SJMA PodCast

Artist Eric Fischl spoke at the San Jose Museum of Art on October 25, 2012, at the opening celebration for the exhibition: "Dive Deep: Eric Fischl and the Process of Painting." Joining him in conversation were Lynn Orr, curator in charge of European paintings at the Fine Arts Museums of San Francisco, and Jodi Throckmorton, associate curator at SJMA and co-curator of the exhibition.

Sound Mix for Leo Villareal at the San Jose Museum of Art Melodic Shapes by James Healy (Escape Art, Air Texture) Repeating sonic structures, creating melodic shapes, may form iconic pathways into abstract thought. Tracklisting: Loscil "Fern and Robin", Antonio Trinchera "Just To See You Tomorrow", bvdub "I Knew Happiness Once", Mike Chillage & Pentatonik "Hypothermia", Antonio Trinchera "The Wind Make Himself", Schwanbeck "Glow", Aquadorsa "Daylight Fading Into Evening Silence", Ulf Lohmann "Kristall", Antonio Trinchera "Voce Falena", Ulf Lohmann "My Pazifik", John Barry "Out of Africa", Klimek "for Michael Gira and Vladmir Ivanovich", Loscil "Hyphae" Escape Art: The Art of Escape

Todd Schorr has many influences that go into his artwork ranging from boyhood memories to modern day cartoons. In this video he invites us into his large collection of ephemera that he has collected over the years that continue to inspire his work. Todd Schorr: American Surreal is the first mid-career retrospective of the Los Angeles-based artist. Schorr is a leading figure in Southern California's cartoon-based movement, dubbed Pop Surrealism, which embraces low-brow culture and a ribald graphic style indebted to pop sources such as Mad magazine. Schorrs astonishing, highly polished realism, (inspired by Bosch, Brueghel and Dali), sets him apart from his best-known peers such as Camille Rose Garcia, Gary Baseman, and Mark Ryden. The exhibition, curated by SJMAs Senior Scholar and Curator of Collections Susan Landauer, is accompanied by a book published by Last Gasp, San Francisco. Exhibition runs June 20 through September 16, 2009 at the San Jose Museum of Art.

In this video Todd Schorr discusses his process of creating a painting - from the initial drawing, to the color study, to the laying paint on the canvas. Additionally he talks about using acrylic paints the way one would use oils. Todd Schorr: American Surreal is the first mid-career retrospective of the Los Angeles-based artist. Schorr is a leading figure in Southern California's cartoon-based movement, dubbed Pop Surrealism, which embraces low-brow culture and a ribald graphic style indebted to pop sources such as Mad magazine. Schorrs astonishing, highly polished realism, (inspired by Bosch, Brueghel and Dali), sets him apart from his best-known peers such as Camille Rose Garcia, Gary Baseman, and Mark Ryden. The exhibition, curated by SJMAs Senior Scholar and Curator of Collections Susan Landauer, is accompanied by a book published by Last Gasp, San Francisco. Exhibition runs June 20 through September 16, 2009 at the San Jose Museum of Art.

As a young boy Todd Schorr came across the movie King Kong which had a profound effect on him. He has recently been creating paintings with themes of Apes in them. In this video Schorr talks about seeing King Kong and also discusses a work of his titled The Anguish of Carl Akeley. Todd Schorr: American Surreal is the first mid-career retrospective of the Los Angeles-based artist. Schorr is a leading figure in Southern California's cartoon-based movement, dubbed Pop Surrealism, which embraces low-brow culture and a ribald graphic style indebted to pop sources such as Mad magazine. Schorrs astonishing, highly polished realism, (inspired by Bosch, Brueghel and Dali), sets him apart from his best-known peers such as Camille Rose Garcia, Gary Baseman, and Mark Ryden. The exhibition, curated by SJMAs Senior Scholar and Curator of Collections Susan Landauer, is accompanied by a book published by Last Gasp, San Francisco. Exhibition runs June 20 through September 16, 2009 at the San Jose Museum of Art.

Todd Schorr has painted two large format paintings in which he addresses his influences as an artist - one reflects on the cartoon perspective and the other on the horror film perspective. In this video Todd offers insight into how the pieces came about and some of the subject matter in each. Todd Schorr: American Surreal is the first mid-career retrospective of the Los Angeles-based artist. Schorr is a leading figure in Southern California's cartoon-based movement, dubbed Pop Surrealism, which embraces low-brow culture and a ribald graphic style indebted to pop sources such as Mad magazine. Schorrs astonishing, highly polished realism, (inspired by Bosch, Brueghel and Dali), sets him apart from his best-known peers such as Camille Rose Garcia, Gary Baseman, and Mark Ryden. The exhibition, curated by SJMAs Senior Scholar and Curator of Collections Susan Landauer, is accompanied by a book published by Last Gasp, San Francisco. Exhibition runs June 20 through September 16, 2009 at the San Jose Museum of Art.

