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

Anthony Meier Fine Arts
Sarah Cain
Sarah Cain: New Works on Paper

Anthony Meier Fine Arts is pleased to present a selection of new works on paper by Los Angeles-based artist, Sarah Cain.

Sarah Cain uses color and line as a genesis for her paintings, employing everyday items to create ornate paintings and drawings. Cain often relies on found specially-printed paper as a starting point; the structure of a music sheet, book page or dollar bill lends inspiration to her bold abstractions before receding into the background.

Whirlpool, 2020
Gouache and acrylic on paper
Image Dimensions:
12 x 9 1/8 inches
30.5 x 23.2 cm
Framed Dimensions:
14 5/8 x 11 5/8 inches
37.1 x 29.5 cm
$12,500., framed

$ talisman, 2020
Gold leaf, gouache and acrylic on paper
Image Dimensions:
6 x 2 1/2 inches
15.2 x 6.4 cm
Framed Dimensions:
9 3/4 x 6 1/4 inches
24.8 x 15.9 cm
$3,100., framed

$ talisman, 2020
Gouache and acrylic on paper
Image Dimensions:
6 x 2 1/2 inches
15.2 x 6.4 cm
Framed Dimensions:
9 3/4 x 6 1/4 inches
24.8 x 15.9 cm
$3,100., framed

I.C.C., 2020
Gouache and acrylic on paper
Image Dimensions:
11 7/8 x 9 1/8 inches
30.2 x 23.2 cm
Framed Dimensions:
14 5/8 x 11 5/8 inches
37.1 x 29.5 cm
SOLD

$ talisman, 2020
Gouache and acrylic on paper
Image Dimensions:
6 x 2 1/2 inches
15.2 x 6.4 cm
Framed Dimensions:
9 3/4 x 6 1/4 inches
24.8 x 15.9 cm
$3,100., framed

Recital of 1956, 2020
Gouache and acrylic on paper
Image Dimensions:
12 x 9 inches
30.5 x 22.9 cm
Framed Dimensions:
14 5/8 x 11 5/8 inches
37.1 x 29.5 cm
$12,500., framed

$ talisman, 2020
Silver and gold leaf, gouache and acrylic on paper
Image Dimensions:
6 x 2 1/2 inches
15.2 x 6.4 cm
Framed Dimensions:
9 3/4 x 6 1/4 inches
24.8 x 15.9 cm
$3,100., framed

$ talisman, 2020
Gouache and acrylic on paper
Image Dimensions:
6 x 2 1/2 inches
15.2 x 6.4 cm
Framed Dimensions:
9 3/4 x 6 1/4 inches
24.8 x 15.9 cm
$3,100., framed

Crown Point Press
Leonardo Drew
Discovery and Invention

Sculptor Leonardo Drew worked at Crown Point Press for two weeks in 2015, and he created eleven etchings. Eight of them are shown here.

Drew’s etchings will not surprise people who know his sculpture, which can fill entire walls–or entire rooms—-and is made of wooden slats, scraps of metal, tree limbs and other objects. In his studio, Drew assembles and alters great quantities of such material. “[W]hat has remained from my early explorations are the echoes of evolution…life, death, regeneration,” he has said. Because he arduously processes raw materials, Drew rejects the viewer expectation that his art is comprised of found detritus.

Leonardo Drew was born in 1961 in Florida, and grew up in Bridgeport, Connecticut. He graduated with a B.F.A. from Cooper Union in New York in 1985.

In 2017, Drew’s sculpture Number 197 was shown in San Francisco in the M.H. de Young Museum’s Wilsey Court. In 2019, the San Francisco Arts Commission installed his sculpture, Number 69S, as part of its public arts program at the San Francisco Airport. Also in 2019, City in the Grass, a major outdoor sculpture, was commissioned by the Madison Square Park Conservancy in New York; it then traveled and was featured in Leonardo Drew: Making Chaos Legible at the North Carolina Museum of Art.

