are Living History,” took place at the Vietnamese American Cultural Center, San José, on December 7, 2019. Thirty-two Vietnamese elders (ages 55 or older) attended a workshop led by artists Trinh Mai, Binh Danh, and Cynthia Cao. Participants created a layered memory project consisting of a map of Vietnam, a page of written memories about their journey from Vietnam, and a painted image inspired by a flower or bird native to Vietnam.

•

As part of its free Community Day: Lunar New Year on Saturday, February 22, 2019 SJMA hosted a special temporary exhibition called Ấp Ủ Identity | Journey | Legacy. It included artwork created by elders in the first workshop. State Assemblymember Ash Kalra and City Councilmember Maya Esparza gave opening remarks.

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50X50: Stories of Visionary Artists from the Collection In summer 2020, SJMA released its first digital collection catalog, 50X50: Stories of Visionary Artists from the Collection. This major project—three years in the making—was published with the J. Paul Getty Museum’s platform, Quire. Featuring engaging new writing and photographic and multimedia digital assets devoted to fifty artists in the Museum’s permanent collection, this free online offering dramatically expands online content at a critical time when the collection is not otherwise on view. The catalog has already received significant attention and acclaim, including featured coverage in an August 2020 article in the San Francisco Chronicle’s “Datebook” titled “Bay Area Museums Staying Flexible for Fall Amid Pandemic Uncertainty.” The success of the project and its fortuitous completion at a time when digital engagement is of utmost institutional importance underscores the necessity of long-term planning for both virtual and physical programming. SJMA heeds this lesson as it prepares for a future that will necessarily require both formats to keep audiences safe and engaged.

Access the publication at 50x50.sjmusart.org.

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Equity Task Force SJMA launched a new equity task force in FY20 as part of its strategic plan commitment to “rewrite the conventions of how museums operate.” When fully established, SJMA’s equity task force will be the leading body and holding place for disseminating learning about best practices in diversity, equity, and inclusion. It will assure institution-wide accountability to equity principles, and review existing institutional practices and procedures through the lens of equity and inclusion. The task force launched in summer 2019 with a year-long learning phase consisting of professionally guided sessions on systemic racism, inclusive decision making, and the development of prototypes for new practices at SJMA. The task force will continue to work with equity consultant Nayantara Sen through FY21 to formalize the committee into a standing, permanent and rotating body for equity work.

Task Force members are S. Sayre Batton, Randy Bricco, Lauren Dickens, Amanda Helton, Jessica Kwong, Khai Nguyen, Jody Parry, Karen Rapp, Natalie Sanchez, Holly Shen, Aquiles de la Torre, Paulina Vu (former members were Alysia Caryl and Jessica Yee).

SJMA staff celebrate Pride by posing as the LGBTQi flag during the June all staff meeting.

SJMA welcomes everyone, however they identify.

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Photo by Frederick Liang

College Student Outreach FY20 saw new relationships with local college and university students, in part driven by the free admission policy for youth, students, and educators. Prior to the COVID-19 closure, college students represented 25% of SJMA’s daily attendance—up from 19% in FY18.

The Museum has seen a significant increase in self-guided college tours since the launch of the free admission program. In FY18, 120 students participated in self-guided tours. That number grew to 414 in FY19 and had already reached 332 when the Museum closed in March of FY20.

SJMA allows groups of up to 15 students to visit under the free admission policy.

SJMA launched a college student advisory group in fall 2019 with representatives from San José State University (SJSU) and Santa Clara University. The students came to the Museum to learn about programs and worked with SJMA staff to promote programs on campus. Participation in SJMA’s internship program also grew substantially thanks to deeper partnerships with Santa Clara University and Foothill/DeAnza Community College District, which have funds to support paid internships.

A new partnership with SJSU occasioned by the free admission program now aligns university coursework and SJMA programs. Two studio art and art history courses were built around multiple visits to SJMA that introduced students to various aspects of Museum functions. For another course, two graduate students researched on works in SJMA’s collection and wrote sample exhibition labels for them.

With Drawn Arms: Glenn Kaino and Tommie Smith succeeded in attracting new visitors, many of whom learned about the exhibition from Vanity Fair or heard about Tommie Smith’s arrival at the exhibition opening. Many SJSU professors took advantage of the exhibition and its relevance to the university’s history, either by bringing their classes or by sending students to complete assignments. One SJSU professor designed an entire course around the exhibition, and students created a virtual response exhibition called Iconic: San José State Responds. A link to the exhibition is on SJMA’s website.