Todd Schorr: American Surreal is the first mid-career retrospective of the Los Angeles-based artist. Schorr is a leading figure in Southern California's cartoon-based movement, dubbed Pop Surrealism, which embraces low-brow culture and a ribald graphic style indebted to pop sources such as Mad magazine. Schorrs astonishing, highly polished realism, (inspired by Bosch, Brueghel and Dali), sets him apart from his best-known peers such as Camille Rose Garcia, Gary Baseman, and Mark Ryden. The exhibition, curated by SJMAs Senior Scholar and Curator of Collections Susan Landauer, is accompanied by a book published by Last Gasp, San Francisco. Exhibition runs June 20 through September 16, 2009 at the San Jose Museum of Art

For the exhibition This End Up: the Art of Cardboard we created this short promo video. The film features a work in the exhibition called Cakeland by artist Scott Hove and is a sequel to a previous video that the museum produced called Road Trip. You can view that video here: http://www.youtube.com/watch?v=M_rmqK... Special thanks go to Scott Hove for letting the museum film in his studio and to Sibby's Cupcakes for allowing us to film in their bakery. http://www.mshove.com http://www.sibbyscupcakery.com *************************************** Bronze, marble, stainless steelcardboard? In fact, many of the most highly esteemed artists, like Robert Rauschenberg, Frank Gehry, Joan Brown and Manuel Neri, have experimented with cardboard as an artistic material. Both relatively inexpensive and ubiquitous, cardboard affords artists the ability to work on a large-scale that might not be otherwise possible. In this exhibition, artists challenge the limits of cardboard by investigating topics ranging from formal concerns to social commentary and engineering. Oakland-based artist Scott Hove paints and embellishes cardboard transforming its dull, brown surface to a delectable, pink, frosted cake. Exploring the sculptural quality of cardboard, Tobias Putrih carefully carves the material revealing organic forms with dynamic surfaces. Ranging from large scale installation to two-dimensional objects, this exhibition demonstrates the almost endless artistic possibilities of this everyday material. This End Up: the Art of Cardboard runs from November 8, 2008 through February 15, 2009

Road Trip Curator Kristen Evangelista discusses how the exhibition came to be and some of the key points to consider when viewing the show at the San Jose Museum of Art. Often considered a distinctly American experience, the road trip is an excursion in which the journey is as compelling as the destination. The exhibition Road Trip examines this travel experience through photography, video, sculpture, and works on paper by Eleanor Antin, Jane Benson, Sophie Calle, Steven Deo, Lordy Rodriguez, Ed Ruscha, and others. Photographers Candace Plummer Gaudiani and Catherine Opie methodically document their surroundings, often searching for remnants of the past. Other artists such as Val Britton and Nina Katchadourian favor a metaphorical approach, reinterpreting maps to produce invented landscapes. Road Trip offers a broad exploration of real and imagined journeys, which often entail not only a physical displacement but also a psychological and emotional passage. San Jose Museum of Arts exhibition, Road Trip, is sponsored by McManis Faulkner.

Artist Sasha Petrenko talks about her piece Pocket House and her series of Motor-home dioramas in the exhibition Road Trip at the San Jose Museum of Art. Often considered a distinctly American experience, the road trip is an excursion in which the journey is as compelling as the destination. The exhibition Road Trip examines this travel experience through photography, video, sculpture, and works on paper by Eleanor Antin, Jane Benson, Sophie Calle, Steven Deo, Lordy Rodriguez, Ed Ruscha, and others. Photographers Candace Plummer Gaudiani and Catherine Opie methodically document their surroundings, often searching for remnants of the past. Other artists such as Val Britton and Nina Katchadourian favor a metaphorical approach, reinterpreting maps to produce invented landscapes. Road Trip offers a broad exploration of real and imagined journeys, which often entail not only a physical displacement but also a psychological and emotional passage. San Jose Museum of Arts exhibition, Road Trip, is sponsored by McManis Faulkner.

Road Trip artist Tracey Snelling talks about her work in the Exhibition and offers insight into her creative process. Often considered a distinctly American experience, the road trip is an excursion in which the journey is as compelling as the destination. The exhibition Road Trip examines this travel experience through photography, video, sculpture, and works on paper by Eleanor Antin, Jane Benson, Sophie Calle, Steven Deo, Lordy Rodriguez, Ed Ruscha, and others. Photographers Candace Plummer Gaudiani and Catherine Opie methodically document their surroundings, often searching for remnants of the past. Other artists such as Val Britton and Nina Katchadourian favor a metaphorical approach, reinterpreting maps to produce invented landscapes. Road Trip offers a broad exploration of real and imagined journeys, which often entail not only a physical displacement but also a psychological and emotional passage. San Jose Museum of Arts exhibition, Road Trip, is sponsored by McManis Faulkner.

For the exhibition Road Trip in the fall, the San Jose Museum of Art is seeking your postcards from unique, fun and iconic vacation destinations that you travel to this summer. The postcards will be available in the exhibition's interpretation area where visitors to the museum can peruse the cards at their leisure. In addition, you will be able to make and send your own card directly from the museum! Send your card to: Road Trip San Jose Museum of Art 110 South Market Street San Jose, CA 95113 The Road Trip exhibition runs from September 19, 2008 - January 25, 2009 at the San Jose Museum of Art.

