2014–2015 Annual Report

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Table of Contents

SJMA BY THE NUMBERS……………………………………………………………....3

BOARD OF TRUSTEES………………………….……………………………………....4

DIRECTOR’S REPORT…………..………………………….………………..………….6

EXHIBITIONS 2014 – 2015……………………………………….……………..……..11

PRESS ……………………………………………………………………………...…...26

LOANS FROM THE PERMANENT COLLECTION………………………………......27

ACQUISITIONS 2014 – 2015 …………………………………………………….........28

DEACCESSIONED WORKS………………………………………………………….. 47

MUSEUM EXPERIENCE AND EDUCATION PROGRAMS………………………...52

DEVELOPMENT REPORT …………………………………………………………….73

ATTENDANCE AND BENCHMARKS………………………………….…………….79

AUDITED FINANCIAL STATEMENTS………………………………………..……..80

VOLUNTEERS………………………………………………………………………….83

STAFF……………………………………………………..…………………………….86

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192,330 website visitors; 4,957 Twitter followers;

5,856 Facebook fans

101,864 visitors

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4,635 students participated in Two-Part Art

13 exhibitions

59 new works were added to the

permanent collection

4,662 visitors attended free Community Day celebrations

30,461 students participated in

Let's Look at Art

Full Spectrum Gala raised $309,000 for educational programs

7,782 students participated in SJMA’s school tours

1,528 students participated in Sowing Creativity, a ten-week

integrated arts program

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Board of Trustees Hildy Shandell CEO President Solarelle Tad Freese Attorney at Law, Partner Vice President Latham & Watkins Bruce Worster VP (retired) Secretary JDS Uniphase William Faulkner Attorney at Law, Partner Treasurer McManis Faulkner oger Bowie Private Client Advisor Wells Fargo Private Bank Prasadh Cadambi Partner KPMG LLP Peter Cross Senior Vice President (retired) Bay Networks Glenda Dorchak Corporate Director

Mellanox Technologies Energy Focus

Mirametrix Anneke Dury Community Volunteer Director, Focus Business Bank

Eileen Fernandes Principal and Bay Area Consulting Managing Director

Deloitte Consulting LLP Richard Karp Chairman TicTran Corp Cheryl Kiddoo Community Volunteer Peter W. Lipman Research Geologist (emeritus)

U.S. Geological Survey

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Dipti Mathur Community Volunteer Evelyn Neely Community Volunteer

SJMA Docent T. Michael Nevens Director (retired)

McKinsey & Co. Rita Norton Community Volunteer

Environmental Manager (retired) City of San José

Jeannie Pedroza Community Volunteer Chair, Store Guild Cornelia Pendleton CFO University Art Center, San Jose and Palo Alto Amy Rapport Community Volunteer Let’s Look at Art Alayne Yellum Community Volunteer Docent Council

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Director’s Report The San Jose Museum of Art has always been a museum that is particularly open to interpretation. Long before today’s populist trends of self-curating, crowd-sourcing, and “maker culture,” SJMA’s educators invited visitors to respond to exhibitions through participatory gallery activities and conversational tours, or to try a hand at art-making in guided workshops. It’s no coincidence that our tag line is now “See what you think.” How better to proclaim the belief that, alongside the great visual pleasures art offers us, artworks also trigger ideas and spark our minds? They can stir our emotions and imagination; they knit together meaningful realizations. In the same way that creativity indeed enlists your whole brain, art enlists your whole being.

This year, for the Museum’s forty-fifth anniversary, we decided to push this call-and-response approach upstream and to make it the organizing concept for our showcase anniversary exhibition of the permanent collection, Momentum: an experiment in the unexpected. We invited nine creative professionals of different generations and from various communities around the Bay Area—a ballet dancer, an inventor/designer, a calligrapher, a comedian, a yarn bomber, a street artist, a sound artist, a body painter, a graphic novelist, and a poet—to respond to an artwork in the Museum’s collection in whatever medium, format, and scale they chose. We wanted the process to disrupt the typical in-house authority and propriety of museum exhibitions, yet to duly honor the professional practice of art. These “other” artists’ creative responses encouraged visitors to see artworks in the collection from unexpected perspectives and to respond thoughtfully and creatively in turn, be it on a dance floor in the galleries, via a poetry exercise, or through a moment of quiet on a meditation cushion—a chain reaction of creative thinking that had an energy in and of its own.

The results amazed us all. Imagine Alexander Calder’s Big Red (1959), seen first through a scrim as an enticing graphic shadow; performers whose bodies were painted to emulate Andy Goldsworthy’s Burnt Patch, SJMA (1995); a poem witnessed in the process of its writing and rewriting; or a canvas “painted” by the “brushworks” of a ballet dancer’s tracks. You could hardly help but “see what you think”—and your thoughts most likely ventured in new, different, and deeper directions.

Our anniversary homage to the Museum’s permanent collection—a rapidly growing and unique community resource—continued throughout the year with four additional collection exhibitions. Initial Public Offering premiered pivotal recent acquisitions of very contemporary artworks, most of them generous gifts to the permanent collection, and provided a local counterpoint to the summer exhibition Legacy: The Emily Fisher Landau Collection, which featured promised gifts of late twentieth-century artworks to the Whitney Museum of American Art, New York. David Levinthal: Make Believe was the first-ever showing of all thirty-nine works in the Museum’s holdings by an artist (raised in Silicon Valley) who helped define the “pictures generation” and

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its artistic strategy of appropriating imagery from the mass media. Sleight of Hand: Painting and Illusion offered a fresh look at some of the public’s most-beloved works in the collection. City Limits, City Life focused on artists’ visions of urban life (spanning eight decades) and created a platform for visitors’ reflections on present-day San Jose, in the midst of a new wave of urban planning. Hundreds of people “tagged” a chain-link fence installed in the interpretive area with their messages about local urbanism.

One of our community’s richest assets is our cultural diversity, among the greatest in the country. In fall 2014, SJMA looked at the complex roots of California’s populations, as well as at the roots of socially conscious figurative painting in America, in Robert Henri’s California Portraits: Realism, Race, and Region, 1914 – 25. Adjacent to this careful selection of Henri’s lush and deftly painted historical canvases, the companion exhibition Post-Portrait offered a contemporary photographic counterpart that subverted traditional notions of portraiture and focused on the active relationship between artist and subject in art today.

The spring season featured three exhibitions that reflect the Museum’s curatorial ambitions for projects we ourselves originate—the clearest mirror of our mission and aspirations as an institution. This fiscal year, in fact, SJMA’s curators organized over 80% of the exhibitions on view, a proud percentage that speaks to the creativity, skill, and productivity of the staff as well as the generosity of the sponsors who make these greater ambitions possible.

Postdate: Photography and Inherited History in India was the first group exhibition of South Asian art at SJMA to include international loans and artists’ commissions. It was accompanied by a major book produced with and distributed by the University of California Press, with contributions by scholars Atreyee Gupta and Latika Gupta and the noted conceptual artists Raqs Media Collective as well by curator Jodi Throckmorton. The exhibition traveled to the Ulrich Museum, Wichita State University, Kansas. The San Jose Mercury News named it one of the top ten exhibitions of 2015 and the Wall Street Journal called it a “don’t miss.”

When we launched the “Beta Space” series in 2011, we did so on a shoestring, in the scrappy spirit of the legendary Silicon Valley garage wherein innovative ideas were incubated out of the limelight, with rallied resources and an “underground” mindset. “Beta Space” provided the opportunity to undertake special projects with artists and to connect artists with community experts. It enabled the Museum to commission new works and support germinal ideas. Over the years, the projects have mushroomed in scope and scale; people from many walks and professions stepped up to participate; and the experimentation of “Beta Space” came to be central to SJMA’s spirit and identity.

Thus, for the forty-fifty-anniversary year, we brought “Beta Space” front and center into the grand Skylight Gallery, for the fourth, largest, and most complex installment in the series, Beta Space: Diana Thater. In her dramatic, glowing installation Science, Fiction (Two) (2015), Thater explored the Milky Way, used for orientation by only humans and the lowly dung beetle. Her

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project involved the generous participation of astronomers and astrophysicists from the University of California, Santa Cruz; UCO/Lick Observatory on Mount Hamilton, San Jose; and NASA Ames Research Center in Mountain View, California; as well as generous in-kind support from Samsung Semiconductor, Inc. via the San Jose office. It was, in all senses, a truly collective and cross-disciplinary effort.

At the other end of the scale, José Clemente Orozco: Figure Studies presented small, intimate drawings by this master Mexican muralist. The exhibition of more than twenty historical figure studies from the collection of Michael Wornick, on public view for the first time at SJMA, gave visitors insight into Orozco’s incredible skill as a draftsman, his astute understanding of the human body, and the private working process behind his monumental, epic murals, which hold such an esteemed place in modern art history. Thanks to the generosity of Michael Wornick, Museum audiences were privileged to have access to rare works that illuminate the nature of the artistic process, a key aspect of SJMA’s mission.

All of these exhibitions were accompanied by public programs and educational activities for adults, youth, and children (nearly eighty programs overall), crafted to help participants explore the broad reach of artists’ ideas and make personally meaningful connections. My own most memorable moment came during an event at which Puragra (Raja) Guha Thakurta, professor of astronomy and astrophysics at the University of California, Santa Cruz, talked about the science and mysteries of the Milky Way to a rapt crowd of art and astronomy aficionados gathered in the galleries of Beta Space: Diana Thater. After the extraordinary discussion, a gentleman expressed his thanks as he was leaving and casually let me know he was a lead engineer on the construction of the Hubble telescope. Only at SJMA!

Sowing Creativity, our flagship integrated arts program in the schools, branched out even further into Common Core curricular territory this year. Teaching artists worked side-by-side teaching scientists in third-grade classrooms and together guided students to explore the cosmic notions of time, space, and scale raised by Diana Thater's art. This program is but one example of SJMA's efforts to insert “art” into the popular acronym of STEM (science, technology, engineering, and math) education. The enthusiasm I've witnessed in our Sowing Creativity classes indicates that integrated arts education—STEAM—not only motivates kids but can also bring the most abstract of concepts into solid focus.

Behind the scenes at SJMA, a skilled, dedicated, and amazingly creative staff brings these endeavors to the public. I am honored to work with such an inspiring, personable, and professional team, each member of which puts his or her special mark on SJMA's projects. I thank them for the collegiality and sense of purpose that infuse SJMA.

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The expertise and personal generosity of the members of our board of trustees lie behind the success of the Museum. I thank our trustees for their counsel and direction, epitomized by the leadership of Hildy Shandell, president, and Tad Freese, vice president. Above all, their enthusiastic advocacy for the arts and belief that philanthropy is a fulfilling expression of their own values make SJMA a stronger, better institution every year.

Susan Krane Oshman Executive Director

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Pushpamala N. The Native Types—Yogini (after a sixteenth-century Deccani painting), from the series “Native Women of South India: Manners and Customs,” 2000–2004 Chromogenic print on metallic paper 20 x 14 inches Collection of Dipti and Rakesh Mathur Photo: Courtesy of the artist and Nature Morte, New Delhi

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Exhibitions

What’s Your Angle? January 16 through November 30, 2014 Artists give us a chance to view the world in new ways and through their eyes. We look at their works and notice tiny details—the structure of an architectural gem, the heat of a moment, weather that can change our mood. The artist frames a view and uses angles and perspective to guide what we see. What’s Your Angle? in the Koret Family Gallery invited visitors to consider their points of view in comparison to artists’ perspectives. Hands-on learning activities accompanied this selection of works by Keith Carter, James Doolin, Godfrey Frankel, Lyle Gomes, Edward Hopper, Michael Kenna, Dale Kistemaker, Erle Loran, Galen Rowell, Joseph Shuett, and Katherine Westerhout. Curated by Lucy Larson.

