Eight bridges connect the San Francisco Bay, so it is an apt name for a gallery platform that brings the Bay Area art world together.

Our mission is to maintain a vibrant gallery scene, despite restrictions on travel, celebrations and other larger gatherings. We want to support our artists by informing and entertaining curators, collectors and critics with potent online exhibitions of their work.

On the first Thursday of every month, we will launch 8 shows of artists relevant to the Bay Area. They may be working in this place, long considered an epicenter of change, or deeply engaged in the conversations the Bay Area holds dear, whether it’s related to technology, the environment, social justice or sexual identity, to name a few. In addition, each month will highlight the crucial work of a Bay Area non-profit arts organization as its beneficiary, with an initial donation led by Phillips.

Founding Committee

Claudia Altman-Siegel, Kelly Huang, Sophia Kinell, Micki Meng, Daphne Palmer, Chris Perez, Sarah Wendell Sherrill, Jessica Silverman, and Elizabeth Sullivan

Ambassador Committee

Sayre Batton & Maja Thomas, Joachim & Nancy Bechtle, Matt Bernstein, Sabrina Buell, Wayee Chu & Ethan Beard, Natasha Boas, Douglas Durkin, Carla Emil, Matt & Jessica Farron, Lauren Ford, Ali Gass, Stanlee Gatti, Brook Hartzell & Tad Freese, Pamela & David Hornik, Katie & Matt Paige, Putter Pence, Becca Prowda & Daniel Lurie, Deborah Rappaport, Komal Shah & Gaurav Garg, Laura Sweeney, The Battery, Robin Wright, Sonya Yu & Zack Lara

Sponsors

Lobus, Phillips, The Space Program

Available to view in person
RESET
Rebecca Camacho Presents
Natani Notah
Normal Force

Rebecca Camacho Presents is pleased to highlight a selection of ambitious new works by emerging artist Natani Notah. Exploring Native American identity as a Diné (Navajo) woman, Notah’s interdisciplinary practice sits at the intersection of art, history and culture. Titled Normal Force, the presentation references Newton’s third law (when two objects interact, they apply forces to each other of equal magnitude and opposite direction) as a point of entry to theorize the parallels of physical energy and power and how those pressures directly affect Native people.

The exhibition highlights Notah’s mixed-media process, featuring a drawing from 2019, accompanied by a new series of soft sculptures, and photographs. Utilizing many traditional modes of making, Notah draws upon both intensely personal and universal elements to make work that has a strong presence within the space of fine art.

Natani Notah (b. 1992) received her BFA in Fine Arts with a minor in Feminist, Gender and Sexuality Studies from Cornell University in 2014 and her MFA from Stanford University in 2018. Notah was recently included in the critically praised exhibitions Native Feminisms at apexart, New York NY and Material Intimacies at NXTHVN, New Haven CT. Her work has been featured in Art in America, Hyperallergic, Forbes, and Sculpture Magazine and she has had artist residencies at the Vermont Studio Center, Grounds for Sculpture, Headlands Center for the Arts, This Will Take Time, Oakland and Kala Art Institute. Notah is currently a 2021-2023 Tulsa Artist Fellow. She will mount solo exhibitions at various institutions in 2022.