Brief introduction to Senior Curator JoAnne Northrup's exhibition Robots: Evolution of a Cultural Icon. In it she talks about how the exhibition came about and the influence of popular culture. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

JoAnne Northrup, Senior Curator at the San Jose Museum of Art, talks about artist Clayton Bailey, whose robot family in the SJMA Permanent Collection will be featured in the exhibition Robots: Evolution of a Cultural Icon. She talks about his influence on the exhibition and his popular robot sculptures. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

We traveled to Port Costa where we spent the better part of the morning touring Clayton Baileys property and studio. The morning was entertaining and interesting. Bailey talks here about his robot sculptures - how they are made and creating a personality in them. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Senior Curator JoAnne Northrup speaks of artist Nemo Gould and his early influence by artist Clayton Bailey. She also talks about his works in the Robots exhibition, "Little Big Man" and "General Debris". For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Kinetic sculptor Nemo Gould took us on a fascinating tour of his studio/workspace. He talks about his robot creations and talks about the robot that he is specifically building for the exhibition Robots: Evolution of a Cultural Icon. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

For this label Curator JoAnne Northrup talks about how art history has influenced the work of Eric Joyner. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Robot/Donut artist Eric Joyner invited us to his studio in San Francisco where he talks about his process and why he chose robots and donuts as subject matter. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Talking about the unique quality of David Pace's photographic work, Senior Curator JoAnne Northrup, touches on his post-modernist ideas of taxonomies and deconstruction. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Photographer David Pace speaks in his studio about his "Collection" series of photographs, of which there are two works from in the Robots exhibitions, and robots as an influence in his life and work. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Robots Curator JoAnne Northrup talks about the work of Lisa Solomon and how she transforms the notion of robots through the use of domestic processes like quilting. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

We headed up to East Oakland to speak with artist Lisa Solomon at her studio for this label. She talks about her work in Robots as well as her place in the lineage of feminist artist. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Senior Curator JoAnne Northrup talks about what sets new media artist Gail Wight apart from other new media artists. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

For this label we interviewed artist Gail Wight in her studio at Stanford University. We spoke with her about her scientific influences, her fascination with robots, and two of her works in the exhibition. For the exhibition Robots: Evolution of a Cultural Icon the San Jose Museum of Art created "Video Labels" for around the work of 6 artists. The artists are Clayton Bailey, Eric Joyner, Nemo Gould, Gail Wight, Lisa Solomon and David Pace. For each artist there is a "Curators Label", where Senior Curator JoAnne Northrup speaks about the artist, and an "Artist Label", where the artist talks about their work. Show runs April 12 - October 19, 2008. Robots: Evolution of a Cultural Icon examines the development of robot iconography in fine art over the past 50 years. In 1920, the term robot was coined from a Czech word robota, which means tedious labor. Since then, the image and the idea of a robot have evolved remarkably from an awkward, mechanical creature to a sophisticated android with artificial intelligence and the potential for human-like consciousness. As robotic technology catches up with the wild imagination of science fiction novels, movies, and animation, dreams and fears anticipated in these stories may also become reality. Artists included in the exhibition have responded to the technological innovation with optimism, pessimism, and humor, presenting work that ultimately explores our ambivalent attitudes towards robots.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

Video Tour for the San Jose Museum of Art's exhibition Goya's Caprichos: Dreams of Reason and Madness on view at SJMA January 26 - April 20, 2008. Download to your iPod via iTunes (search "SJMA") to supplement your visit or watch via YouTube to experience parts of the exhibition at home. Utilizing satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; therefore he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church. Goya's characters themselves exist somewhere between actuality and fantasy. In fact, in Spanish the term "capricho" means whim or an expression of the imagination. Goya used whimsy but also gross caricature to expose a nation rife with corruption and evil.

For this episode of The BUZZ we spoke with artist/photographer Edward Burtynsky by phone from his studio in Toronto. Burtynsky speaks about his style and technique, in addition to discussing his photograph, Oil Fields 19a and 19b, Belridge, CA in the San Jose Museum of Art permanent collection. Artist of the Week is now titled The BUZZ @ SJMA. Download this episode along with the previous AOTW episodes for Hung Liu, Jack Zajac, Ricard Misrach, Amy Kaufman and Jim Campbell during our current Permanent Collection exhibit (7/28/07-3/23/08) to enhance your visit. The BUZZ @ SJMA is our ongoing series featuring artists from our Permanent Collection. This insider commentary features artists, gallerists, curators and friends to give you a glimpse into each artists creative process. You can subscribe on the iTunes Store or on YouTube at www.youtube.com/sanjosemuseumofart. Enjoy!

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode for the exhibition De-Natured: Works from the Anderson Collection curator Heather Green talks about the ideas behind the exhibition and the Anderson art collection; on view at the San Jose Museum of Art Oct. 13, 2007 - Jan. 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William Allen speaks about his large scale painting, Half a Dam, in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William T. Wiley talks about his marker and watercolor work on paper in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. He also sung an original song, that accompanies the episode, to us. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Charles Arnoldi speaks about his stick sculpture in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Carole Seborovski talks about two drawings she has in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.