James Doolin Shopping Mall, 1973 – 77 Oil on canvas 90 x 90 inches Gift of Lauren Richardson Doolin with additional funds contributed by Tom and Polly Bredt, in honor of the San Jose Museum of Art's 35th anniversary

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Initial Public Offering: New Works from SJMA’s Collection March 1 through August 24, 2014 Silicon Valley, the innovation capital of the world, is no stranger to the IPO, or initial public offering. “Going public” signals opportunities for future growth, expansion, and innovation. In spring 2014, the San Jose Museum of Art went public with a selection of exciting acquisitions from the last three years. Initial Public Offering marked the debut of various works in SJMA’s galleries. From Clare Rojas’s folk-inspired diminutive paintings to Tim Hawkinson’s colossal cardboard and urethane foam sculpture Scout (2006–2007), the works in this exhibition marked a bold, new direction for SJMA’s permanent collection. Also included was Stephanie Syjuco’s installation The International Orange Commemorative Store (A Proposition) (2012). Originally commissioned by the FOR-SITE Foundation for the seventy-fifth anniversary of the Golden Gate Bridge, Syjuco’s faux store featured a vast array of the usual souvenir gift shop finds—pencils, mugs, buttons, keychains, and countless other trinkets—all saturated in the bridge’s iconic orange color. Also on view was Alan Rath’s Absolutely (2013), a fifteen-foot-tall robotic sculpture. Activated by movement and heat, the sculpture came alive with a dance that seemed improvisational. Curated by Rory Padeken.

Tim Hawkinson Scout, 2006 – 2007 69 ½ x 103 x 68 inches Cardboard, box strapping, and urethane foam Gift of the Lipman Family Foundation

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David Levinthal: MAKE BELIEVE May 8 through November 30, 2014 Drawn from the permanent collection of the San Jose Museum of Art, David Levinthal: MAKE BELIEVE featured thirty-nine photographs that span the career of this acclaimed and prolific artist. A pioneering photographer of the baby boom generation, Levinthal was in the first wave of artists who were raised with the ever-present visual language of postwar consumer culture, TV, and the mass media. Imagery appropriated from popular culture became rich creative fodder for the so-called “Pictures Generation.” Levinthal creates uncanny tableaus for the camera by constructing dioramas featuring toy figures. With his signature close-up shots and shallow depth of field, Levinthal complicates the boundaries between artifice and reality in order to question the ways in which social and cultural values are expressed through objects of play. His subjects range from the isolation of urban life, to the heroes of boyhood, to racism, to the military campaigns of World War II. Levinthal frequently focuses his lens on iconic but mythologized touchstones of American popular culture, including the Wild West, Barbie, baseball, and pornography. The exhibition included twenty-eight recent acquisitions on view for the first time, which joined earlier donations of Levinthal’s work also from longtime SJMA supporters Katie and Drew Gibson. Levinthal, who grew up in Palo Alto, California, worked closely with the Gibsons to build this exemplary archive of his work. It features the finest examples from his pivotal series and a rare set of four images from the series “Airport,” commissioned by the City and County of

David Levinthal Untitled (Willie Mays, No. 43), from the series “Baseball,” 2003 Vintage Polaroid Polacolor ER Land film 28 ¾ x 22 inches Gift of Katie and Drew Gibson

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San Francisco Airport Commission in 1996. SJMA’s collection of works by Levinthal now rivals the holdings of the artist’s work at the Metropolitan Museum of Art, New York, and the Los Angeles County Museum of Art. Curated by Rory Padeken. Thanks to Katie and Drew Gibson, Michael and Kathy Levinthal, Donald Rosenfeld, and David Levinthal for their generous support of the Museum’s permanent collection and of this project.

Legacy: The Emily Fisher Landau Collection June 5 through September 14, 2014 Legacy: The Emily Fisher Landau Collection surveyed American art since the 1960s. It was drawn from Landau’s promised gift to the Whitney Museum of American Art, New York. As did SJMA’s early “Whitney collaborations,” the beloved landmark surveys of twentieth-century art at SJMA between 1994 and 2000, Legacy gave audiences access to extraordinary works by a pantheon of innovative and pivotal artists. It offered a historical overview of the art of our times from the preeminent museum of American art and was unlike anything else available to Bay Area audiences. Legacy proudly launched SJMA’s forty-fifth-anniversary celebration, with roots in the past and a bold eye on the future. Many of the artworks in Legacy heralded seismic changes, not just in American society, but in the way the artist’s role has evolved over the decades. This exhibition offered insights into the visual thinking and political consciousness of American artists from the 1960s through 2002, with a particularly close look at the 1970s and 1980s. Legacy encompassed a punch list of postwar art movements: abstract expressionism, pop art, minimalism, conceptualism, feminist art, and postmodernism. On view were works by Carl Andre, John Baldessari, Matthew Barney,

Edward Ruscha Lion in Oil, 2002 Acrylic on canvas with tape 64 3/16 x 72 1/8 x 1 9/16 inches Whitney Museum of American Art, New York Copyright Ed Ruscha Photo: Tim Nighswander/Imaging4Art

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Peter Cain, Willem de Kooning, Carroll Dunham, William Eggleston, Eric Fischl, Felix Gonzalez-Torres, Rodney Graham, Keith Haring, Jenny Holzer, Peter Hujar, Neil Jenney, Jasper Johns, Joseph Kosuth, Barbara Kruger, Annette Lemieux, Sherrie Levine, Glenn Ligon, Robert Longo, Robert Mapplethorpe, Agnes Martin, John McLaughlin, Martin Puryear, James Rosenquist, Susan Rothenberg, Allen Ruppersberg, Ed Ruscha, Lorna Simpson, Kiki Smith, Mark Tansey, Al Taylor, Cy Twombly, Andy Warhol, and David Wojnarowicz. Organized by the Whitney Museum of American Art, New York, with a catalogue published by the Whitney Museum of American Art. The San Jose presentation of this exhibition was made possible by the Richard A. Karp Charitable Foundation, Bank of America, the Myra Reinhard Family Foundation, Farrington Historical Foundation, University Art, Doris and Alan Burgess, and Carol and Gerry Parker.

Robert Henri’s California Portraits: Realism, Race, and Region, 1914 – 25 September 13, 2014 through January 18, 2015 American artist Robert Henri (1865 – 1929), one of the most influential artists of the early twentieth century, made the first of his three trips to California in 1914. Henri was enchanted by the light, the landscape, and the people he encountered during his sojourns here—and was compelled by the cultural diversity that has come to define California. This closely focused exhibition revealed Henri’s fascination with the nation’s growing diversity. He turned away from his lucrative society portraits to paint everyday working people: Native Americans, African Americans, and newly arrived immigrants from China and Mexico. Ironically, he worked in California during an era marked by anti-immigrant exclusionary laws. To viewers today, Henri’s

Robert Henri Tam Gan, 1914 Oil on canvas 24 x 20 inches Albright-Knox Art Gallery, Buffalo, New York

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work may appear double-edged—dignifying in intent but subject to a troublesome exoticizing of the “other” (those he called “interesting people”). Yet he considered himself a staunch progressive and his art also faced off against the discriminatory, racist legislation of the time. This exhibition included approximately a dozen lush oil paintings that Henri executed in California. An accompanying exhibition examined contemporary portraiture through the perspective of artists working today. Organized by the Laguna Art Museum, California. This exhibition was made possible, in part, by generous support from Don Head and Barbara Oshman.

Momentum: an experiment in the unexpected October 2, 2014 through February 22, 2015 Momentum: an experiment in the unexpected set out to disrupt the status quo and show that art is anything but just an inanimate object. This exhibition reflected on SJMA’s history as an institution by looking at works in the collection from various eras in which artists explored the related notions of movement and the passage of time. For its forty-fifth anniversary, SJMA invited creative movers and shakers from the realms of design, comedy, performance, music, writing, dance, and other fields to disrupt this exhibition of its permanent collection with their personal artistic responses to the art on view. Their interventions could take any form and be in any medium at any scale they chose:

• Bicycle designer Craig Calfee on Chris Fraser’s new media work Emmanuelle (2013) • Inventor and designer John Edmark on Alexander Calder’s sculpture Big Red (1959) • Venture capitalist-turned-standup-comedian Dhaya Lakshminarayanan on Alan

Rath’s sculpture Info Glut II (1997)

Tony Oursler Slip, 2003 Fiberglass, Sony VPL CS5 projector, DVD, DVD player, and speaker 43 x 35 x 15 inches Gift of the Lipman Family Foundation, in honor of the San Jose Museum of Art's 35th anniversary

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• Body paint artist Trina Merry on Rolfe Horn’s photograph Creek, Mashima, Japan (2001)

• Poet David Perez on Jim Campbell’s new media work Home Movies 300-3 (2006) • Cartoonist Lark Pien on Il Lee’s painting Untitled #204 (2004) • Calligrapher Carl Rohrs on Susan Manchester’s photograph Solstice (1998) • Damian Smith, principal dancer of the San Francisco Ballet, on Fred Spratt’s

painting Grenholm (1965) • Yarn-bomber Streetcolor on Tam Van Tran’s sculpture Most Secret Butterfly (2009) • Sound artist Marc Weidenbaum and his online collaborative project Disquiet Junto on

Josh Azzarella’s video Untitled #8 (2004) To cap it off, visitors were invited to “talk back” in turn to the exhibition through equally unexpected, open-ended, and self-curated modes of participation. On view were works by Andrea Ackerman, Charles Arnoldi, Josh Azzarella, Christopher Brown, Alexander Calder, Jim Campbell, Ellen Carey, Chris Fraser, Sonia Gechtoff, Andy Goldsworthy, Helen and Newton Harrison, Rolfe Horn, Il Lee, Alvin Light, Susan Manchester, Richard Misrach, Deborah Oropallo, Tony Oursler, Alan Rath, Fred Spratt, Hassel Smith, Jennifer Steinkamp, Sam Tchakalian, Tam Van Tran, and Leo Villareal. Curated by Kat Koh. This exhibition was made possible by generous support from the Walter and Karla Goldschmidt Foundation, the Richard A. Karp Charitable Foundation, Doris and Alan Burgess, and the Susan and Bruce Worster Foundation.

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Sleight of Hand: Painting and Illusion October 2, 2014 through February 22, 2015 This exhibition showcased some of the public’s longtime favorite works from the Museum’s permanent collection, in celebration of SJMA’s forty-fifth-anniversary year. Sleight of Hand asked visitors to look carefully at the allure of style and to further explore artists’ use of mesmerizing detail and similitude. Perhaps it is the eerie, truer-than-life illusionism or the wizardry of artistic expertise that draws audiences to realism and makes paintings by artists such as Sandow Birk, James Doolin, David Ligare, Tino Rodriguez, and Masami Teraoka among the most beloved works in the Museum’s permanent collection. On view for the first time were several recently acquired sculptures by Liza Lou: exquisitely beaded renditions of a chair, jeans, and socks. Also on view were works by Chester Arnold, Sandow Birk, Christopher Brown, James Doolin, Lucy Gaylord-Lindholm, F. Scott Hess, Salomon Huerta, David Ligare, Bari Kumar, John Register, Tino Rodríguez, Katherine Sherwood, Masami Teraoka, and Paul Wonner. Curated by Susan Krane.

John Register Desert Restaurant, 1986 Oil on canvas 50 x 70 inches Gift of Susan and Arthur Kern

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Post-Portrait October 9, 2014 through January 18, 2015 This exhibition of contemporary portraiture explored the aesthetic, psychological, and emotional implications of the gaze in photography today. Here, the traditional view of a portrait is subverted: instead, a dynamic and ambiguous relationship between object and subject develops. The power of the gaze is blurred the moment the sitter becomes a partner in the art-making process. Included in the exhibition were works by Nicholas Albrecht, Caitlin Atkinson, Richard Avedon, Anthony Aziz, Charles Berger, Jim Campbell, Kelli Connell, Binh Danh, Gohar Dashti, Beth Yarnelle Edwards, Katy Grannan, Elizabeth Heyert, r.r. jones, Henrik Kerstens, Linda Kramer, Miguel Angelo Libarnes, Lesley Louden, Jana Marcus, Tom Millea, Shirin Neshat, Catherine Opie, Aline Smithson, Larry Sultan, and Wang Yao. Presented as a counterpoint to Robert Henri’s California Portraits, the exhibition was a critical look at the creative—and ever expansive—practice of portraiture some hundred years after Henri. Curated by Susan Leask.