Rebecca Camacho Presents
One Antonym of Catch is Release, 2021
Digital pigment print
24 x 20 inches
Photograph made with support from Vanessa Morales
Edition 1 of 3 plus 2 AP
$4,200
Rebecca Camacho Presents
One Synonym of Tumor is Enemy, 2021
Father’s old t-shirt, leather scraps, seed beads, plastic beads, thread, faux fur, artificial sinew, and plastic pellets
14 x 12 x 12 inches
Rebecca Camacho Presents
Strapped, 2021
Leather scraps, seed beads, thread, faux fur, artificial sinew, and plastic corn pellets
21 x 8 x 6 inches
$6,500
Rebecca Camacho Presents
Outfoxed, 2021
Land O’Lakes apron, leather scraps, jean fabric, seed beads, thread, acrylic paint, faux fur, artificial sinew, old laundry hanger and plastic corn pellets
24 x 17 x 18 inches
$8,500
Rebecca Camacho Presents
Over 25 Million Lives, 2019
Mixed media drawing and collage on archival paper
30 x 23 inches
$5,200
Rebecca Camacho Presents
Trawled, 2021
Leather scraps, seed beads, thread, acrylic paint, faux fur, artificial sinew, and plastic corn pellets
34 x 6 1/2 x 3 1/4 inches
$6,500
Rebecca Camacho Presents
There Are No Synonyms for Cradleboard, 2021
Digital pigment print
20 x 24 inches
Photograph made with support from Vanessa Morales
Edition 1 of 3 plus 2 AP
$4,200
Rebecca Camacho Presents
Shell-shocked, 2021
Vintage Four Corners t-shirt, white shell beads, thread, faux fur, pleather belt, and plastic corn pellets
15 x 11 x 8 inches
$6,500
Berggruen Gallery
Paul Kremer
UV

Berggruen Gallery is pleased to present Paul Kremer / UV, an exhibition of recent paintings and works on paper by American artist, Paul Kremer. This show marks Kremer’s second solo exhibition with the gallery. The show will be on view from September 9 through October 9, 2021.

Paul Kremer, best known for his abstract paintings of simplified forms in bold yet minimalistic colors, frequently paints hard edge shapes with precise lines and angles. In his newest body of work, the artist has focused on decidedly more organic shapes, those reminiscent of blooming flowers and animals in motion, objects that evoke pleasure and contentment in the artist. UV, at its heart, is Kremer’s exploration of hopefulness and ebullience through color and shape during a time in the world when everything can feel difficult and complex. While discussing this new work, the artist shared, “I want to make paintings that make me feel better. When I stand in front of them, I want to feel for a moment that life is less stressful, less chaotic. I want to stir curiosity by the simplest means and add some positivity while I’m alive.” Kremer’s playfully refined works challenge viewers to see delight and expansive movement through autonomous forms and color.

Kremer explores this sentiment of positivity through a process that bridges digital experimentation and physical materiality. In this most recent body of work, he began by creating hundreds of drawings, settling on forms that evoke feelings of harmony and curiosity within him. After refining his shapes, Kremer tests varying color combinations until he finds engaging connections that aesthetically balance. Finally, Kremer renders his shapes onto the physical canvas giving them physical expression.

A self-taught artist, Paul Kremer was born in Chicago, Illinois, in 1971, and lives and works in Houston, Texas. Recent solo exhibitions include Windows at Louis/Buhl & Co., Detroit; Hovering at Maruani Mercier, Knokke, Belgium; Layer Hooks at Alexander Berggruen Gallery, New York.

 

 

Berggruen Gallery

Dive 06, 2021
Acrylic on canvas
40 x 40 inches
$22,000

Berggruen Gallery

Flop, 2021
Acrylic on canvas
72 x 54 inches
$29,000

Berggruen Gallery

Pour, 2021
Acrylic on canvas
54 x 72 inches
$29,000

 

Berggruen Gallery

Pop! (green paper study), 2021
Acrylic on paper
30 x 22 inches
$7,500

Euqinom Gallery
Klea McKenna and Ansley West Rivers
EUQINOM Gallery presents a preview of “Rainbow Bruise” by Klea McKenna and “Seven Rivers” from Ansley West Rivers.

In her recent work Klea McKenna uses analog light-sensitive materials to reanimate objects from our contemporary past. Her subjects (found clothing, textiles and amateur paintings) bear the marks of devotion and contact with our human bodies; flaws, fingerprints and damage that accumulate through time. In darkness, she embosses these charged objects into photographic paper then casts light across the resulting textures. She then adds color with fabric dyes and photographic toners. This unruly process subverts photography’s intended use by making touch more primary than sight and generates images that contain a confounding blend of evidence and fiction. Her tactile way of reading the world reveals broken patterns, and imperfections everywhere – our stories recorded in the surfaces we live with.