Drew has had solo shows at the Museum of Contemporary Art San Diego; the Madison Art Center, Wisconsin; and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. His work is in the collections of the Metropolitan Museum of Art, New York; the Fogg Art Museum, Harvard University; the Museum of Contemporary Art, Los Angeles, and the Solomon R. Guggenheim Museum, New York. Leonardo Drew lives in New York and is represented by Galerie LeLong, New York,  and Anthony Meier Fine Arts, San Francisco.

 

CPP1, 2015
Flat bite toner transfer with aquatint printed in blue
Image size: 48 x 36″; paper size: 56 x 42″. Edition 10.
$8,000

CPP2, 2015
Flat bite toner transfer with hard ground etching and aquatint.
Image size: 48 x 36″; paper size: 56 x 42″. Edition 10.
$7,000

CPP3, 2015
Color aquatint with flat bite toner transfer.
Image size: 16 x 13″; paper size: 25 x 22″. Edition 15.
$2,500

CPP4, 2015
Aquatint with flat bite etching printed in blue and black.
Image size: 14½ x 9¼”; paper size: 23½ x 17¼”. Edition 15.
$1,500

CPP5, 2015
Flat bite toner transfer with hard ground etching printed in graphite on gampi paper chine collé.
Image size: 12 x 10″; paper size: 21 x 18″. Edition 15.
$1,500

CPP6, 2015
Flat bite toner transfer with hard ground etching.
Image size: 13½ x 13″; paper size: 22½ x 21″. Edition 15.
$3,000

CPP7, 2015
Aquatint with hard ground etching printed in blue and black.
Image size: 13½ x 13″; paper size: 22½ x 21″. Edition 15.
$3,000

CPP8, 2015
Flat bite toner transfer with soft ground etching printed in graphite on gampi paper chine collé.
Image size: 14 x 21½”; paper size: 22 x 28½”. Edition 15.
$2,200

Et al. / Et al. etc.
Dionne Lee & Laurie Reid

Et al. is proud to present a two-person exhibition with works by Dionne Lee and Laurie Reid, two artists we’ve worked with in the past and will work with again.

In Dionne Lee’s words:
“The two silver gelatin works presented here Floaters and Fleet are focused on water as a wilderness space. Floaters references ancestral trauma as it relates to water (transatlantic slave trade)…though the figures in the image are actually synchronized swimmers. Fleet is from an instructional sailing book–the images are repeated but manipulated via scanner. In it I am thinking about the freedom of travel and excitement of exploration, but also the wickedness that has historically come under the guise of “exploration”.

In Laurie Reid’s words:

“Phenomenal Darkness or The Thrill of the Sensation of Perception.

I spent much of the month of January 2020 in darkness. Ensconced away in a small house way up North in Fair Isle, Scotland, the days were short. The sun rose around 9am and set around 3 in the afternoon. After the sun went down there was only the light of the moon and stars and the intermittent beam from the lighthouse at the end of the road. As the nights were rarely clear, the darkness was profound.”

Dionne Lee
Fleet2019
Six gelatin silver prints
Edition of 4 (2/4)
10 x 8 inches, each
$8000.00

Dionne Lee
Floaters, 2019
Gelatin silver print
Edition of 4 (2/4)
13 x 9 inches
$4500

Dionne Lee
A site for seeing, 2018
Pigmented inkjet print
Edition of 10 (2/10)
19 x 15 inches
$3000

Dionne Lee
Of yard, or field, or concern and promise, 2018
Pigmented inkjet print
Edition of 10 (1/10)
19 x 15 inches
$3000

Laurie Reid
The dark red one, 2020
Watercolor on indigo-dyed paper
11 x 6 inches
$1500

Laurie Reid
The black one, 2020
Oil on linen
18 x 15 inches
$4500

Laurie Reid
The bright red one, 2020
Watercolor on indigo-dyed paper
11 x 6 inches
$1500

Laurie Reid
13, 2020
Oil on canvas board
12 x 9 inches
$2500

Ever Gold [Projects]
Drew Bennett, Heather Day, Sandy Kim, Mieke Marple, Greg Rick, Adam Parker Smith, Christine Wang, and Zio Ziegler
"Eight Works by Eight Artists"

The eight artists, each contributing one artwork, directly or indirectly responds to the complexities of 2020 using methods that vary from the figurative to the abstract, from the spiritual to the absurd.