Henrik Kerstens Paper Roll, 2008 Chromogenic print 32 x 20 inches Santa Barbara Museum of Art, Museum Purchase with funds provided by PhotoFuture

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City Limits, City Life December 13, 2014 through June 14, 2015 City life has fascinated artists for hundreds of years. Early twentieth-century artists in the United States often depicted the physical and social realities, as well as the potential emotional disconnect, that can accompany urban density. In recent decades, artistic focus has shifted to the ramifications of climate change, localism, and globalization. City Limits, City Life encouraged audiences to think about urbanism in a larger context and coincided with collective efforts to enliven and transform downtown San Jose. The exhibition featured works by Chester Arnold, Harry Callahan, Karen Carson, Keith Carter, Stéphane Couturier, Chris Doyle, Walker Evans, Godfrey Frankel, Jack Fulton, John Gutmann, Rolfe Horn, Robert A. Isaacs, Jesse Kalisher, Ed Kashi, Louis Lozowick, David Maisel, Joel Meyerowitz, Lordy Rodriguez, Howard Rosenfeld, Leo Rubinfien, Robert Schwartz, Stephen Shames, Richard Shaw, Weegee, Michael Wolf, and Lucia Zegada. Curated by Kat Koh and Marja van der Loo. This exhibition was made possible by generous support from McManis Faulkner.

Harry Callahan Atlanta, 1978 (printed later) 7 ⅛x 18 3/16 inches Dye transfer print on paper Gift of Arthur J. Goodwin

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Koret Family Gallery: Maker Space January 17, 2015 through January 17, 2016 The act of making (whether it be artistic or scientific) with the goal of producing a more beautiful and better world is part of the human impulse. Makers demonstrate an “I can do it” attitude. They use materials in new ways, upcycle discarded objects, challenge familiar ways of doing things, and invent new ones. Sometimes creativity, a force inherent in all of us, just needs a little inspiration. In this spirit, we invited visitors to view artworks made of new materials in new ways, take a maker challenge, and rekindle their creative spark. This exhibition included works from SJMA’s permanent collection by Clayton Bailey, Ray Beldner, Ruth Bernhard, Michael Bishop, Vik Muniz, and Gay Outlaw. Curated by Lucy Larson.

Clayton Bailey Studebaker Radio Robot, 1979 Glazed porcelain 29 x 18 x 14 inches Gift of Robin Leibes

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Postdate: Photography and Inherited History in India February 5 through August 2, 2015 The contemporary South Asian artists in this exhibition take history into their own hands. They mine the uneasy legacy of photography in India and reach back in time to engage in artistic conversation with historical photography, particularly with images made in the early days of the medium and at the height of the British occupation of the subcontinent. Their sources of inspiration are diverse: hand-painted studio portraits from the early twentieth century; archaeological surveys done by the all-powerful East India Company; and film stills from Bollywood movies. Much of this imagery has entered the popular visual imagination and lives on through mass-produced depictions of Hindu deities, panoramic postcards and tourist reproductions, family photographs, and common studio portraits. These artists embrace tradition and innovation as covalent rather than competitive forces: they provide a new voice-over for the past. In the West, representations of India are often limited to photographs of the Taj Mahal or of heartbreaking poverty. The artists challenge such stereotypes and also deepen our understanding of the impact of colonialism on visual culture. Postdate: Photography and Inherited History in India celebrated socially engaged, postcolonial approaches to image-making in India and marked the US debut of several of the featured artists. Works by Nandan Ghiya, Gauri Gill, Vivan Sundaram, Jitish Kallat, Annu Palakunnathu Matthew, Madhuban Mitra and Manas Bhattacharya, Pushpamala N., Raqs Media Collective, Vivan Sundaram, and Surekha were on view. Postdate was organized collaboratively by the San Jose Museum of Art and the Ulrich Museum of Art, Wichita State University, Kansas. Curated by Jodi Throckmorton. This exhibition was made possible by generous grants from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts, and sponsored by Kaushie

Madhuban Mitra and Manas Bhattacharya Through a Lens, Darkly, from the series “The Archaeology of Absence,” 2009 Pigment print 16 x 24 inches Courtesy of the artists and Photoink, New Delhi

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Adiseshan and Anand Rajaraman, and Tad Freese, with support from Yvonne and Mike Nevens, Dipti and Rakesh Mathur, the Asian Cultural Council, and Christie’s.

Beta Space: Diana Thater March 13 through September 13, 2015 Long interested in the mysteries of the night sky and the natural world, internationally recognized artist Diana Thater is fascinated by the dung beetle and its relationship to our galaxy. Inspired by a recent scientific study that revealed how the jewellike beetle uses the Milky Way for nocturnal orientation, Thater developed an entirely new kind of film and video installation to ponder the vastness of the universe and to convey aesthetically the sublime aspects of the cosmic imagination. For her “Beta Space” project (commissioned by the San Jose Museum of Art in celebration of its forty-fifth-anniversary year), Thater benefited from the scientific and technological resources of Santa Clara Valley, long a national and international center for astronomical research and observation. She met with an astrobiologist at NASA Ames Research Center in Mountain View, California; traveled to the four-thousand-foot summit of Mount Hamilton in nearby San Jose to view some of the first images taken of the Milky Way at Lick Observatory in the 1890s; and learned from Puragra Guha Thakurta, astronomer and astrophysicist at the University of California, Santa Cruz, how recent technology has allowed astronomers to view distant corners of the universe. Guha Thakurta, a leading expert on galaxy evolution and formation, advised Thater on the selection of galactic animations for her enveloping installation.

Diana Thater Science, Fiction (Two), 2015 Installation of two video projectors, media player, and lights Dimensions variable Photo: © Benjamin Blackwell Courtesy David Zwirner, New York/London

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“Beta Space” serves as an experimental laboratory for artists, collaborative ventures, and catalytic ideas. It attempts to connect audiences with artists and with the artistic process; to showcase the cross-disciplinary interests of many contemporary artists; and to reflect the diversity and innovative spirit of Silicon Valley. By supporting the production of new work, “Beta Space” encourages artists to experiment and venture into unfamiliar areas. Curated by Rory Padeken. This exhibition was made possible by generous support from Bank of America, Applied Materials Foundation, Myra Reinhard Family Foundation, Melanie and Peter Cross, Theres and Dennis Rohan, and in-kind support from David Zwirner, New York/London.

José Clemente Orozco: Figure Studies March 13 through August 23, 2015 One of the esteemed Los Tres Grandes Mexican muralists, José Clemente Orozco (1881 – 1949) is best known for monumental fresco cycles that present dramatic, epic narratives. Yet throughout his life, Orozco was also an avid draftsman who had a masterful understanding of the musculature and the inherent expressiveness of the human body. This exhibition included twenty-three figure studies generously loaned by the Michael Wornick Collection. Many of them had never been exhibited before. These sensitive works on paper reveal the intimate side of Orozco’s artistic vision and his creative process. A more solitary man that his gregarious contemporaries David Rivera and David Alfaro Siqueirso, Orozco depicted the struggles of humankind in the face of political conflict. His figures become mythic, Herculean, objects of great empathy. The drawings featured

José Clemente Orozco Study of extended right arm with clutched hand, 1932 (study for the mural Ancient Human Sacrifice) Charcoal on paper 17 ¾ x 13 7/8 inches Michael Wornick Collection

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in this exhibition are predominantly preliminary studies for his legendary murals. Many were done directly from the model: they convey the powerful immediacy of the artist’s hand. Viewers will see Orozco working out theatrical gestures, dramatic foreshortening, and compositions for his murals: a boldly raised arm, a clenched fist, peasant hands clasped in prayer, the fierce head of the god Quetzalcoatl. No matter how grand the scale or the complexity of his allegorical murals, Orozco gave form to his content mainly through his figures, seen here at the moment of genesis for the artist. José Clemente Orozco: Figure Studies includes studies for five of the artist’s well-known murals: the cycle of 1926-27 at Escuela Nacional Preparatoria, Mexico City; Prometheus (1930) at Pomona College, Claremont, California; The Epic of American Civilization (1932-34) at Dartmouth College, Hanover, New Hampshire; the cycle of 1936 at the Universidad de Guadalajara, Mexico; and The Man of Fire (1939) at Hospicio Cabañas, Guadalajara, Mexico. Curated by Susan Krane and Valerie Aquila.

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Loans from the Permanent Collection Sam Francis Untitled, 1978 Acrylic on paper 12 ½ x 14 7/8 inches Gift of David Devine, San Francisco, 1984.29 Sam Francis: Five Decades of Abstract Expressionism from California Collections January 26 – April 20, 2014, Crocker Art Museum, Sacramento, California Hung Liu Resident Alien, 1988 Oil on canvas 60 x 90 inches Gift of the Lipman Family Foundation, 2005.32 Summoning Ghosts: The Art and Life of Hung Liu, February 25 – May 24, 2015 Palm Springs Art Museum, Palm Springs, California

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Acquisitions Milton Avery Smiling Nude, 1948 Ink on paper 13 ¾ x 16 ¾ inches Gift of Dixon and Barbara Farley 2014.09.01

Tom Bolles Coronation of the Virgin III, 1997 Acrylic on canvas 64 x 30 inches Gift of Dixon and Barbara Farley 2014.09.02

Tom Bolles Dopey, 2003 Tinted polyester resin on Plexiglas 20 ¼ x 16 ¼ inches Gift of Dixon and Barbara Farley 2014.09.03

Michael Brennan Fixing a Shadow, 1998 Oil on linen 62 x 40 inches Gift of Dixon and Barbara Farley 2014.09.04

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Michael Brennan Untitled, 1997 Oil on board 11 ¾ x 17 inches Gift of Dixon and Barbara Farley 2014.09.05

Val Britton The Sea Within, 2014 Graphite, ink, and collage on paper 72 x 72 inches Museum purchase with funds contributed by Barbara and William Hyland 2015.03

Joseph Cornell Untitled (Derby Hat), from the portfolio “Prints for Phoenix House,” 1972 Heliogravure with colors 19 ¼ x 14 ¾ inches Edition 11 of 125 Gift of Dixon and Barbara Farley 2014.09.06

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Jay DeFeo Detail, Snake River Canyon, 1974 Acrylic on ragboard 10 x 15 inches Gift of Dixon and Barbara Farley 2014.09.07

Jay DeFeo Untitled, from the series “Shoe Tree,” 1977 Mixed media, gouache, and ink on paper 39 ¾ x 30 ¼ inches Gift of Dixon and Barbara Farley 2014.09.08

Willem de Kooning Minnie Mouse, 1971 Lithograph 29 ½ x 22 ½ inches Edition 40 of 60 Gift of Dixon and Barbara Farley 2014.09.09

Willem de Kooning Woman II, 1967 Oil on brown paper,

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mounted on board 24 x 19 inches Gift of Dixon and Barbara Farley 2014.09.10 Richard Diebenkorn #7 (Two Seated Women), from the portfolio “41 Etchings and Drypoints,” 1964 – 65 Softground etching 8 ¼ x 7 ¾ inches Edition 16 of 25 Gift of Dixon and Barbara Farley 2014.09.11

Richard Diebenkorn #20 (A Painting in Artist’s Studio), from the portfolio “41 Etchings and Drypoints,” 1964 – 65 Etching 4 ¾ x 4 ¾ inches Edition 22 of 25 Gift of Dixon and Barbara Farley 2014.09.12

Richard

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Diebenkorn Seated Woman, 1965 Lithograph 30 x 20 inches Edition 33 of 100 Gift of Dixon and Barbara Farley 2014.09.13 Richard Diebenkorn Untitled/Landscape, 1963 Wash and conté crayon on paper 12 ¾ x 17 inches Gift of Dixon and Barbara Farley 2014.09.14

Chris Doyle Apocalypse Management (telling about being one being living), 2009 Single channel video Sound design by Joe Arcidiacono Edition of 5 Courtesy of the artist and Catharine Clark Gallery, San Francisco 2015.02

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David Gilhooly Brunhilde and Her Sheep Bringing Cabbages to North America, 1980 Ceramic with colored glazes 16 x 16 x 12 inches Gift of Dixon and Barbara Farley 2014.09.15