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SJMA's Response to COVID-19

Museum from Home: SJMA Responds to COVID-19 A downtown anchor institution accredited by American Alliance of Museums, San José Museum of Art (SJMA is the premier modern and contemporary art museum in Silicon Valley. The Museum is located in the heart of downtown San José (the nation’s tenth largest city, in Santa Clara County, one of six Bay Area counties that jointly issued the nation’s first shelter-in-place order in March 2020.

When SJMA closed its galleries and offices in response to this order, the Museum was 15 months into the implementation of an ambitious five-year strategic plan—itself the product of a significant new Board commitment to grow institutional reach and relevance—that calls for it to become “a borderless museum, essential to creative life throughout the diverse communities of San José and Silicon Valley.” The Board had approved an FY20 operating budget increased by 16% from the previous year in order to support bold strategic initiatives growing audience reach with additional public hours; new access programs for youth, students (including college students, and teachers; a newly expanded touring exhibitions program with scholarly publications; and an invigorated collecting focus on new media and emerging fields. The sudden cessation of on-site programming and the attendant depletion of earned revenue from admissions and education programs forced a significant contraction of this budget, necessitating the cancellation of significant exhibitions and programs.

To govern institutional decision-making in this emergency period, in concert with the Board, Executive Director Batton identified three institution-wide high-level goals for the COVID-19 crisis and recovery period: 1 to ensure the long-term sustainability of the Museum by maintaining its staff 2 to preserve the progress of the strategic work to-date, and 3 to maintain SJMA’s value to its community and stakeholders, including its leadership in arts education, by pivoting to new and virtual solutions. The Museum continues to count many accomplishments in support of these goals, including a 33% increase in followers on Instagram; multiple sold-out virtual programs, including fundraising events; ongoing partnerships with neighboring universities; and the launch of its first digital collections catalogue, 50x 50: Stories of Visionary Artists from the Collection (a project three years in the making designed on the Getty platform, Quire, and now available for free as part of the Museum’s commitment to open scholarship. These goals were all achieved despite long-term under-investment in the Museum’s technology infrastructure, a known liability.

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Public Program Attendance April 2020–June 2020

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Museum Education Streaming Online SJMA’s education team created artmaking activities, STEAM art projects, art lesson explorations, and more for educators. Each week they explored different themes that were relevant, thoughtprovoking, and curriculum-driven. Past subjects were ocean, space, artistic styles, motion, digital, public art, summer, and STEAM-based—all of which were be found on SJMA’s website. These DIY projects and lessons take into consideration any potential technology constraints within households.

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Let's Look At Art Docent Susan McGowan leads a virtual arts lesson from her home during the COVID-19 Shelter-In-Place order.

Curatorial and Artistic Insight at Home SJMA launched the Curators’ Dashboard, where online visitors find what intrigues and inspires the curators. The dashboard provides insight into their incredibly varied and exciting work with art, artists, and cultural producers. Viewers learn about the curators’ favorite artworks from the permanent collection, discover what they are reading, hear them speak about current and recent exhibitions, and follow along as they look back at past exhibitions with new eyes. Some entries are polished and edited while others are candid and spontaneous in response to our dynamically changing world.

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Mark Hansen and Ben Rubin, The Listening Post, 2002–06. Screen modules on support beam, connective wire; 8 audio speakers and software, 233 x 146 x 31 inches. Collection of the San José Museum of Art with funding provided by: Deborah and Andy Rappaport, the Lipman Family Foundation, and Council of 100. Additional support provided by Rita and Kent Norton. 2005.28.

The filming occurred on June 23, 2020 at the San José Museum of Art. On view September 22, 2019–July 5, 2020 in "Almost Human: Digital Art from the Permanent Collection."

The Listening Post (2002–06) Online In person, visitors normally experience Mark Hansen and Ben Rubin’s The Listening Post (2002–06) by entering a dark room, filled with clicking sounds, hundreds of mini-screens, and a computerized voice reading text culled from the internet almost twenty years ago. Comforting and unsettling in its repetitiveness and gradual build to crescendo, the work comprises of words and chatter from online message boards and chatrooms. The mixed-media sculpture stands alone, isolated, while reading words of physically disconnected people attempting to connect online. While reading and listening to The Listening Post, one wonders, did these people connect with a listener?And twenty years later, are they still seeking to connect online? Their words live on, dancing and disappearing in movements created by Hansen and Rubin. The work was featured in SJMA’s exhibition Almost Human: Digital Art from the Permanent Collection, September 22, 2019–September 27, 2020. On June 23, 2020, SJMA filmed a 19-minute video of The Listening Post, now available online, so that visitors may experience this work in its entirety from home.