Klea McKenna (born 1980, Freestone, CA) is a visual artist who also writes and makes films. She is known for cameraless photography and her innovative use of light-sensitive materials. Her work is held in several public collections, including SFMOMA, LACMA, Getty Museum, Santa Barbara Museum of Art, the US Embassy collection and The Victoria and Albert Museum in London. She studied art at UCLA, UCSC and California College of the Arts. Klea is the daughter of renegade ethnobotanists who raised her in Hawaii, California and on the road. She now lives in San Francisco with her partner and their young children.

Ansley West Rivers ongoing depiction of America’s most important freshwater channels including the Colorado, Missouri, Mississippi, Columbia, Rio Grande, Tuolumne, Altamaha, and the Hudson. While Seven Rivers references the American tradition of landscape photography, the images diverge from traditional landscape portraiture by presenting constructed landscapes. Creating compositions on each negative by shooting several exposures onto each frame with the help of masking tools that are placed in front of the lens, the resulting images are a marriage of documentation and impression. The human intervention in what might otherwise be a straightforward record of the natural world mirrors the human impact that threatens our country’s freshwater ecosystems.

Ansley West Rivers (born in 1983 in Atlanta, Georgia) received her BFA from the University of Georgia and MFA from the California College of the Arts. In 2019 she had her first solo museum exhibition at Telfair Museum, Savannah, GA. West Rivers work is featured in many public and private collections including the Museum of Contemporary Art of Georgia, The Judge Collection, LaGrange Art Museum and The Mayo Collection. Additionally, West Rivers’ work has been shown at The Wiregrass Museum (Dothan, AL), Wattis Institute of Contemporary Art (San Francisco, CA), Burrard Arts Foundation (Vancouver BC). She currently lives with her husband and two children in Victor, Idaho.

 

Instagram: @euqinomgallery, @klea_mckenna, @ansleywestrivers
Website: Euqinomgallery.com / kleamckenna.com / ansleywest.com

Euqinom Gallery

Klea McKenna
Untitled (blue mirror) from the series Rainbow Bruise
, 2021
Photographic relief. Unique gelatin silver photogram, embossed impression of a vintage painting, fabric dye
49 x 41 inches
$10,000

Euqinom Gallery

Klea McKenna
Untitled (whale bone) from the series Rainbow Bruise
, 2021
Photographic relief. Unique gelatin silver photogram, embossed impression of a vintage painting, fabric dye
23 x 19 inches
$6,000

Euqinom Gallery

Klea McKenna
Untitled (finger prints) from the series Rainbow Bruise, 2021
Photographic relief. Unique gelatin silver photogram, embossed impression of a vintage painting, fabric dye
23 x 19 inches
$6,000

Euqinom Gallery

Klea McKenna
Untitled (cave painting) from the series Rainbow Bruise
, 2021
Photographic relief. Unique gelatin silver photogram, embossed impression of a vintage painting, fabric dye
42 x 36 inches
$9,000

Euqinom Gallery

Ansley West Rivers
Blacktail Ponds of the Snake River, Grand Teton National Park Wyoming, 2021
Archival Pigment Print
Editions of 7 + 2 APs
24 x 30 inches
$1,600 framed

40 x 50 inches
$3,700 framed

Euqinom Gallery

Ansley West Rivers
Jackson Lake, Grand Teton National Park, Wyoming I, 2021
Archival Pigment Print
Editions of 7 + 2 APs
24 x 30 inches
$1,600 framed

40 x 50 inches
$3,700 framed

Euqinom Gallery

Ansley West Rivers
Sandbar on the Snake River, GrandTetonNationalPark, Wyoming, 2021
Archival Pigment Print
Editions of 7 + 2 APs
24 x 30 inches
$1,600 framed