David Gilhooly Frog Wedding Cake, 1994 Ceramic with colored glazes H. 7 inches Gift of Dixon and Barbara Farley 2014.09.16

Red Grooms Cézanne, from the portfolio “Nineteenth Century Artists,” 1976 Etching 4 x 4 ¾ inches Edition 23 of 40 Published by Brooke Alexander Editions and Marlborough Graphics Gift of Dixon and Barbara Farley 2014.09.17

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Philip Guston Composer’s Landscape, 1960 Oil on canvas 49 x 47 inches Gift of Dixon and Barbara Farley 2014.09.18

Philip Guston Pile Up, 1981 Lithograph 19 ½ x 29 ½ inches Edition 13 of 50 Gift of Dixon and Barbara Farley 2014.09.19

Philip Guston Untitled, 1950 Ink on brown paper 19 x 23 inches Gift of Dixon and Barbara Farley 2014.09.20

Nancy Haynes Book Series, ca. 1992 Monoprint in black ink 7 ¾ x 9 inches Gift of Dixon and

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Barbara Farley 2014.09.21 Nancy Haynes Book Series, ca. 1992 Monoprint in black ink 7 ¾ x 9 inches Gift of Dixon and Barbara Farley 2014.09.22

Clay Jensen Untitled (House), 1986 Steel and paint 8 ½ x 5 x 6 inches Edition 2 of 5 Gift of Dixon and Barbara Farley 2014.09.23

Alex Katz Untitled (Yellow Irises), 1968 Oil on board mounted on panel 12 5/8 x 9 inches Gift of Dixon and Barbara Farley 2014.09.24

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Michael Kennedy Green Fuse, 1973 Oil on canvas 72 x 69 ½ inches Gift of Dixon and Barbara Farley 2014.09.25

Mary King And That Too (On the Other Side of the Clouds the Sun is Shining April Fool), ca. 1985 Bronze H. 85 inches Unique Gift of Dixon and Barbara Farley 2014.09.26

Patsy Krebs Linked Series, 1991 Acrylic on canvas over board 30 x 26 inches Gift of Dixon and Barbara Farley 2014.09.27

Timothy Litzmann Gnomon, 1996 Oil on aluminum 10 x 10 inches Gift of Dixon and Barbara Farley 2014.09.28

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Frank Lobdell Kelso No. 12, 1.15.87, 1987 Etching Image: 10 x 12 ¾ inches Sheet: 18 ¾ x 22 ½ inches Edition 14 of 35 Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.01

Frank Lobdell Kelso No. 27, 8.4.89, 1989 Etching Image: 15 x 11 7/8 inches Sheet: 30 x 22 ½ inches Edition 29 of 38 Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.02

Frank Lobdell Kelso No. 49, 5.1.92, 1992 Color etching Image: 17 15/16 x 14 inches Sheet: 30 x 22 ½ inches Edition 43 of 50

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Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.03 Frank Lobdell Kelso No. 50, 8.7.92, 1992 Color etching Image: 9 7/8 x 12 5/8 inches Sheet: 19 ¾ x 26 inches Edition 35 of 60 Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.04

Frank Lobdell Kelso No. 52, 5.21.93 (State I), 1993 Etching Image: 6 3/8 x 8 7/8 inches Sheet: 11 ½ x 12 ½ inches Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.06

Frank Lobdell Kelso No. 52, 5.21.93 (State II), 1993 Etching Image: 6 3/8 x 8 7/8

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inches Sheet: 11 ½ x 12 ½ inches Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.07 Frank Lobdell Kelso No. 52, 5.21.93 (State III), 1993 Etching Image: 6 3/8 x 8 7/8 inches Sheet: 11 ½ x 12 ½ inches Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.08

Frank Lobdell Kelso No. 52, 5.21.93, 1993 Etching Image: 6 3/8 x 8 7/8 inches Sheet: 11 ½ x 12 ½ inches Edition 13 of 20 Gift of The Frank Lobdell Trust, Portola Valley, California 2015.01.05

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Richard Lodwig Max Planck Said #7, 1995 Oil on paper mounted on canvas Two parts, each 36 x 20 inches Gift of Dixon and Barbara Farley 2014.09.29.a-b

Liza Lou Sock, ca. 1994 – 95 Beads and papier-mâché 13 x 5 x 1 ½ inches Gift of Katie and Drew Gibson 2014.08.01

Liza Lou Sock, ca. 1994 – 95 Beads and papier-mâché 13 x 5 x 1 ½ inches Gift of Katie and Drew Gibson 2014.08.02

Henry Moore #3, from the series “Elephant Head,” 1969 Etching 19 ¾ x 14 ½ inches Gift of Dixon and Barbara Farley

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2014.09.31 Henry Moore #15, from the series “Elephant Head,” 1969 Etching 19 ¾ x 14 ½ inches Gift of Dixon and Barbara Farley 2014.09.32

Henry Moore #21, from the series “Elephant Head,” 1969 Etching 19 ¾ x 14 ½ inches Gift of Dixon and Barbara Farley 2014.09.33

Annu Palakunnathu Matthew Anirudh, from the series "The Virtual Immigrant," 2006 Lenticular photograph with sound 30 x 48 inches Gift of Peggy and Yogen Dalal 2014.12

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John M. Miller Untitled #110, 1992 Magna paint on unprimed canvas mounted on board 38 ¾ x 57 ¾ inches Gift of Dixon and Barbara Farley 2014.09.30

Claes Oldenburg The Letter Q as Beach House, with Sailboat, 1972 Lithograph 39 x 29 5/8 inches Edition 23 of 100 Published by Gemini G.E.L. Gift of Dixon and Barbara Farley 2014.09.34

Claes Oldenburg Proposal for a Cathedral in the Form of a Sink Faucet for Lake Union, Seattle, Washington, 1972 Offset lithograph 32 ¼ x 24 ¾ inches Edition 40 of 300 Published by the Contemporary Art Council, Seattle Art Museum Gift of Dixon and

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Barbara Farley 2014.09.35 Claes Oldenburg Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, etching, and aquatint 13 ¾ x 11 inches Edition 43 of 100 Published by Petersburg Press, New York and London Gift of Dixon and Barbara Farley 2014.09.36

Nathan Oliveira Western Site III, 1978 Mixed media on paper 44 x 71 ¼ inches Gift of Susan and Bruce Worster 2014.10

Gay Outlaw Chalk Hill, Rough, 1997 Chalk and glue 8 ¼ x 13 inches

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Gift of Dixon and Barbara Farley 2014.09.37 Gay Outlaw Pencil Ball, 1995 Lead pencils and glue 3 ¾ x 3 ¾ x 3 ¾ inches Gift of Dixon and Barbara Farley 2014.09.38

Richard Serra Bessie Smith, 1999 Etching 44 x 36 inches Edition 8 of 35 Gift of Dixon and Barbara Farley 2014.09.39

Richard Shaw Cake with Origami Ship, 2003 Porcelain with decal overglaze 4 ½ x 9 x 8 inches Gift of Dixon and Barbara Farley 2014.09.40

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Alyson Shotz False Branches #2, 2001 Gelatin silver print 21 x 40 inches Edition 3 of 6 Gift of Jed Archer Cohen 2014.11

James Siena After Proton Saga, 1999 Pencil on paper 10 ¾ x 8 ¼ inches Gift of Dixon and Barbara Farley 2014.09.41

David Simpson Green Tint/Violet, 1991 Acrylic on canvas 12 x 12 inches Gift of Dixon and Barbara Farley 2014.09.42

David Simpson Red Violet Blue, 1996 Oil on canvas mounted on wood 36 ¼ x 27 inches Gift of Dixon and Barbara Farley 2014.09.43

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Peter Wegner 1339 The Blues, 1998 Mixed media on panel Two parts, each 14 x 17 inches Gift of Dixon and Barbara Farley 2014.09.44a-b

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Deaccessioned Works

Robert Arneson Broken Brick, 1975 Lithograph 14 × 14 inches Gift of Jim Huelskamp 2008.35.01 Edition info: L.P./I.M.P.

Robert Arneson Moby Brick, 1975 Lithograph 14 × 14 inches Gift of Jim Huelskamp 2008.35.02 Edition info: P.P.

Bruce Conner Untitled, 1970 Lithograph 10 7/8 × 7 1/8 inches Edition 79 of 90 Gift of Jim Huelskamp 2008.35.04

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David Gilhooly Frog’s Brave New World, 1980 Ceramic 17 × 9 × 9 inches Gift of Jim Huelskamp 2008.35.11

David Middlebrook Black Water, 1984 – 85 Marble and granite 228 × 96 × 72 inches Gift of Farley and Edna Young 1995.21

Gladys Nilsson Untitled, 1995 Watercolor and collage 8 ½ × 6 inches Gift of Jim Huelskamp 2008.35.03

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Emmy Lou Packard Man Carrying Heavy Plank, Turkey, 1954 Pen and ink 11 × 8 ½ inches Gift of Jim Huelskamp 2008.35.05

Emmy Lou Packard Worker Series, 1954 Pencil 11 × 8 ½ inches Gift of Jim Huelskamp 2008.35.06

Emmy Lou Packard Frida, 1946 Photograph 7 ½ × 7 ½ inches Gift of Jim Huelskamp 2008.35.07

Edition info: A/P

Emmy Lou Packard Diego with Monkey, 1946 Photograph 13 × 8 inches Gift of Jim Huelskamp 2008.35.08

Edition info: 8/20

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Roland Petersen Fish Hatchery, 1976 Print, Color Slate #4 26 × 24 inches Edition 3 of 7 Gift of Jim Huelskamp 2008.35.10

Sam Tchakalian Bolles Gallery, ca. 1962 Mixed media on paper 24 × 18 inches Gift of Jim Huelskamp 2008.35.09

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Art campers enjoying José Clemente Orozco: Figure Studies

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Museum Experience and Education Programs In the 2014 – 2015 fiscal year, the Museum Experience and Education department served approximately 60,000 people through its education and public program initiatives. The San Jose Museum of Art’s education and public programs encourage audiences to access personal creativity and proceed from the belief that innovation is a skill that can be inspired, nurtured, and developed through learning about the arts. Programs such as lectures, gallery tours, art-making workshops for adults and children, and free community days promote lifelong learning. SJMA also provides ongoing arts education for school children and their educators, university students and faculty, and community groups. Programs are intellectually rigorous, boldly open-minded, and accessible to the diverse constituents of the Bay Area. Hallmarks of SJMA’s welcoming environment are its participatory gallery activities, which are conceived in tandem with the curatorial and marketing departments to encourage deeper engagement with the exhibitions and to promote a sense of creative play. Highlights

• School programs served more than 44,000 students through museum visits for K-12 students and college groups, in addition to in-school artists’ residencies, docent presentations, and week-long art camps.

• More than 16,000 visitors actively participated in nearly eighty public programs. • The Sowing Creativity program added Youth Science Institute (YSI) as a science partner

and celebrated the end of the academic year with a culminating event, Full STEAM Ahead.

• The Community Day program launched Maker Day, which celebrated the maker movement and the entrepreneurial spirit of the Bay Area.

• The popular Art Pack was redesigned with all-new activities. • The Museum Experience Representative (MER) program celebrated ten years of service

and garnered community support by procuring $24,590 in membership sales. • SJMA co-hosted the Marion Cilker Conference for Arts in Education, an arts-integration

professional development conference that served 135 Santa Clara County teachers. S ch oo l Pr og r a ms As the largest provider of arts education in Santa Clara County, SJMA fills a critical gap. School programs help students develop innovation skills through activities that foster critical thinking, creative expression, communication, and collaboration. Programs include free, Let’s Look at Art docent presentations in the classroom, participatory Museum field trips, and teaching artists’ residencies that inspire school and community partnerships. All programs are linked to state curricular standards and provide essential, early exposure to the visual arts.