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Social Media Reach and Impact The San José Museum of Art quickly restructured how social media and digital content was created and shared. Members of every department, including administration, exhibition installation, development, education, store, facilities, and curatorial, provided marketing with new ideas along with historical perspectives on the Museum and past exhibitions and allowed for fresh future content ideas. Staff dug into their personal photo archives to share previously unseen images and videos of SJMA exhibitions.

In turn, SJMA created a structure to share content in a meaningful way—weekly story arcs were envisioned to build up a story and engage community interest. Each week of the shutdown, the social media story arcs focused on an exhibition, artist, public program, or theme. This new organizational structure worked best with multiple posts on a single subject in a week—thereby increasing SJMA’s posting schedule. Additionally, the story arcs permitted the Museum to revisit past exhibitions and share meaningful unseen content from them at a time when changes to social media features prevented a lot of previous content from being shared on SJMA’s accounts. Some highlights of new and unearthed content were video of the facilities manager winding the clocktower in the Museum’s historic building; a cross-country exhibition installation video made by the director of exhibitions; explorations of SJMA’s permanent collection through music scenes; and a dedicated space on the website for curators to write about topics not directly related to current or past exhibitions or public programs.

Previously, social media posting and content creation were kept solely within the marketing department. Since the pandemic began, posting on social media has been shared and content ideas generated through the digital content brainstorm taskforce. Additionally, content creation has spread to all departments with additional help from the facilities and events assistant, who regularly edits videos for the Museum. This moment in time was an opportunity to dig deeper into the history of SJMA’s exhibitions, artists, and collection. Followers have grown by 33% while the Museum maintained its content integrity—always focused on the Museum’s mission. Since so much new content didn’t fit within the normal parameters of the website’s exhibitions, programs, and education sections, a whole new section, Museum from Home, was created for it.

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Social Media Benchmarks FY17–FY20

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FY20 Website Traffic compared to FY17–FY19

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Development

Membership Nearly 1,300 households comprised SJMA’s paid membership base in FY20, generating $156,000 in annual membership revenue (2.2% 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 donated $8,000 in 46 total annual donations for general operating support. Public program registrants, 70% of whom are SJMA members, gave almost $17,000 to education initiatives.

Patron Level Membership Central to SJMA’s major giving program for individuals, members of the Council of 100 (C100) and Director’s Council (DC) are integral investors for social impact at the San José Museum of Art. Members are intimately engaged in the life of the Museum. They connect 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 FY20, the C100 and DC giving programs generated $272,992 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 each year they share a special dinner and conversation with a cutting-edge artist, such as Alison Saar, Hayal Pozanti, Eric Fischl, Linda Besemer, Leo Villareal, and Tony Oursler. Members venture on day trips to visit artists’ studios, private collections, and other behind-the-scenes locations throughout the Bay Area and Northern California art community. They also travel nationally and internationally with SJMA’s executive director.

Director’s Council: 42 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 Berlin, India, China, Portugal, Spain, and Japan and all benefits of the Council of 100.

Council of 100: 16 Households Members contribute between $5,000 and $9,999 annually and enjoy: • • • •

The Council of 100’s Annual Dinner, featuring contemporary 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 artist’s studios, private art collections, and other exclusive destinations Invitation to travel with SJMA to unique national art destinations such as San Diego, Houston, Los Angeles, and Chicago.

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FY20 Membership Households

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Development Events FY20 presented a particular challenge for development events. No longer able to hold in-person events beginning in March 2020, the development team pivoted quickly to produce virtual, online events that continued to strengthen the relationships and commitment of SJMA’s member base and the public.

Opening Receptions SJMA hosted three celebrations for its FY20 exhibitions. The openings of Beta Space: Pae White, With Drawn Arms: Glenn Kaino and Tommie Smith, and Sonya Rapoport: biorhythm included access for all levels of membership and the public in conjunction with the Facebook First Friday event series, which features after-hours receptions with refreshments and activities pertaining to the exhibition. Curator-led gallery tours for exhibition sponsors and artwork lenders were also held, as well as private dinners for the artists, sponsors, and lenders.