40 x 50 inches
$3,700 framed

Euqinom Gallery

Ansley West Rivers
Teton River, Teton Valley, Idaho 2021 III, 2021
Archival Pigment Print
Editions of 7 + 2 APs
24 x 30 inches
$1,600 framed

40 x 50 inches
$3,700 framed

 

Pace Gallery Palo Alto
Paul Graham
The Seasons

Pace Gallery is pleased to present an exhibition of two bodies of work by Paul Graham as part of the artist’s first West Coast show since his 2015 solo exhibition at Pier 24, San Francisco. The Seasons and Sightless will be on view from September 16 through October 16.

The New York-based artist, who first came to prominence in the United Kingdom in the 1980s with his radical use of color photography, has traveled widely, producing twelve distinct bodies of work, and has been the subject of more than eighty solo exhibitions worldwide.

The series in focus takes its title, The Seasons, from the Northern Renaissance painter Pieter Bruegel the Elder’s famed series of six paintings depicting rural life in Northern Europe across the different phases of the year.

In a nod to Bruegel’s series, Graham has created six large-format photographs featuring life around the various bank headquarters on New York’s Park Avenue throughout the calendar year. Graham began photographing the major US banks after the 2008 financial crisis, and once he was immersed in the work the artist began to sense the intriguing connection between his images—with their panoplies of human activity spread across sidewalks and courtyards—and Bruegel’s paintings.

Like all of Graham’s work, these photographs draw directly from life—they are not staged or Photoshop composites. Each image in The Seasons examines the briefest fractions of time—sometimes just 1/1000th of a second—in which humanity is frozen in time. The photographs are large in scale, and though the works are made using the purest of photographic techniques—a single exposure with a handheld camera—their colors and levels of detail are truly mesmerizing.

This presentation also includes the works Capital One and Chase Bank, Flatbush Avenue (1), which are related to the exhibition.

Pace Gallery Palo Alto

Paul Graham
EARLY SPRING (The Gloomy Day), Charles Schwab, 300 Park Avenue
, 2018
Pigment print mounted to Dibond
Image, paper and mount, 57 3/4 × 77 1/8 inches
Frame, 73 1/4 × 92 1/8 × 4 inches
Edition 1 of 5
Edition of 5 + 2 APs
Pigment
No. 74671.01

Pace Gallery Palo Alto

Paul Graham
SPRING (Missing), J.P. Morgan Chase, 270 Park Avenue
, 2018
Pigment print mounted to Dibond
Image, paper and mount, 57 3/4 × 77 1/8 inches
Frame, 73 1/4 × 92 1/8 × 4 inches
Edition 1 of 5
Edition of 5 + 2 APs
Pigment
No. 74672.01

Pace Gallery Palo Alto

Paul Graham
EARLY SUMMER (Haymaking), Wells Fargo, 280 Park Avenue
, 2018
Pigment print mounted to Dibond
Image, paper and mount, 57 3/4 × 77 1/8 inches
Frame, 73 1/4 × 92 1/8 × 4 inches
Edition 2 of 5
Edition of 5 + 2 APs
Pigment
No. 129726.02

Pace Gallery Palo Alto

Paul Graham
SUMMER (The Harvesters), J.P. Morgan Chase Securities, 277 Park Avenue
, 2018
Pigment print mounted to Dibond
Image, paper and mount, 57 3/4 × 77 1/8 inches
Frame, 73 1/4 × 92 1/8 × 4 inches
Edition 1 of 5
Edition of 5 + 2 APs
Pigment
No. 74674.01

Pace Gallery Palo Alto

Paul Graham
AUTUMN (Return of the Herd), Bank of America, 345 Park Avenue
, 2017
Pigment print mounted to Dibond
Image, paper and mount, 57 3/4 × 771/8 inches
Frame, 73 1/4 × 92 1/8 × 4 inches
Edition 2 of 5
Edition of 5 + 2 APs
Pigment
No. 129395.02