Let’s Look at Art Let’s Look at Art, SJMA’s volunteer in-school docent program, offers lessons in art history and visual thinking at no cost to teachers and students in Santa Clara County. The Let’s Look at Art program introduces K-12 students to the importance—as well as the excitement—of learning

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about the visual arts. Presentations stimulate curiosity, cultivate visual cognition and comprehension, and encourage self-expression. All students receive a pass redeemable for free Museum admission for their family. The family pass provided Museum access to 5,717 students and family members. During the 2014 – 2015 academic year, Let’s Look at Art volunteers drove 11,769 miles to visit 1,139 classrooms and reached 30,461 students. In January 2015, SJMA conducted a seven-week training program and graduated ten new Let’s Look at Art docents. Session topics included inquiry-based learning strategies, elements of art, principles of design, visual literacy skills, and classroom engagement and management strategies.

My class and I really enjoyed Mrs. B's LLaA presentation. She was very knowledgeable about the art elements, organized in her teaching approach, and handled my class with expert strategies. We also loved the book she brought to read to us, ‘Duck Rabbit.’ Thank you Mrs. B!

——Hazel Talucod, first-grade teacher, Joseph Weller Elementary

K-12 School Tours During students’ guided visits to the Museum, SJMA’s gallery teachers engage classes in active discussions about artworks. They use specific strategies to develop the students’ abilities to analyze an artwork, articulate their ideas, and back up ideas with evidence. These highly participatory gallery programs may also include games, storytelling, museum-movement techniques, writing exercises, and short, hands-on activities. Gallery programs are tailored for various grade levels and based on the California Visual Arts Framework and the California State Board of Education’s Content Standards in order to provide connections between the skills students learn in school and their experiences at the Museum. During the 2014 – 2015 academic year, 7,782 K-12 students participated in SJMA’s school tours.

My kids raved about looking at the art and were engaged more than I thought for their age and knowledge level. I attribute this to open-ended questioning and the docent’s ability to leave the interpretation up to the audience.

——Iniray Luper, second/third-grade teacher, Mount

Pleasant Elementary

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School tour of Beta Space: Diana Thater

Two-Part Art Two-Part Art is SJMA’s premier field-trip program. It encourages children to experience art as both viewers and makers. After a guided Museum visit, students exercise their imaginations and creativity in an hour-long, hands-on art workshop. All projects are inspired by the exhibitions on view and include discussions about the choices artists make. In the 2014 – 2015 academic year, 4,635 students participated in Two-Part Art, more than double the prior year’s participation. Experience a Two-Part Art virtually by watching this short video generously produced by KMVT, Adelante School's Visit to San Jose Museum of Art. Sowing Creativity Sowing Creativity is a ten-week integrated visual arts residency program developed by the San Jose Museum of Art to address the new California Common Core State Standards and to meet the urgent need to promote creativity across disciplines. The premise behind the program is that well-honed visual thinking abilities contribute powerfully to the teaching and learning of specific cross-disciplinary concepts—particularly for low-income students. Of the 1,528 students who participated in the program, 93% were from a Title One school. The program’s second year was marked most notably by an enrichment of the integrated curriculum. The theme of the 2014 – 2015 school year, “Art + Science = Wonder,” was informed by the newly implemented Next Generation Science Standards and focused on the shared processes, content, and tools of the two overlapping disciplines. To help strengthen the quality of Sowing Creativity’s integrated curriculum, SJMA developed a new community partnership with Youth Science Institute (YSI). YSI instructors provided Sowing Creativity students with a dedicated science lesson that sequentially aligned with the curriculum of their teaching artist from SJMA. The collaboration helped to advance the shared educational goals of both nonprofit organizations. The Museum’s accessibility was also a key goal of Sowing Creativity. At the end of the school year, the Museum hosted Full STEAM Ahead, a program capstone event for students, families,

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teachers, and administrators. The celebratory evening included free admission, open galleries, an exhibition of student work, hands-on STEAM activities for families, an educators’ lounge, and a tour of current exhibitions. Free family passes to SJMA were also given to students participating in the program.

My students were able to experience a self-awareness that can't be taught in the classroom. Sowing Creativity gave them the opportunity to explore art outside of the box. I think now and in the future, the students will believe and know we are all artists in our own way.

——Lori Murphy, second/third-grade teacher, Mount Pleasant STEAM Academy

My class is 100% English Language Learners, so Sowing Creativity fit in great with their English Language Development. Students had a chance to speak, share, and work in small groups. They had a chance to interact and talk about their learning.

——Jesus Radillo, third-grade teacher, Lowell Elementary Our [teaching artist] was incredible! He was very easygoing, but knowledgeable. He was kind, humorous, and patient. He had great classroom management. It was a wonderful experience for our students.

——Martha Salazar, third-grade teacher, Grant Elementary I have been amazed with the science that has been discovered through this art program. My students have loved becoming ‘real’ artists. Their scientific drawings in the lab have gotten more detailed and descriptive. I hope more school systems see the value of art as both an expression of creativity as well as a field of learning.

——Iniray Luper, second/third-grade teacher, Mount Pleasant STEAM Academy

Sowing Creativity students

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Multi-Part Art The Multi-Part Art program sends SJMA’s experienced teaching artists into local classrooms to teach six- to ten-week residencies, customizable to the curricular needs of individual schools. A thoughtfully sequenced series of hands-on art-making lessons expose students to a variety of art media and focus on promoting skills in creativity and critical thinking. A guided visit to the Museum is included in the program and enhances the classroom activities by giving students the opportunity to interact with contemporary art. During the 2014 – 2015 academic year, 1,563 students received 9,062 unique art experiences through the Multi-Part Art program.

Pu b l i c Pr og r a ms A primary goal of SJMA’s strategic plan is to provide new paths for public access and engagement with the arts for communities across San Jose, the South Bay, and the Peninsula. To this end, the Museum Experience and Education department offered nearly eighty public programs in the past fiscal year. Activities highlight diversity, cross-disciplinarity, and the creative process. Central to SJMA’s approach is a belief in collaboration with other arts and cultural organizations in the region, as well as in leveraging the knowledge and expertise of local colleges and universities. Programs serve a variety of audiences: multigenerational families, teens, young cosmopolitans, creative adults, scholars, lifelong learners, and artists.

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Public Tours SJMA’s volunteer docents do much more than convey information about a particular exhibition. As they walk with visitors through the galleries, docents prompt lively, participatory discussions and foster an open exchange of opinions and ideas. SJMA’s docents engage visitors’ imagination and encourage new ways of seeing and thinking about art. In fiscal year 2014 – 2015, docents conducted 457 tours for 7,591 visitors and volunteered 5,439 hours of their time.

I liked the Docent’s style and interaction of the group. She allowed us to formulate our own impressions then compared them against the artist intention.

——Mike and Bonnie Pine, Museum visitors and tour participants

Docent touring of Momentum: an experiment in the unexpected

Museum Experience Representative (MER) SJMA’s MER program nurtures the professional development of the community’s future creatives: budding artists, art professionals, administrators, and supporters. MERs welcome visitors, provide information, and encourage visitors to engage with the art. MERs help SJMA advance its commitment to accessibility and a warm, inviting atmosphere.

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I really enjoyed the friendliness of the staff in the field. I enjoyed the challenge of the Momentum exhibition; I didn't understand it until a few hours later, socializing with the staff.

——Samantha Bark, Museum visitor I would like to stay the night in the museum, and enjoy walking around in the galleries before bed. I had a really great time, the staff was so kind to offer me stools and papers and pencils for my own convenience.

——Timothy Adams, Museum visitor Instantly felt welcome upon being greeted at the front desk by staff who answered all of my questions with a smile. I'm not that enthused by art and dreaded coming in, but the simple hospitality changed my mind. Art is now another outlet I’ll consider for further insight on the human mind.

——Andre Matan, Museum visitor

Community Days SJMA’s free Community Days celebrate the cultural diversity of Silicon Valley and serve the Museum’s multigenerational family audience. Integrated throughout the program are live performances and cultural demonstrations by community dance troupes, storytellers, musicians, and other dynamic performers that complement hands-on art activities taught by professional teaching artists. These interactive, family-friendly days reach a broad cross-section of San Jose’s population. Community Days on November 1, 2014; February 7, 2015; and June 6, 2015, respectively, celebrated El Día de los Muertos (Day of the Dead), Lunar New Year, and Maker Day, and served a total of 4,662 visitors.

I love the community days in SJMA! This day brings people in our community together to admire art for children to enjoy. Please continue your community days!

——Tivonne Ha, Maker Day visitor

We love the museum! The kid activities and the exhibits here! We appreciate the Community Days a lot, it is great to spend the day here with my family. The kids soaked up the activities and the exhibitions.

——Maya Bisineu, Maker Day visitor

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Lunar New Year Community Day, February 7, 2015

Día de los Muertos Community Day, November 1, 2014

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Art Camps Art Camps offer a safe, fun, and enriching adventure for children ages six to fourteen. Campers grow creatively and strengthen their artistic capabilities while developing social and intellectual skills. Camps culminate in public exhibitions of the campers’ artwork, which drew 585 visitors including the young artists’ friends and family members. “Food for Thought,” our spring camp, focused on the exhibition Around the Table: food, creativity, community, while summer campers focused on Initial Public Offering: New Works from SJMA’s Permanent Collection. In the 2014 – 2015 academic year, we saw 100% enrollment with 205 participants.

Art Camps participants

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Creative Minds Access to those innovative talents who actively generate new works is a unique bonus that a contemporary art museum can offer. By bridging the gap between artists and viewers, the Museum increases awareness of the artistic process (a signature goal in the Museum’s strategic plan). SJMA’s Creative Minds series offers public encounters with artists and the chance to experience creativity in action. Programs include insightful commentary and personal context from the artists’ inner circle of family, friends, and colleagues.

• John Chiara, August 21, 2014: 66 participants • Pushpamala N., April 2, 2015: 32 participants • Sixth Annual Poetry Invitational with David Perez, poet laureate, Santa Clara County,

April 16, 2015: 52 participants (http://sanjosemuseumofart.tumblr.com/)

• Diana Thater, April 23, 2015: 39 participants (https://www.youtube.com/watch?v=GS7h1uGb-hY&list=PLGa4_DibEA_0yKcRNGrc4Qx3E-mAw5yQz)

Sixth- Annual Poetry Invitational, April 16, 2015

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Creative Minds: Diana Thater, April 23, 2015

DIY Art SJMA embraces the popular “do-it-yourself” culture with programs that encourage discovery and encourage participants to use everyday materials in innovative ways. Inspiring hands-on activities spark individual creativity and allow participants to walk away with their own original piece of art. During the 2014 DIY Art: Summer Sundays program, SJMA invited guest experts to lead engaging, in-gallery talks and integrated these art-making experiences with current exhibitions. The Museum also partnered with local artist and author Rachelle Doorley for an interactive program that included a book signing, hands-on activities in the galleries, and a sculptural project for the whole family. For fiscal year 2014 – 2015, projects included mixed-media collage, paper quilling, mobile-making, and abstract chalk painting in conjunction with gallery talks led by local artist Jason Adkins and by Jordana Moore Saggese, visual and diversity studies professor at California College of the Arts.

• Summer Sundays: Pop Art, July 20, 2014: 34 participants, plus 12 gallery talk participants

• Happy Birthday Andy Warhol, August 6, 2014: 46 participants • Summer Sundays: Abstract Expressionism, August 17, 2014: 38 participants, plus 21

gallery talk participants • Nurturing Creative Kids, October 5, 2014: 82 participants • Festive Family Fun, November 29, 2014: 42 participants • Festive Family Fun, December 6, 2014: 35 participants

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Happy Birthday Andy Warhol, August 6, 2014

Nurturing Creative Kids, October 5, 2014

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Art 101 Inspired by the artistic process and interactive learning, SJMA offers ART 101, a series of diverse workshops that present instructional art-making experiences facilitated by teaching artists and local experts. These three-hour, studio “crash-courses” expose adult participants to new materials and techniques used by artists in the Museum’s permanent collection. This fiscal year, the ART 101 series grew immensely to offer evening workshops, accompanying musical performances, and more varied media. Four of six ART 101 programs sold out prior to the program date, and three workshops were expanded to accommodate five additional participants per program, serving a total of 142 people.