Beta Space: Pae White, July 18, 2019 With Drawn Arms: Glenn Kaino and Tommie Smith, November 11, 2019 Sonya Rapoport: biorhythm, February 7, 2020 The opening reception for With Drawn Arms was a banner event at SJMA, with Olympian Tommie Smith and artist Glenn Kaino as the guests of honor. A film crew accompanied them to film the climatic moment of Smith arriving at SJMA to view the exhibition, which is included in the documentary film, With Drawn Arms. This film debuted at the 2020 Tribeca Film Festival and was recently picked up for broadcast on STARZ channel.

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' Summer Mixer at SJMA, July 18, 2019 Young Professionals’ Holiday Party at SJMA, December 6, 2019 Patron Level Member Events + Travel Program In FY20 the group’s annual dinner featured artist and 2020 gala honoree Pae White as guest speaker. The annual ArtPick traditionally provides members an opportunity to help build the Museum’s permanent collection. However, this year’s virtual ArtPick on April 25, 2020, instead presented SJMA’s monumental new commission, Pae White’s Noisy Blushes (2020), which was installed in the museum’s thirty-foot high atrium and would be unveiled at the 2020 Gala and Auction on September 26, 2020.

Council of 100 Dinner, February 29, 2020 ArtPick, April 25, 2020 The group traveled to San Francisco on January 25, 2020 to visit an artist's studio, galleries, and art spaces. Top-level members were scheduled to travel to Japan in March 2020, but the trip has been postponed to 2022 due to COVID-19 pandemic restrictions.

C100 Day Trip to San Francisco, January 25, 2020 Director’s Council Trip to Japan (postponed to March 2022)

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Top: Olympian Tommie Smith accompanied by his wife Delois and artist Glenn Kaino arrive at the San Jose Museum of Art's Facebook First Friday November 1, 2019 opening reception for the exhibition, With Drawn Arms: Glenn Kaino and Tommie Smith with the Olympic Hall of Fame award in his left hand; Bottom left to right: Young professionals attend the Summer Mixer as part of the Third Thursday opening reception for Beta Space: Pae White on July 18, 2019; Guests pose during the Young Professional Holiday Mixer 2019 on December 6, 2019; and Universal Grammar production during the Facebook First Friday Sonya Rapoport: biorhythm exhibition opening February 9, 2020; All photos by Sharon Kenney.

Corporate Leadership Council The Corporate Leadership Council of SJMA celebrated Silicon Valley’s leading female professionals and creatives at its annual program “Women in Leadership.” On November 7, 2019, this signature event provided a networking opportunity for professionals as well as a panel discussion featuring Alison van Diggelen, host of the online interview series Fresh Dialogues; Julian Guthrie, author of Alpha Girls (2019); and a panel of leading women at the intersection of art and activism.

Women in Leadership Networking Reception, November 7, 2019 Contemporary Curator’s Circle (CCC) This affinity membership group established by Lauren Schell Dickens, senior curator, and volunteer Kelly Huang bring young collectors and aspiring collectors together to visit artist studios and local collections, gain an inside perspective into Dickens' work at SJMA, and build an intimate community among the next generation of fellow Bay Area art lovers.

CCC Studio Visit with Kelly Akashi, October 29, 2020 Trustee and Donor Sponsored Salons In the spirit of philanthropic leadership and peer-led solicitation, SJMA’s closest supporters host intimate gatherings in their homes or at the Museum and to invite individuals to join them as investors in the Museum’s operations and strategic initiatives. During FY20, these events went virtual. Four private events were held and helped to generate significant funding, build a stronger culture of individual philanthropy, and cultivate new donors, members, and Trustees.

Sonya Rapoport: biorhythm fundraising salon, hosted by Hildy Shandell and Ross Beville, January 12, 2020 South East North West fundraising salon, hosted by David Pace and Diane Jonte-Pace, February 22, 2020 50x50 Virtual Preview, hosted by Cheryl Kiddoo and Hung Liu, April 22, 2020 Challenge Grant fundraising salon, hosted by Wanda Kownacki and Nina Katchadourian, June 6, 2020

Left: Lauren Dickens, curator in conversation with Alison van Diggelen, Julian Guthrie, and a panel of leading women at the intersection of art and activism at the Women in Leadership November 7, 2019; Right: Artist Pae White is the guest of honor at SJMA's annual C100 dinner on February 29, 2020; All photos by Sharon Kenney.