Pace Gallery Palo Alto

Paul Graham
WINTER (Hunters in the Snow), Citibank, 399 Park Avenue
, 2018
Pigment print mounted to Dibond
Image, paper and mount, 57 3/4 × 77 1/8 inches
Frame, 73 1/4 × 92 1/8 × 4 inches
Edition 1 of 5
Edition of 5 + 2 APs
Pigment
No. 74673.01

Pace Gallery Palo Alto

Paul Graham
Capital One
, 2018
Pigment print mounted to Dibond
Image, paper and mount, 28 7/8 × 38 1/2 inches
Frame, 40 × 49 1/8 × 3 1/8 inches
Edition 1 of 5
Edition of 5 + 2 APs
Pigment
No. 74679.01

Pace Gallery Palo Alto

Paul Graham
Chase Bank, Flatbush Avenue (1)
, 2017
Pigment print mounted to Dibond
Image, paper and mount, 28 7/8 × 38 1/2 inches
Frame, 40 × 49 1/8 × 3 1/8 inches
Edition 2 of 5
Edition of 5 + 2 APs
Pigment
No. 129723.02

Altman Siegel
Darren Bader, Bethany Collins, Troy Lamarr Chew II, Simon Denny, Laeh Glenn, Trevor Paglen, Sara VanDerBeek
Fair Use: What's Mine is Yours

Fair Use: What’s Mine is Yours brings together artists working at this moment, in disparate locations, using markedly different styles, but all indebted in some way to the practice of appropriation. Together their works point to the critical and ongoing artistic practice of questioning existing power structures and challenging value systems through the strategic use of borrowed and reproduced visual material.

Fair Use: What’s Mine is Yours is a project born of conversations between Alison Gass, Executive Director and Chief Curator at the ICA San Jose and her brother Andy Gass, partner at Latham Watkins and Copyright law expert. As Ali gave Andy a crash course in the history of appropriation and pastiche in modern and contemporary Western art practice, as he prepared to represent the Andy Warhol Foundation, the idea was born for an exhibition looking at the various ways these legacies extend into artists practice today in relevant and critical ways. The theme felt like a natural fit for the Altman Siegel gallery program with a few additional artists. “Working with Claudia and the artists in her program to explore these themes has been an exciting way to test this exhibition idea. The response of artists to the prompt of thinking critically about themes of appropriation, borrowing, scavenging and scraping, made me realize there is something here that deserves further attention!” Alison explains.

Altman Siegel
Trevor Paglen
Lenna: Empress of Invisible Images, Queen of the Internet, 2017
Pigment print
72 x 34 inches
Edition of 5 plus 2 artist’s proofs (#5/5)
Altman Siegel
Darren Bader
The 7th (and final) time I’m exhibiting this work
Digital file, scalable wall vinyl/film
65 x 52 inches
Edition of 2
Altman Siegel
Simon Denny
Blockchain Future State Fintech Gamer Case Mod Deal Toy: Backfeed x Ethereum, 2016
Custom made IMAGINE butterfly, UV print on Gigabyte plexiglas computer case, screenprint on wooden tombstone, lava stones, plexiglass
Casemod, 18 1/10 x 19 3/10 x 8 3/10 inches
Plexiplinth, 19 7/10 x 24 x 13 4/5 inches
Altman Siegel
Simon Denny
Fintech Gamer Case Mod Deal Toy: 21 Hype Cycle, 2016
Lasercut Plexiglas and screenprint on Sand 3D print, screenprint on wooden tombstone, lava stones, Plexiglas
Print, 17 3/4 x 23 5/8 x 11 3/4 inches
Plinth, 19 3/4 x 22 1/2 x 14 1/8 inches
Altman Siegel
Sara VanDerBeek
Ancient Woman 2022 X, 2021
Watercolor, Revlon Photoready Avante Garde on digital C-print
14 x 10 3/4 inches
Frame, 22 1/2 x 19 1/4 in
Altman Siegel
Laeh Glenn
Midi, 2021
Oil on canvas, wood frame
21 1/4 x 17 1/4 inches
Altman Siegel
Bethany Collins
Find 1982 II, 2015
Graphite and toner on American Masters paper
Framed, 30 x 22 inches each
Altman Siegel
Troy Lamarr Chew II
The Freak Show, 2021
Oil on canvas
40 x 60 inches
Jessica Silverman
Judy Chicago
Human Geometries