Drew Bennett’s Lagoon Swimmers speaks to a renewed appreciation of nature—as sane, healing, and inseparable from human life—that has arisen during this year of forced contemplation. Heather Day’s Red Orange Epilogue, made from two sewn-together canvases, expresses the need to balance hard lines and boundaries with soft amorphous edges, in both literal and metaphorical compositions. Sandy Kim’s dreamy photograph of a youth’s blurred reflection comments on our inability to see ourselves with accuracy due to the fantasies we project onto others and ourselves.

Mieke Marple’s Queen Of Swords painting marks a return to spirituality, as is common in times of great uncertainty. The piece, which is covered with 24k gold leaf, presents spirituality as luxury asset—one of the many forms spirituality has historically taken. Greg Rick’s Race Wars painting illustrates the chaos of our polarized times and reflects on the arbitrariness of race. For there is no monolith black or monolith white, and, yet, the tyranny of anti-blackness exists and persists.

Adam Parker Smith’s Nikoxenos Amphora, featuring an ancient Greek rendering of the Death of Priam (King of Troy), reminds us of our long-standing fascination with violence and desire to depict it in art. Christine Wang’s 401K painting, featuring a cryptocurrency meme enlarged and expertly reproduced, points to the tangible importance of our intangible digital lives—as well as to humor’s ability to tackle, with a poet’s efficiency, topics both dark and unwieldy. Zio Ziegler’s small minimalist painting, Radical Simplification of a Complex Reality, 2, isolates complexities from his other series (currently on view at Ever Gold [Projects]) into a series of simple, bold black oil marks on raw canvas, asking us to rethink what we see or don’t see—i.e. how we preserve reality.

Drew Bennett
“Lagoon Swimmers”, 2020
Oil on linen
44 x 48 inches

$12,500

SOLD

Heather Day
“Red Orange Epilogue”, 2020
Acrylic and oil on stitched canvas
48 x 36 inches

$6,000

SOLD

Sandy Kim

“Untitled”, 2020

Archival digital photograph

30×45 inches

Edition of 2 (+2AP)

$6,500

Mieke Marple

“Two of Swords (Choices)”, 2020

24K gold and acrylic on canvas

40 x 30 inches

$5,000

Greg Rick
“Race War”, 2020
Acrylic, ink, graphite, thread, enamel, oil-stick, and collage on canvas
57 x 60 inches

$5,500

Adam Parker Smith

“Nikoxenos Amphora”, 2020

Resin, steel, urethane

16 x 11 x 6 inches

$12,000

SOLD

Christine Wang
“401k”, 2019
Acrylic on canvas
60 x 72 inches

$12,000

Zio Ziegler
“Radical Simplification of a Complex Reality, 2,” 2020
Oil on canvas
22 x 20 inches

$6,500

SOLD
Katy Grannan:
Nicole

Fraenkel Gallery presents a selection of Katy Grannan’s portraits of Nicole, a woman who posed for Grannan over the course of ten years. Grannan has described her as “the most uninhibited person I have ever known.” The images they made together explore power, sexuality, identity, and the tension between artist and subject. “She was so challenging and wonderful to work with because I had so little control. Over time, she made my work better,” says Grannan.

Friends Indeed Gallery
Candice Lin
Candice Lin: Roger and friends
Friends Indeed is pleased to present Candice Lin’s first solo exhibition in San Francisco, for which she explores a delirious relationship with her cat Roger, channeled through Vuillard, in this moment of extreme interiority.