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Photo by Drew Altizer Photography

50th Anniversary Celebration Gala and Auction honoring founding members Susan Hammer, Ann Marie Mix, and artist Leo Villareal

50th Anniversary Celebration Gala and Auction, September 26, 2019 A gala to support the San José Museum of Art in honor of founding members Susan Hammer and Ann Marie Mix and artist Leo Villareal Saturday, September 21, 2019 5:30 pm–midnight The San José Museum of Art’s annual gala showcases the highest level of hospitality and artistry in the Silicon Valley art scene, with internationally celebrated artists in attendance, a live auction of cutting-edge contemporary art with an auctioneer from Christie’s New York, and an after-party with music and dancing. This signature event raised nearly 20% of the Museum’s annual contributed revenue and directly supports SJMA’s landmark exhibitions, inclusive public programs, and education initiatives that annually serve more than 100,000 people throughout the Bay Area.

In 2019, SJMA celebrated its 50-year anniversary with a look towards the next 50 years. The Mirror Ball, the after-party for the gala, offered an extended evening of cocktails, late-night comfort food, live DJ, dancing, and after-hours access to all exhibitions.

With nearly 500 guests in attendance, the FY20 gala was the most successful fundraising event in the Museum’s 50-year history. The gala raised over one-million dollars to support the Museum’s landmark exhibitions, inclusive public programs, and education initiatives. Following a cocktail reception in the Museum, San Jose Jazz and artist Guillermo Galindo performed. Catering was provided by Melon’s Catering & Events, and wine was generously provided by Total Wine & More.

Many artists attended, including Diana Thater, Gabriel Orozco, Petra Cortright, Binh Danh, Lordy Rodriguez, Josephine Taylor, and Catherine Wagner.

Gala Chair Robert Lindo Auction Chair Tad Freese Guest Auctioneer Robbie Gordy, Christie's New York

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San Jose Museum of Art Executive Director Sayre Patton (left) with gala honoree Leo Villareal and his, Yvonne Force Villareal. Sept. 21, 2019, Photo: Catherine Bii:el w / Special to Th, :hronicle

In 1969 as the Summer of Love heated to a boil in San Francisco, farther south on Highway 101 a group of San Jose citizens joined in that communal spirit of peace and love to save the city's historic post office-turned-library from demolition by transforming it into the San Jose Museum of Art.

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San Jose Museum of Art gala chair Rob Lindo and honoree Ann Marie Mix Sept. 21, 2019.

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Arts patron Lorna Meyer Callas (left) with Robin Laub and San Jose Museum of Art board co-president Cheryl Kiddoo. Sept. 21, 2019.

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In 1969 as the Summer of Love heated to a boil in San Francisco, farther south on Highway 101 a group of San Jose citizens joined in that communal spirit of peace and love to save the city's historic post office-turned-library from demolition by transforming it into the San Jose Museum of Art.

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Photos by Drew Altizer Photography

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Top: San Jose Jazz and artist Guillermo Galindo performs at SJMA's 50th Anniversary Gala dinner ; Left: Guest Auctioneer Robbie Gordy of Christie's New York leads Auction at SJMA's 50th Anniversary Gala fundraiser; Photos by Drew Altizer Photography.

Photos by Drew Altizer Photography

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Photo by Drew Altizer Photography

Honor Roll

FY20 Donor Wall Listing July 1, 2019–June 30, 2020 $500,000 and above City of San Jose The Lipman Family Foundation $200,000–$499,999 Facebook Art Department John S. and James L. Knight Foundation Yvonne and Mike Nevens The David and Lucile Packard Foundation $100,000–$199,999 Adobe Richard A. Karp Charitable Foundation The Yellow Chair Foundation $50,000–$99,999 Applied Materials Foundation Bank of America Doris and Alan Burgess California Arts Council Tad J. Freese and Brook Hartzell Cheryl and Bruce Kiddoo Wanda Kownacki The Andy Warhol Foundation for the Visual Arts Anonymous (2) $25,000–$49,999 R. Harwood Beville Elaine Cardinale Lucia Cha and Dr. Jerrold Hiura* Melanie and Peter Cross Glenda and Gary Dorchak Toby and Barry Fernald Google Diane Jonte-Pace and David Pace Kimberly and Patrick Lin McManis Faulkner Evelyn and Rick Neely Myra Reinhard Family Foundation Rachel and Simon Segars Hildy Shandell Beville Tech CU Sara Wigh and Jim McManis Marsha and Jon Witkin