• Booze and Brushes, September 18, 2014 • Portrait Drawing, September 28, 2014 • Mobile-Making, November 16, 2014 • Street Photography, January 25, 2015 • Booze and Brushes, March 19, 2015 • Origami, May 3, 2015

Curator-led Gallery Talks Visitors often ask about the creative process behind the Museum’s exhibitions. SJMA connects the public to its behind-the-scenes team to address these burning questions. For each exhibition, the curator gives a public tour in the gallery and discusses the major themes, shares interesting anecdotes about the artwork and artists, and answers visitors’ questions. Assistant Curator Rory Padeken, Oshman Executive Director Susan Krane, collector Michael Wornick, and Special Projects Coordinator Robin Treen shared their insights on the following exhibitions:

• Momentum: an experiment in the unexpected with Robin Treen, November 13, 2014: 21 participants

• José Clemente Orozco: Figure Studies with Susan Krane and Michael Wornick, April 30, 2015: 26 participants

• Beta Space: Diana Thater with Rory Padeken, May 28, 2015: 22 participants

Lunchtime Lectures The Museum’s series of lunchtime programs on the first Wednesday of the month from September through May (with a summer break for art camp) has received compliments from San Jose’s downtown workforce and from loyal museum members as a “hidden gem.” The series strives to illuminate and grapple with contemporary art issues through cross-disciplinary perspectives offered by experts and educators.

• “Misadventures in Art and Nanoscience,” Kate Nichols, September 3, 2014: 53 participants

• “Robert Henri’s California,” Derrick Cartwright, October 1, 2014: 78 participants • “Post Portrait, Post Identity, Post Photography,” Viêt Lê, November 5, 2014: 56

participants

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• “Have You Heard Of…,” Jennifer Brandon and Beth Dungan, December 3, 2014: 45 participants

• “The Future is Urban,” Leah Toeniskoetter, January 7, 2015: 87 participants • “Birds to Bridges: Accessing Creativity,” Matthew Jervis, February 4, 2015: 52

participants • “Camera India: Excerpts from a Global History of Photography,” Atreyee Gupta, March

4, 2015: 53 participants • “Fooling the Art World: Originals, Copies, and Fakes,” Stephanie Brown, April 1, 2015:

71 participants • “We Are Stardust,” Puragra (Raja) Guha Thakurta, May 5, 2015: 54 participants

I feel privileged to happen upon this lecture during my museum visit and thank coordinators for making it available to all. Very eye-opening to the extent that discrimination still prevails in our ‘modern’ society. Thank you!

——D. Elm, “Post Portrait, Post Identity, Post Photography” participant

The content and topic of discussion was pretty informative. The speaker covered so many topics of materials and composition of our galaxy. Very well versed and witty at the same time. Made the session lively!! Thank you. Very much enjoyed his topic.

——E. Canal, “We Are Stardust” participant

Third Thursdays and ArtRage With the general aim to engage and delight diverse audiences from first-time visitor to regular supporter, the Museum presents extended evening hours on the third Thursday of each month. These varied evenings range from casual, social-networking fun to informative, thought-provoking presentations. Three times over the course of the year, the Museum presented ArtRage with live music, a photo-booth and photo-sharing opportunities, hands-on DIY activities, and exhibition-themed cocktails. In fiscal year 2014 – 2015, Our diverse Third Thursday programs served 1,390 participants.

• ArtRage: Legacy, July 17, 2014 • Creative Minds, August 21, 2014 • ART 101: Booze and Brushes, September 18, 2014 • Zombie-O-Rama 2014, October 16, 2014 • ArtRage: Momentum: an experiment in the unexpected, November 20, 2014 • Holiday Music, December 18, 2014 • SJMADE Music Pop-In @ SJMA, January 15, 2015 • ArtRage: Momentum: an experiment in the unexpected closing party, February 19, 2015 • ART 101: Booze and Brushes, March 19, 2015 • Sixth-Annual Poetry Invitational, April 16, 2015 • Full STEAM Ahead, May 21, 2015

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• Eye on India, June 18, 2015

Community Collaborations SJMA initiates meaningful collaborations with area nonprofit groups and arts and cultural organizations to highlight the many connections between art and other disciplines. Recent community partners include:

• 23 Skidoo • Ballet San Jose • Cado dos Santos • City of San José Office of Cultural Affairs • Celista • Center for Asian American Media (CAAM) • The Commons • Connie Lurie College of Education at San José State University • ContainHer • Emma Prusch Farm Park Foundation • EnActe Arts • EnArte Arts YEP • Eye on India • Freya Seeburger • Grace-Anne Powers and Austin Moholt-Siebert • Indian Raga • Isaiah Pekary • Jackie Gage • Los Lupeños de San Jose • Mariachi San Jose • “Mighty” Mike McGee • Nalli Silks • Notre Dame High School • PechaKucha San Jose • Poetry Center San Jose

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• Rachelle Doorley, TinkerLab • Rising Phoenix Lion Dance Association • San Francisco Planning and Urban Research Association (SPUR) • San Jose Downtown Association • San Jose Jazz • San Jose Jazz ensemble the High-School All-Stars • San Jose Made (SJMADE) • San Jose Multicultural Artists Guild • San Jose Museum of Quilts and Textiles • San Jose State University • Santa Clara County Office of Education • The School of Arts and Culture at the Mexican Heritage Plaza • Shamina • Silicon Valley Chapter of the American Harp Society • Stanford University • Swingtime • The Tech Museum of Innovation • Thingamajigs • Trace Elementary Choir • University of California, Berkeley • Visual Thinking Strategies • Youth Ensemble Success (YES) • Youth Science Institute • Zombie-o-rama and SLG Publishing’s Art Boutiki & Gallery

Ga l l e r y A c t iv i t i e s SJMA’s education, curatorial, marketing, and installation teams work together to present innovative interpretive areas in the galleries. Linked in concept or technique to the works on view, these activities encourage visitors to spend time in the galleries and to consider the ideas at hand. Art Packs: See What You Think SJMA’s well-loved Art Packs were completely redesigned and updated this year. Inspired by the tag line “See What You Think,” each pack contains sketching exercises, writing prompts, activities for thoughtful looking, and art supplies. Available for all visitors to borrow during their visit, Art Packs are a popular way to connect with the art and with each other.

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Examples of Art Pack materials

Momentum: an experiment in the unexpected Visitors were invited to “talk back” to the exhibition through unexpected, open-ended, and self-curated modes of participation. Based on the premise that meaning is not fixed, the project created a concentric feedback to add to our collective interest in and understanding of works in the permanent collection and of the Museum itself as well. SJMA provided the following items for “self-curated modes of participation.”

• Meditation cushions • Poetry-writing activity • Dance floor

Our 6-Year old loved the museum. It was great to be invited to sit, draw, and even dance. The Koret Gallery was particularly good for her—the targeting was right on!

——Anonymous, parent and Momentum visitor Robert Henri’s California: Realism, Region and Race, 1914 – 25 DVD – Robert Henri and the Art Spirit, Light Struck Press, LLC José Clemente Orozco: Figure Studies Man of Fire video Micro-website: http://sjmusart.org/orozco/instituto-cultural-cabanas

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Came to see the Orozco exhibit. I really enjoyed it, and liked the table with the reading material as well as the program ‘man of fire’ as it helped give the exhibition more depth and a greater understanding of the artist his work and its history.

——David Collins, Museum visitor

Postdate: Photography and Inherited History in India 1947 Partition Archive videos:

• Ravi Chopra • Witness Voice: Untold stories of South Asia's Partition • Abdul Jabbar • Mrs. Radhika Kishin Chehnani

City Limits, City Life The future of the city In cities worldwide, there are now 3.88 billion people. The proportion of urban residents globally increased from 47% in 2000 to 54% in 2014, approximately one billion more people. Urbanization produces both desirable and adverse outcomes. Cities offer economic opportunities, access to health and social services, and increased educational resources. However, many cities have generated large inequalities: 863 million urban residents live in slum conditions. San Jose is the tenth largest city in the United States; in 2014, its population passed the one million mark. The last hundred years have seen rapid shifts from agriculture to industrialization, waves of immigration, suburban sprawl, and urban renewal. What are the priorities for San Jose now? What are the solutions we need to implement to tackle twenty-first-century challenges? How can we transform San Jose into the city of our dreams?

Yes!!! I loved my experience here. This is my second time coming to the museum…Very welcoming and helpful staff. I appreciate that it is accessible to students, like myself. I specially appreciate the ‘City Limits, City Life’ Exhibit as I myself am studying Urban Planning/Community Development. Thank you for creating the space for artistic expression and dialogue on these issues!

——Cecilia Ang, Museum visitor

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Museum visitors “tagged” a chain-link fence as part of City Limits, City Life

Maker Space The act of making (whether it be artistic or scientific) with the goal of producing a more beautiful and better world is part of the human impulse. Makers demonstrate an “I can do it” attitude. They use materials in new ways, upcycle discarded objects, challenge familiar ways of doing things and invent new ones. Sometimes creativity, a force inherent in all of us, just needs a little inspiration. In this spirit, the Koret Family Gallery showcased artworks made of new materials in new ways and invited visitors to take a Maker challenge and rekindle their creative spark. This exhibition included works from SJMA’s permanent collection by Clayton Bailey, Ray Beldner, Ruth Bernhard, Vik Muniz, and Gay Outlaw.

Clean, fresh, inspiring, interactive beautiful museum. Kids (12 of them) loved it as well. Loved the do-it yourself corners .

——Nathalie, Museum visitor I had a really awesome experience! I enjoyed the Maker Space.

——Jenn Figueroa, Museum visitor

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Maker Space in the Koret Family Gallery

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Development Report Corporate, Foundation, and Government Exhibitions and programs at the San Jose Museum of Art reflect the character of Silicon Valley: they promote cultural diversity, global perspectives, transformative creative thinking, new ideas, and a belief in the social power of innovation. This work is made possible, in part, by corporations, foundations, and government agencies that provide invaluable support for our work, from early-stage curatorial research to plans for our dynamic roster of community-wide public programming, from essential operating support to the vital education services that make SJMA the largest provider of in-school arts education in Santa Clara County. We extend special thanks to the City of San José and the David and Lucile Packard Foundation for their operating support and to the Richard A. Karp Charitable Foundation, the Walter and Karla Goldschmidt Foundation, the Myra Reinhard Family Foundation, and The John S. and James L. Knight Foundation for their investment in programs. We wish to express our appreciation for the significant friendships with the Bank of America, Applied Materials, SanDisk Corporation, and Xilinx Community Fund. We extend special thanks to the companies that have increased support or initiated relationships with the San Jose Museum of Art this past year: Adobe Systems, SanDisk Corporation, Latham & Watkins LLP, Morrison & Foerster Foundation, UBS Financial Services Inc., Umpqua Bank, and US Trust. We thank our leading donors for their support in fiscal year 2014 – 2015: $250,000 and above City of San José $100,000 – 249,000 The David and Lucile Packard Foundation $50,000 – $99,999 The John S. and James L. Knight Foundation Walter and Karla Goldschmidt Foundation Richard A. Karp Charitable Foundation Applied Materials Bank of America $24,000 – $49,000 Leo M. Shortino Family Foundation The National Endowment for the Arts SanDisk Corporation Myra Reinhard Family Foundation $10,000 – $24,999 Adobe Systems, Inc.