Jessica Silverman is pleased to present “Human Geometries,” a selection of works created by Judy Chicago between 1965 and 1984. The presentation features both monumental pieces and potent gems that explore gendered aesthetics, human rights and social justice.

Rendered in clear and colored acrylics, Chicago’s “Dome” sculptures suggest bodily landscapes, bellies and chests, perhaps even an expectant mother in the bath. While the sculptures evoke sensual slumber, the artist’s drawings and paintings of spinning orbs, sometimes called “whirling donuts,” are infused with the electricity of female orgasm.

In “PowerPlay” drawings, Chicago brought a critical feminist gaze to the gender construct of masculinity, exploring how prevailing definitions of power have affected the world in general — and men in particular.

Chicago’s 1980s “Birth Project” series explores the cosmic strength of women and the miracle of new life. In Birth Power (1984), a fiery female figure emerges from a black silk background through exquisite linear needlework. Birth Power is a feminist genesis or phoenix rising from ashes, using a medium – embroidery – historically associated with women.

Jessica Silverman
Birth Power, 1984
Embroidery over drawing on silk. Includes: study (Prismacolor on vellum), needlework translation sample, and 4 laminated panels
Embroidery by Sandie Abel
Framed embroidery, 20 1/4 x 20 1/4 inches
Jessica Silverman
Study for Birth Garment, Pregnant Amazon, 1981
Prismacolor on black Arches
Drawing, 11 x 15 inches
Frame, 16 1/2 x 22 1/2 inches
Jessica Silverman
Study for Ambivalent Birth Garment, 1981
Prismacolor on black Arches
Drawing, 11 x 15 inches
Frame, 16 1/2 x 22 1/2 inches
Jessica Silverman
Clear Domes on Dark Base, 1968
Clear acrylic domes on mirrored glass on plexiglas base
Dimensions, 38 1/4 x 30 x 30 inches
Jessica Silverman
Study for Rainbow Man 2: Deflecting Her with the Same Light, 1982
Prismacolor and watercolor on paper
Drawing, 22 x 30 inches
Framed, 24 3/4 x 32 3/4 x 1 1/2 inches
Jessica Silverman
Study for Whirling Donuts #2, 1968
Signed recto (Gerowitz)
Prismacolor on wax surface paper
Drawing, 15 x 15 inches
Framed, 17 x 17 x 1 1/2 inches
Jessica Silverman
Dome Drawing, 1968
Signed recto
Prismacolor on paper
Drawing, 15 x 15 inches
Frame, 17 x 17 inches
Jessica Silverman
Study for Rainbow Man 3: Lights Out, 1982
Prismacolor and watercolor on paper
Drawing, 22 x 30 inches
Framed, 24 3/4 x 32 3/4 x 1 1/2 inches
San José Museum of Art

 

The San José Museum of Art (SJMA) is a leading showcase in the Bay Area for modern and contemporary art. The Museum has earned a reputation for its fresh, distinctive exhibitions, which are conceived to engage Museum visitors of various ages and cultural backgrounds.  Through its exhibitions and programs, SJMA addresses major trends in international contemporary art, architecture, and design, with an ongoing commitment to also place the work of California artists in national and international context.  The Museum strives to make significant contributions to art‑historical scholarship, address prescient issues of interest to the general public, and offer programs that reflect the rich diversity of its communities.

 

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