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$10,000–$24,999 Alaska Airlines, the official and exclusive airline partner of San José Museum of Art Blackstone Gaming, LLC Casey and Jack Carsten Casino M8trix Priya Chandrasekar and Chandra Gnanasambandam Peggy and Yogen Dalal Deloitte Anneke and David Dury Eileen and Alfred Fernandes Cole Harrell and Tai-Heng Cheng Lorri Kershner Koret Foundation KPMG LLP Latham & Watkins LLP Elena Lebedeva and Alvin W. Smith Lisa and Keith Lubliner Worth and Andy Ludwick Jeanine Lunardi Marsh Private Client Services McKinsey & Company Deedee McMurtry Chris Mengarelli and Dale Elliott Mary Mocas and Marv Tseu Marjorie and Kenneth Nissly Rita and Kent Norton Pace Gallery Carol and Gerhard Parker Alyce and Mike Parsons Cornelia and Nathan Pendleton Ritchie Commercial Dennis and Theres* Rohan Elizabeth and Byron Ryono Donna and Marvin Schwartz Shustek Dubinsky Family Philanthropic Fund Silicon Valley Community Foundation SJMA Docent Council Timi and John M. Sobrato SVCreates Swenson Foundation Maja Thomas and Sayre Batton Dr. Jan Newstrom Thompson and Paul Goldstein Joe Tobin Susan and Sanjay Vaswani Claudia and Randall Wollschlager Gayla and Walter Wood Susan and Bruce Worster $2,500–$9,999 Jo and Barry Ariko Nola and Harvey Armstrong 82

The Art History Club Jane Bark and Thomas Matson Nikki Beach and John Marx Boydston Foundation Lorna Meyer Calas and Dennis Calas Randi and Steve Chen Chizen Family Foundation Roselyne Chroman Swig George Crow, in honor of Susan Crow DataEndure Rana and Artie Davis Leela de Souza and Peter Bransten Dolby Chadwick Gallery Francesca Eastman and Edward Goodstein eBay Maureen Ellenberg FABIcash Farrington Historical Foundation, in honor of Carolyn McCoid Roxanne Fleming and David Soward Cathy Grape Greenfield Southwick LLP Susan Hartt Yvonne and Joe Head Melinda and John Heinlein Heritage Bank of Commerce Tricia Hill Lys and Lee House Marie and John Huber James Cohan Gallery Celia Keller Tammy and Tom Kiely Wendy and Mike Kirst Linda and Kurt Klein Robin Laub Let's Look at Art Jackie and Nico Lunardi Carolyn Lund and Norman Lariviere Suzette Mahr Maxim Integrated Shauna Mika and Richard Callison Milligan Family Foundation Rosemarie and Barry Mirkin Gillian and Thomas Moran The Morrison & Foerster Foundation Wayne Muesse Mary Murphy and Mark Stevens Sarah and Denny North Ann and Kanwal Rekhi Laura Roden

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Mallika and Chandran Sankaran, in honor of Yvonne and Mike Nevens Lila and Ronald Schmidt Barbara Shapiro and Mark Lewis Eileen Silver Elizabeth and Mark Striebeck Jack Stuppin Taube Family Foundation, in honor of Leo Villareal Elle Travers and J. Michael Bewley Claudia and Sven Weber Wells Fargo Foundation $1,000–$2,499 Sarah and Peter Blaustein California Humanities Kathleen Callan and Thomas O'Brien Rita and Sean Cameron Carla and David Crane Susan and Paul Curtin Celia and Jim Dudley John S. Ettelson Fund in honor of Charlotte Wendel* Mary and Thomas Field Barbara and Martin Fishman Martin Fox and John Green Gallery Wendi Norris Deborah Goldberg and Daniel Zimmermann Heather and Eric Green Erin and Nick Hammer Judy and John Hart Lindy Hayes Liz Hoffman and Morrie Druzin Valerie and John Hopkins Pamela and David Hornik Hosfelt Gallery Kelly Huang Carolyn and Joseph Hyatt Deborah Irmas Andrea Johnson-Lee and William Lee Kieve Foundation Kay Knox Ph.D. Anar and Shiraz Kotadia Kathryn and Kevin Kranen Robert S. Lindo Hung Liu and Jeff Kelley Susan Longar and Mitch Griffin Shelley Mahr Dorene Masterman Margie Matthews Heather McKenna Pardo and Yaron Pardo Diana Morabito and Keith Ball Jennifer Morla de Matran and Nilus de Matran