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Bank of America Museums on Us Christie’s KPMG LLP McManis Faulkner Samsung Electronics Wells Fargo Foundation Xilinx Community Fund $5,000 – $9,999 Cisco Systems, Inc. City National Crowd Poll by Cloud Parity Focus Business Bank, now Heritage Bank of Commerce House Family Foundation Latham & Watkins LLP Morrison & Foerster Foundation Lockheed Martin Tech CU Joel Dean Foundation, Inc. Japan Foundation Yellow Chair Foundation $2,500 – $4,999 Hitachi Data Systems Umpqua Bank UBS Financial Services Inc. $1,000 – $2,499 Farrington Historical Foundation Kieve Foundation The Hans and Elizabeth Wolf Foundation US Trust In-Kind Donations Adobe Systems, Inc. Anthony Meier Fine Arts Chester Arnold Val Britton Catharine Clark Gallery Catered Too! Chuck Close Dolby Chadwick Gallery Gallery Paule Anglim Gallery Wendi Norris Hackett | Mill Hosfelt Gallery

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Hung Liu and Jeff Kelley Connie Hwang Design Jitish Kallat LA Louver Gallery Magnolia Editions Danae Mattes McManis Faulkner Patricia Sweetow Gallery Paulson Bott Press Alan Rath Clare Rojas Alison Saar Samsung Semiconductor, Inc. Cornelia Schulz StudioMoon Vintage Wine Merchants Whole Foods Window Solutions Winfield Gallery Susan and Bruce Worster Individual Giving The San Jose Museum of Art continues to be fortunate in its donors: pioneers from the founding in 1969; those connected to the Museum for the last twenty-five years; and our more recent friends. Our trustees, individual exhibition and program sponsors, along with the members of the Director’s Council and the Council of 100 (C100), help to enhance and build the Museum during transformative years with extensive creative community collaborations and increased artist commissions, which exemplify the Museum’s vision for adventurous presentations. This past year, SJMA’s major donors experienced the work of remarkable artists through private collections and public on-site environments, which expanded their knowledge of contemporary art. During their trip to New York, they were introduced to the work of Chris Doyle, which informed their choice of artwork to be added to the permanent collection at the C100’s annual ArtPick. Director’s Council and Council of 100’s Highlights: On November 14, 2014, our donors visited the exhibition of new installations created specifically for Alcatraz by the internationally renowned Chinese artist Ai Weiwei. Ai responded to the island’s layered legacy as a nineteenth-century military fortress, a notorious federal penitentiary, a site of Native American heritage and protest, and now one of America’s most visited national parks. Revealing new perspectives on Alcatraz, the exhibition raised questions about freedom of expression and human rights that resonated far beyond this particular place. The Council of 100 commenced the new year on January 25, 2015 with a visit to Recology, San Francisco’s central trash-processing and recycling facility, where artists-in-residence Kara Maria

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and Imin Yeh spoke about their current exhibition. Members also visited the George and Dorothy Saxe collection of studio glass, which includes works by well-known, international artists such as Linda Benglis, Mildred Howard, Christopher Wilmarth, and Pablo Picasso. The council also viewed the private collection of local philanthropists Ruth and Alan Stein, on Russian Hill in San Francisco. Their holdings include a strong base of Bay Area artists such as David Park, Joan Brown, and Wayne Thiebaud, and a number of more contemporary artists such as Ed Ruscha, Vik Muniz, and Christopher Wool, along with emerging artists working in video, fluorescent light, and glass. The annual Council of 100 Dinner on February 27, 2015 featured artist Liza Lou, whose talk that evening was inspiring and thought-provoking. Educated at the San Francisco Art Institute, Lou stopped painting and began working with cheap beads, relishing their gaudy, low-brow, and homemade associations, although her inspirations were the decorative embellishments and rich mosaics she had seen in churches in Florence and Venice. Lou’s early works Chair with Sports Jacket; Dungarees; Sock; and Sock (all ca. 1994–95), gifts to SJMA’s permanent collection from Katie and Drew Gibson, were featured in the exhibition Sleight of Hand from October 2, 2014, to February 22, 2015. Her work speaks volumes to the unsung traditions of women’s handicrafts and pop culture. After making individual objects, Lou garnered international attention when her room-size sculpture Kitchen (1991–96) was shown at the New Museum of Contemporary Art, New York, in 1996. Kitchen took Lou five years to complete; it would later play a prominent role in SJMA’s exhibition Domestic Odyssey in 2004.

Artist Liza Lou at Council of 100 dinner, February 27, 2015

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The Director’s Council began its national trip with a welcoming cocktail reception hosted by artist Rina Banerjee and Oshman Executive Director Susan Krane. During May 12 – 17, 2015, donors experienced exciting works of art in Manhattan, Brooklyn, and beyond. They visited a private collection in Westchester, New York, whose owners were featured in ArtNews as among the Top 200 Collectors in the world. They enjoyed a private tour of Christie’s Post-War and Contemporary Art showrooms followed by a private tea reception in its boardroom and culminating with a viewing of the Frieze Art Fair. Trips to Storm King Art Center (one of the world’s leading sculpture parks and just an hour outside of New York), a VIP tour of the Brooklyn Museum’s exhibitions Jean-Michel Basquiat: The Unknown Notebooks and Kehinde Wiley: A New Republic, and an exclusive private tour of the Whitney Museum of American Art’s new Renzo Piano- designed building in the Meatpacking District thrilled our donors.

Exciting for everyone were the visits to artists’ studios where the group met Vik Muniz, who composes his ingenious images out of quotidian objects from toys to straight pins; Petah Coyne, whose fantastical sculptures display her penchant for wild materials, fine craftsmanship, and theatricality; Rina Banerjee, whose richly metaphorical sculptures are inspired by her background as a scientist; and Chris Doyle, a New York-based multimedia artist whose work Apocalypse Management (telling about being one being living) (2009) was on view in SJMA’s recent exhibition City Limits, City Life.

Finally, current members of the Council of 100 chose the artwork for its annual ArtPick, which determines its yearly contribution to SJMA’s permanent collection. On May 20, 2015, members voted for the aforementioned work by Chris Doyle. Besides the corporate sponsorships, the core revenue for the annual gala, Full Spectrum, comes from table sponsorships by our individual donors. We deeply appreciate the commitment of this year’s gala co-chairs Cornelia Pendleton and Claudia Weber; the gala’s major sponsors Yvonne and Mike Nevens; and our loyal ongoing supporters Melanie and Peter Cross, Anneke and David Dury, Eileen and Al Fernandes, Sarah Ratchye and Ed Frank, Cheryl and Bruce Kiddoo, Beverly and Peter Lipman, Dipti and Rakesh Mathur, Ann Marie Mix, Hildy Shandell, Mary Mocas and Marvin Tseu, Claudia and Sven Weber, and Susan and Bruce Worster. Past and present trustees on the gala auction committee included Tad Freese, Peter Lipman, Mary Mocas, Rita Norton, and Carol Parker.

Full Spectrum 2014 attendees, September 13, 2014

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Membership Members play a significant role in the success of the San Jose Museum of Art. Not only do they provide vital funds for SJMA’s many dynamic exhibitions and programs, but they also act as SJMA’s ambassadors within the community. With their enthusiasm, energy, and diversity, SJMA’s members help the Museum execute its mission to engage wide-ranging audiences and to celebrate new ideas. Between July 1, 2014, and June 30, 2015, more than 350 new members joined the SJMA family. SJMA hosted two opening exhibition receptions and one summer reception for its members this year. The first, on October 8, 2014, celebrated four exhibitions: Robert Henri’s California Portraits: Realism, Race and Region, 1914 – 25; Momentum: an experiment in the unexpected; Sleight of Hand: Painting and Illusion; and Post-Portrait. The opening featured a pop-up poetry reading by David Perez, poet laureate of Santa Clara County. The exhibitions Postdate: Photography and Inherited History in India; Beta Space: Diana Thater; and José Clemente Orozco: Figure Studies were celebrated at the spring opening on March 4, 2015. In June 2015, members were able to dive deeper into Beta Space: Diana Thater with a curator-led tour and a gallery talk with Puragra (Raja) Guha Thakurta, professor of astronomy and astrophysics at the University of California, Santa Cruz at the summer reception. Members enjoyed many other opportunities to engage with the exhibitions and stayed posted on what’s to come at SJMA through the monthly e-newsletters and a quarterly print newsletter.

Visitors compare Chris Fraser’s Emmanuelle (2013) with bicycle designer Craig Calfee’s intervention in Momentum

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Attendance and Benchmarks Attendance

FY 15 FY 14 FY 13 FY 12

general attendance 37,453

44,262 37,661 34,065

education programs 50,470

43,134 41,368 39,180

events and activities 13,941

15,741 12,715 11,349

Total 101,864

103,137 91,744 85,564

Web visits sanjosemuseumofart.org

page views 555,319 735,655 706,356 691,372 unique visitors 192,330 237,944 226,833 214,612

YouTube

Subscribers 1,382 1,209 975 848 Views 48,713 67,955 105,238 224,633

Twitter followers 4,957 3,991 2,914 1,929 Facebook fans/likes 5,856 5,292 4,607 3,473 Benchmarks

During fiscal year 2014 – 2015 based on SJMA’s audited financials: • 79% of functional expenses were devoted to programs and services • 11% of functional expenses were spent on management and administration costs • 17 cents were spent for each dollar raised

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SAN JOSE MUSEUM OF ART ASSOCIATIONStatement of Financial Position

June 30, 2015(With Comparative Totals as of June 30, 2014)

TotalTemporarily Permanently

Unrestricted Restricted Restricted 2015 2014ASSETS

Cash and cash equivalents $ 968,332 $ 585,014 $ - $ 1,553,346 $ 1,248,608Accounts receivable 74,449 5,574 - 80,023 57,363Contributions receivable 188,590 1,892,096 194,737 2,275,423 2,843,700Museum store inventory 81,440 - - 81,440 76,401Note receivable - related party 250,000 - - 250,000 250,000Deferred exhibition costs and prepaids 81,831 - - 81,831 109,416Investments - 2,186,450 7,230,491 9,416,941 9,272,815Property and equipment, net 15,215 - - 15,215 20,439Beneficial interest in perpetual trust - - 930,117 930,117 930,117

Total assets $ 1,659,857 $ 4,669,134 $ 8,355,345 $ 14,684,336 $ 14,808,859

LIABILITIES AND NET ASSETS

LiabilitiesAccounts payable $ 93,847 $ - $ - $ 93,847 $ 52,684Accrued liabilities 141,015 - - 141,015 193,819Unearned revenue 154,690 - - 154,690 101,890

Total liabilities 389,552 - - 389,552 348,393

Net assetsUnrestricted net assets 1,270,305 - - 1,270,305 943,064Temporarily restricted net assets - 4,669,134 - 4,669,134 5,274,646Permanently restricted net assets - - 8,355,345 8,355,345 8,242,756

Total net assets 1,270,305 4,669,134 8,355,345 14,294,784 14,460,466

Total liabilities and net assets $ 1,659,857 $ 4,669,134 $ 8,355,345 $ 14,684,336 $ 14,808,859

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SAN JOSE MUSEUM OF ART ASSOCIATIONStatement of Activities

For the Year Ended June 30, 2015(With Comparative Totals for the Year Ended June 30, 2014)

_________________________

2015 2014

UnrestrictedTemporarilyRestricted

PermanentlyRestricted Total Total

Operating support and revenueContributions $ 1,030,041 $ 1,127,919 $ 102,200 $ 2,260,160 $ 2,608,278Other in-kind support 385,035 - - 385,035 452,907Public programs 353,968 - - 353,968 425,835Membership dues 186,183 - - 186,183 187,665Museum store 193,162 - - 193,162 211,756Event rental income 72,875 - - 72,875 90,429Other revenue 31,248 - - 31,248 42,111Special event revenue (includes contributions in-kind of

$186,008 in 2015 and $1,392 in 2014) 570,087 - - 570,087 305,236Less: direct expenses (includes contributions in-kind

of $186,008 in 2015 and $1,392 in 2014) (357,559) - - (357,559) (113,469)Art class contracts and tuition 35,830 - - 35,830 30,390Net assets released from restrictions - operations 1,950,179 (1,950,179) - - -

4,451,049 (822,260) 102,200 3,730,989 4,241,138

In-kind rent 1,544,400 - - 1,544,400 1,310,400

Total operating support and revenue 5,995,449 (822,260) 102,200 5,275,389 5,551,538

Operating expensesProgram services

Exhibitions 2,885,549 - - 2,885,549 2,846,914Education 1,180,919 - - 1,180,919 1,233,643Museum store 384,050 - - 384,050 368,365

Total program services 4,450,518 - - 4,450,518 4,448,922

Supporting servicesManagement and general 630,956 - - 630,956 642,034Fundraising 587,587 - - 587,587 576,236

Total supporting services 1,218,543 - - 1,218,543 1,218,270

Total operating expenses 5,669,061 - - 5,669,061 5,667,192

Change in net assets from operations 326,388 (822,260) 102,200 (393,672) (115,654)