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Councilmember Raul Peralez Ian Reinhard Joseph Rozier and Benson Lai Dorothy Saxe Patricia Shea Jessica Silverman Judith Sklar and Stan Voyles Eta and Sass Somekh David Stonesifer and Larry Arzie Robert Strain Myra Sutanto Shen Linda and Charles Toeniskoetter Wanda Waldera Ann Walls Olmsted, in memory of Jean Walls Olmsted Leah and Marc Wiesner Drew Williamson and Jill Jarrett Michelle Winner Anonymous (2) In-Kind Donations Adobe Alaska Airlines Anglim Gilbert Gallery R. Harwood Beville Catharine Clark Gallery Dolby Chadwick Gallery Brendan Fernandes Fort Point Beer Co. Gallery Luisotti Gallery Wendi Norris Robbie Gordy, Christie's Haines Gallery Hammer Museum Hosfelt Gallery Hung Liu Jessica Silverman Gallery Leo Villareal Magnolia Editions McManis Faulkner Michael's Restaurant, Santa Monica Richard Misrach and Guillermo Galindo Miyako Yoshinaga Gallery Morla Design, Inc. NEC Display Solutions New Ballet Nox Cookie Bar P.P.O.W. Gallery Diane Jonte-Pace and David Pace Patricia Sweetow Gallery Hildy Shandell Beville

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Shutters on the Beach, Los Angeles Sterling Art Services Stuart Event Rentals El Tequileño Tequila Tito's Handmade Vodka Total Wine and More Turner Carroll Gallery University Art Wilson Sonsini Goodrich Rosati Acquisitions Committee J. Michael Bewley Elaine Cardinale Lys House Lorri Kershner Cheryl Kiddoo Kimberly Lin Lisa Lubliner Suzette Mahr Ann Marie Mix Yvonne Nevens Rita Norton David Pace Elizabeth Ryono John Weber Marsha Witkin Donors to the Permanent Collection Acquisitions Committee Wanda Hansen Ashe and Matthew Ashe in memory of Dianne O'Day Council of 100 Estate of Tony Feher Gregory Lind Gallery The Jay DeFeo Foundation Will Leben Lipman Family Foundation Yvonne and Mike Nevens Catherine Wagner Don Voisine 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

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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 Anamarie Alongi Allora Armstrong S. Sayre Batton Daniel Becker Kristin Bertrand Jeff Bordona Randy Bricco Greg Brown Alysia Caryl Aquiles de la Torre Nathaniel Decena Daphne Deitchman Lauren Dickens Pat Downward Amanda Helton Samantha Hull Richard Karson Jessica Kwong Frederick Liang Aaron Lee Isabella Montgomery Khai Nguyen Rory Padeken Jody Parry Bbora Park Nguyen Kathryn Phelan Karen Rapp Cheryl Rediger Melanie Samay Natalie Sanchez Amy Sargeant 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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Registrar Education Program Coordinator (September 2019–) Oshman Executive Director Associate Exhibition Designer Director of Development Director of Education Facilities Manager Science Curriculum Consultant Manager of Youth Programs (–November 2019) Digital Content & Graphic Design Specialist Museum Store Sales Associate (–April 2020) Marketing and Membership Coordinator (May 2020–) Senior Curator Director of Retail Operations Manager of Digital Strategy Executive Assistant and Board Liaison (July 2019–) Director of Design and Operations Development Associate (October 2019–) Social Media and Communications Associate Preparator Development Assistant (September 2019–) Staff Accountant Curator Human Resources Manager Development Events Manager Senior Philanthropy Officer (–December 2019) Assistant Director, Strategic Initiatives Museum Store Sales Associate (–April 2020) Director of Marketing and Communications Development Officer Manager of K-12 Curriculum and Instruction (January 2020–) Deputy Director Director of Finance Development Associate (–September 2019) Facilities and Events Assistant Digital Content and Graphic Design Specialist Development and Membership Assistant (–June 2020) Special Projects Coordinator Manager of Museum Experience Assistant Curator Manager, Director’s Office (–July 2019)

Museum Experience Representatives Viridiana Alcaraz Alvarez Allora Armstrong Kathryn Austin Maya Burich Rachael Chamberlain Alexis Cvitkovich Gabriel Domingo Jigme Farber Brooke Finnister Grethe Von Frausing-Borch Marygrace Halilli Stephanie Ho Julie Hughes Katelyn Jafarey ShiYao Lin Di Liu Carla Torres Montero Amanda Marie Pascual Angelica Rodriguez Rebecca Rodgers Jehoiakim Santos Joseph Toro

Gallery Teachers and Studio Arts Educators Emilio Banuelos Aubrey Beam Roan Bontempo Midori Endo Maria Fox Linda Franklin Katherine Hanks Andalusia Khechfe Hannah Lehman Stuart Mahoney Kathryn Peck Carol Pfahl Abigail Sinclair Shannon Stearns Radhika Tandon

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

Interns Carrie Batsford Anh Cao Jessica Kwong Isabella Montgomery Chelsey Nguyen Yvonne Nguyen Kimberly Pedraza Ruhena Randhawa Eva You

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Top: SJMA staff greet patrons at the 50th Anniversary Gala Celebration on September 21, 2019, photo by Drew Altizer Photography; Bottom Left: Museum Experience Representative Joseph Toro converses with a visitor under the artwork, Take Me, Take Me, Take Me, to the Palace of Love (2003) in the exhibition, Rina Banerjee: Make Me a Summary of the World; Right: Interns Jessica Kwong, Eva You, Isabella Montgomery, and Kimberly Pedraza pose in front of the Museum; photos by Frederick Liang.

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Docent Council

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Michael Arellano Lauren Buchholz Doris Burgess Kathi Cambiano Emme Carl Jamie Chambliss Sandra Churchill Francine Craven Clarice Dent Fran Dordick Dolores Fajardo Peter Fargo Betty Faultner Lorraine Fitch Cathleen Fortune Linda Foster Kenna French Lisa Gallo Kathy Gibson Martina Glenn Barbara Hansen Kim Harris Sharlyn Heron Tricia Hill Lys House Karen Huitric Michaela Landrok Diana Loew Lucy Lu Erin Lu Lisa Lubliner Suzette Mahr Martha McKeeHayden Shauna Mika Ann Marie Mix Peggy Yep Morrow Evelyn Neely Tammy Nickel Susanne Offensend Joyce Oyama Maryana Petrenko Miho Poelman Pirjo Polari-Khan Leah Read

Monica Rojano-Moguel Elizabeth Ryono Elizabeth Seiden Ursula Shultz Bob Strain Ellen Tafeen Jeanne Torre Hal Turk Nathalie Verma Rick Vierhus Alayne Yellum

Let’s Look at Art Carol Absalom Julie Anderson Marilyn August Carol Bower Eve Brasfield Kathi Cambiano Susan Curtin Ellen De Vargas Nancy Dunne Harriet Erbes Robin Feinman-Marino Toby Fernald Jody Foster Cathy Fraser Lisa Gallo Suman Ganapathy Karen Harrington Beth Herner Tricia Hill Dave Himmelblau Lorraine Hoff Julia Jacobson Teja Karra Gail Kefauver Jean Kellett Linda Klein Marcia Klein Anar Kotadia Karen Lantz Andrea Lee Laurel Lee Chuck Lucchesi Nancy Mathews Susan McGowan Tony Misch Linda Mitchell Barb Nelson Mary Perry Louise Persson Maria Quillard Pamela Ryalls-Boyd Liana Salikhova Elizabeth Seiden Sherry Tsai Nancy Unger Lotte Van De Walle Martha Weber Jai Zhang

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

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Board of Trustees Community Committees Acquisitions Committee Lisa Lubliner, chair J. Michael Bewley Elaine Cardinale Lucia Cha Lys House Lorri Kershner Cheryl Kiddoo Wanda Kownacki Kimberly Lin Peter Lipman Suzette Mahr Ann Marie Mix Yvonne Nevens David Pace Elizabeth Ryono Marsha Witkin Audit Committee Anneke Dury, chair Peter Cross Chris James Lawrence Lee Sarah North David Sacarelos Development Committee Cornelia Pendleton, chair Toby Fernald Eileen Fernandes (Corporate Leadership Council co-chair) Felicia Gray (Corporate Leadership Council co-chair) Lys House Cheryl Kiddoo Rob Lindo (Gala co-chair) Suzette Mahr Evelyn Neely Yvonne Nevens (Director's Council chair) Executive Committee Hildy Shandell Beville Glenda Dorchak William Faulkner Tad Freese, co-chair Cheryl Kiddoo, co-chair

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Peter W. Lipman Cornelia Pendleton Finance and Policy Committee Hildy Shandell Beville, chair Peter Cross Glenda Dorchak Tom Matson Al Smith

Left: Trustee Peter W. Lipman engages with Kathryn Wade, assistant curator of SJMA at the 50th Anniversary Gala celebration on September 21, 2019, Photo by Drew Altizer Photography; Right: Kim Walesh, Deputy City Manager, City of San José, Trustee Cornelia and Nathan Pendleton at the 50th Anniversary Gala Auction preview September 16, 2019, photo by Sharon Kenney.

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