Nonoperating activitiesEndowment investment income, net - 177,345 - 177,345 1,294,289Endowment contributions - - 10,389 10,389 15,379Contributions for art collection items - 67,762 - 67,762 97,199General investment income, net 6,077 - - 6,077 4,982Depreciation and amortization (5,224) - - (5,224) (12,658)Net assets released from restriction - art acquisition 28,359 (28,359) - - -Purchased art collection items (28,359) - - (28,359) (34,914)Pro bono professional services support - - - - 988,824Pro bono professional services expense - - - - (988,824)Litigation settlement expense - - - - (275,000)

Total nonoperating activities 853 216,748 10,389 227,990 1,089,277

Change in net assets 327,241 (605,512) 112,589 (165,682) 973,623

Net assets, beginning of year 943,064 5,274,646 8,242,756 14,460,466 13,486,843

Net assets, end of year $ 1,270,305 $ 4,669,134 $ 8,355,345 $ 14,294,784 $ 14,460,466

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SAN JOSE MUSEUM OF ART ASSOCIATIONStatement of Functional ExpensesFor the Year Ended June 30, 2015

(With Comparative Totals for the Year Ended June 30, 2014)_________________________

Program Services Supporting Services Total

Exhibitions Education Museum Store TotalManagement and

General Fundraising Total 2015 2014Operating expenses

Salaries and wages $ 911,534 $ 425,522 $ 101,974 $ 1,439,030 $ 241,900 $ 282,207 $ 524,107 $ 1,963,137 $ 2,049,160Payroll taxes and benefits 163,766 83,332 19,568 266,666 59,147 60,396 119,543 386,209 339,453

Total salaries and related expenses 1,075,300 508,854 121,542 1,705,696 301,047 342,603 643,650 2,349,346 2,388,613

In-kind rent 1,007,780 195,230 125,760 1,328,770 107,815 107,815 215,630 1,544,400 1,310,400Volunteer services - 279,360 19,475 298,835 - - - 298,835 302,395Outside services and security 237,825 24,221 39 262,085 15,038 21,296 36,334 298,419 321,163Marketing 143,470 116 - 143,586 2,889 5,473 8,362 151,948 119,928Travel 17,135 76,871 929 94,935 13,929 3,531 17,460 112,395 152,940Exhibition costs 103,118 - - 103,118 - - - 103,118 144,302Cost of goods sold - - 101,502 101,502 - - - 101,502 111,573Shipping and storage 97,034 369 212 97,615 - 39 39 97,654 143,076In-kind support expense 14,400 14,400 - 28,800 45,900 11,500 57,400 86,200 151,904Materials 28,120 29,328 - 57,448 - 47 47 57,495 67,158Catering 10,290 22,600 - 32,890 489 20,215 20,704 53,594 55,640Software maintenance 18,928 1,496 1,141 21,565 7,151 21,995 29,146 50,711 58,204Telephone and utilities 14,189 5,338 1,331 20,858 19,040 9,319 28,359 49,217 54,437Equipment expenses 31,507 1,910 6 33,423 14,025 646 14,671 48,094 28,239Insurance 38,113 2,093 1,348 41,554 2,656 1,156 3,812 45,366 37,809Miscellaneous 7,972 8,251 992 17,215 11,318 11,425 22,743 39,958 37,814Printing and web design 24,274 3,659 22 27,955 1,083 12,948 14,031 41,986 33,118Legal and accounting - - - - 39,287 - 39,287 39,287 69,890Recruiting - 100 75 175 36,724 510 37,234 37,409 1,235Office supplies and postage 9,400 3,266 2,364 15,030 11,166 5,760 16,926 31,956 26,909Bank charges 2,511 3,417 7,226 13,154 548 10,839 11,387 24,541 40,138Conservation 4,174 - - 4,174 - - - 4,174 9,298Meetings and lunches 9 40 86 135 851 470 1,321 1,456 1,009

Total operating expenses 2,885,549 1,180,919 384,050 4,450,518 630,956 587,587 1,218,543 5,669,061 5,667,192

Nonoperating expensesDepreciation and amortization 2,612 1,567 522 4,701 262 261 523 5,224 12,658Purchased art collection items 28,359 - - 28,359 - - - 28,359 34,914Pro bono professional services - - - - - - - - 988,824Litigation settlement - - - - - - - - 275,000

Total functional expenses $ 2,916,520 $ 1,182,486 $ 384,572 $ 4,483,578 $ 631,218 $ 587,848 $ 1,219,066 $ 5,702,644 $ 6,978,588

Percentage of Total%51.2 %20.7 %6.7 %78.6 %11.1 %10.3 %21.4 %100.0

Total functional expenses $ 2,916,520 $ 1,182,486 $ 384,572 $ 4,483,578 $ 631,218 $ 587,848 $ 1,219,066 $ 5,702,644 $ 6,978,588Nonrecurring pro bono professional

services excluded - - - - - - - - (988,824)Nonrecurring litigation settlement

excluded - - - - - - - - (275,000)

Total functional expensesexcluding non-recurring items $ 2,916,520 $ 1,182,486 $ 384,572 $ 4,483,578 $ 631,218 $ 587,848 $ 1,219,066 $ 5,702,644 $ 5,714,764

Percentage of total %51.2 %20.7 %6.7 %78.6 %11.1 %10.3 %21.4 %100.0

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Volunteers Board and Community Committees Executive Committee Hildy Shandell, chair William Faulkner Tad Freese Peter Lipman T. Michael Nevens Bruce Worster Finance and Policy Committee William Faulkner, chair Peter Cross Glenn Daniel Glenda Dorchak Tom Matson Al Smith Acquisitions Committee Rita Norton, chair J. Michael Bewley Doris Burgess Elaine Cardinale Peter Lipman Ann Marie Mix Barbara Oshman Carol Parker Theres Rohan John Zarobell

Audit Committee Anneke Dury, chair Peter Cross Chris James Lawrence Lee David Sacarelos Development Committee Cornelia Pendleton, co-chair Bruce Worster, co-chair Roger Bowie Tad Freese Cheryl Kiddoo Elena Lebedeva Evelyn Neely Yvonne Nevens Hildy Shandell Full Spectrum 2014 Gala Committee Cornelia Pendleton, co-chair Claudia Weber, co-chair Auction Committee Tad Freese Lisa James Susan Krane Peter Lipman Mary Mocas

Volunteer Groups Store Volunteers Dorothy Atkins Marilyn August Irene Baker Connie Bantillo Lynne Brown

Pat Caporal Ida Carbullido Linda Darnall Char Devich Lois Gil

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Rachel Karklin Michele Kelly Madelyn Lee Jeannie Liu Chris Mengarelli Jeannie Pedroza Anita Phagan Jeff Ramirez

Carla Rosenblum Shu Katahira Rosenthal Sara Selbo-Bruns Lynore Slaten Norika (Nori) Takada Mitsu Wasano Alisa Wetzel Nancy Wylde

Docent Council Mary Allan Ursula M. Anderson Michael G. Arellano Evelyn Bookwalter Sharon Bosley Lauren Buchholz Doris Burgess Kathi Cambiano Emme Carl Sandra Churchill Susan Crow Lisa Daidone Dolores Fajardo Peter Fargo Betty Faultner Lorraine Fitch Cathleen Fortune Linda Foster Lisa Gallo Kathy Gibson Martina Glenn Carole Gonsalves Barbara Hansen Kim Harris Sharlyn Heron Tricia Hill Lys House Karen Huitric Abby Hunter Marilyn Katz Ruth Koffman

Diana Loew Janet Lonvick Ted Lorraine Lisa Lubliner Suzette Mahr Ellen McInnis Shauna Mika Ann Marie Mix Peggy Yep Morrow Evelyn Neely Dian Nusantari Susanne Offensend Joyce Oyama Pirjo Polari-Khan Carol Roosen Elizabeth Ryono Elizabeth Seiden Ursula Shultz Bob Strain Elizabeth Striebeck Alan Tanenbaum Georgette Tanenbaum Jeanne Torre Hal Turk Rick Vierhus Richard Volle Linda Vrabel Eli Yasek Alayne Yellum Martine Yingling

Let’s Look at Art – Active docentsTerry Abell Marilyn August Lisa Beatty Donna Bee-Gates

Carol Bower Jennifer Busam Christy Cali Kathleen Callan

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Kathi Cambiano Susan Curtin Char Devich Nancy Dunne Norma Faulkner Toby Fernald Cathy Fraser Linda Gallo Lisa Gallo Linda Goldberg Nancy Graham Karen Harrington Julia Hartman Beth Herner Tricia Hill Dave Himmelblau Lorraine Hoff Julia Jacobson Gail Kefauver Jean Jellet Isabel Kennedy Carole Kilik Linda Klein Jeanne Langridge Karen Lantz Christene Lee

MaryAnn Lewis Liss Lohmann Loyce Mandella Janet Mannina Nancy Mathews Mardi Maxwell Susan McGowan Angie Miraflor Tony Misch Sharon Morales Linda Pfeiffer Maria Quillard Amy Rapport Linda Robles Elizabeth Seiden Jim Shuett GayAnn Southwell Liz Summerhayes Shelley Sweet Jeanne Toms Mary True Linda White Sybil Wolden Janet Wolf Christine Zheng

Let’s Look at Art – Sustaining docents Diane Baer Mary Ann Barr Sue Bisceglia Barbara Bogomilsky Michelle Cohen Susan Crow Arlene DeMoss Beverly Diehl Connie Dimmitt Carol Dyson Lorraine Fitch Linda Foster Joan Gorham Barbara Hansen

Carole Harris Loretta Lopez Beverly Lundstedt Gerri Lurya Ellen McInnis Rosemarie Mirkin Lupe Morishige Izzie Nixon Jane Pomeroy Carrie Ross Joan Sharrock Diane Stoiber Diana Taylor Nancy Wylde

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Staff Anamarie Alongi Registrar Valerie Aquila Former Assistant to the Executive Director for Museum

Administration Stephanie Battle Former Project Registrar Jeff Bordona Manager of Youth and Family Services, Director of

Education Randall Bricco Preparator Susan Christensen Development Operations Manager Aquiles de la Torre Marketing Assistant Leigh Dickerson Associate Exhibition Designer Pat Downward Director of Retail Operations Katherine Gallagher Sales Associate Lilly Giraldo Assistant to the Executive Director for Museum

Administration Sean Glaes Accounting Specialist Karen Hsu Public Relations and Marketing Assistant Sherrill Ingalls Director of Marketing and Communications Lisa James Director of Development Richard Karson Chief of Design and Installation Jessica Knudtzon Former Development Assistant Kat Koh Former Interim Curatorial Assistant Susan Krane Oshman Executive Director Denise Liberi Education Specialist, Manager of Youth Programs Lucy Larson Former Director of Education Susan Leask Former Acting Senior Curator Rachel Marguet-Smith Education Coordinator LT Beaton Former Events Manager Deborah Norberg Deputy Director, Operations Rory Padeken Assistant Curator Carol Pizzo Director of Legacy Stewardship Karen Rapp Grants Officer Cherri Rediger Sales Associate John Renzel Facilities Manager Elizabeth Rock Membership and Annual Fund Coordinator Laura Skelton Events Manager Brian Spang Director of Finance Matthew Taylor-Siegel Major Gifts Officer Tai Tran Staff Accountant Robin Treen Special Projects Coordinator Marja van der Loo Curatorial Associate Paulina Vu Manager of Museum Experience Jessica Yee Curatorial Assistant Museum Experience Representatives (MERs)

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Christina Ayson Terra Fuller Anna Horning Hope Kusy Erika Lara Emily Law Joanna Le Frederick Liang

Andrew Mendoza Gilberto Ramirez Raymond Ramirez Jehoiakim Santos Eduardo Silva Sarah Wolk Martin Solorio Travis Warner

Gallery Teachers Michael Arellano Vi Faragalli Meiru Huang James Sugg

Studio Art Educators Emilio Banuelos Maytal Gotesman Cecilia Sanchez-Cruz Stuart Mahoney

Installation Crew Ian Barrigan Adam Bontrager Ramon Cartwright Nathan Cox Chris Dubois Aaron Lee Lauren O’Conner-Korb Interns Madison Connor, registration volunteer Kali Horita, finance

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