 

Lin will have upcoming solo shows in 2021 at the Walker Art Center, the Carpenter Center for Visual Arts at Harvard University, and the Times Museum in Guangzhou, China. She will also be included in group presentations in Prospect.5 and the Gwangju Biennale. She received her MFA from San Francisco Art Institute and BA from Brown University. The show is curated by Michael Ned Holte.

Jealousy, 2020
Encaustic on linen
14 x 12 in
33.5 x 30.5 cm
$5,000

At the Death Bed, 2020
Encaustic on linen
18 x 14 in
45.5 x 35.5 cm
$6,000

Roger and White-n-Gray in the Forest, 2020
Oil on linen
21 x 16 in
53.5 x 40.5 cm
$7,000

Gonads Vessel (Striped Cat Demon), 2020
Pitfired ceramic with colored engobes
9.5 x 4.5 x 7.5 in
24 x 11.5 x 19cm
$5,500

Can You See Me, 2020
Oil on linen
16 x 21 in
40.5 x 53.5 cm
$7,000

Bedroom Licks, 2020
Oil pastel, oil, and encaustic on linen
14 x 18 in
35.5 x 45.5 cm
$6,000

SOLD

Dance With Me, 2020
Oil and encaustic on linen
21 x 16 in
53.5 x 40.5 cm
$7,000

Fever Dreams in Quarantine, 2020
Underglazed ceramic
5.5 x 9 x 7.5 in
14 x 23 x 19 cm
$5,500

SOLD
Jessica Silverman
Woody De Othello

Jessica Silverman is pleased to present eight new works by Woody De Othello for the December edition of 8-bridges. Five of the sculptures were made during the artist’s residency at the Kohler Factory in Wisconsin. In this industrial setting, Othello created his forms using Kohler’s glossy glazes and slip casting for the first time. The exhibition also features two paintings, including Othello’s largest oil-on-canvas work to date, which savors the sensuality of his personal repertoire of scenarios and symbols while paying homage to Jacob Lawrence and Philip Guston.

Blank Faced, 2020
Ceramic and glaze
Sculpture: 22 x 21 x 9 inches
Overall: 44 x 21 x 11.5 inches
$ 20,000
Stepping Out but Already Gone Stepping Out I Already Left, 2020
Oil on canvas
48 x 36 inches
121.9 x 91.4 cm
SOLD
Praying for a Better Time, 2020
Ceramic and glaze
Sculpture: 18 x 9 x 3.5 inches
Overall: 43 x 15 x 13 inches
SOLD
Spiral, 2020
Ceramic and glaze
12 x 21 x 4 inches
30.5 x 53.3 x 10.2 cm
$ 7,800
Self Talk, 2020
Ceramic and glaze
Sculpture: 20 x 21 x 18 inches
Overall: 45 x 15.5 x 18 inches
SOLD
Standing Still, 2020
Ceramic, glaze, and powder-coated steel
Sculpture: 23 1/2 x 13 x 14 inches
Overall: 63 1/2 x 13 x 14 inches
SOLD
Not Even Time Will Allow You to Run Away From Yourself, 2020
Acrylic on paper
24 x 18 inches
61 x 45.7 cm, unframed
SOLD
Ratio 3
Amy Feldman, Nobuya Hoki, Ulala Imai, Matthew Metzger, Ryan Mrozowski, Kyoko Murase, Noam Rappaport, and Yui Yaegashi
Without Stopping

Ratio 3 is pleased to present a selection of works from Without Stopping, an exhibition featuring eight artists based in the United States and Japan. Less a thematic survey than a reflection on the breadth of current discourses in painting, Without Stopping brings together paintings by artists who reflect a diverse and ever-evolving discipline. While artists and their audiences may favor different styles, subject matter, and techniques from one decade to the next, the dialogues among artists continue, and the medium of painting endures. Whether rendering still lifes, layering gestural brushstrokes, altering a canvas’s shape and surface, or combining several modes of painting, each artist on view takes a sustained and distinctive approach to contemporary painting.

The exhibition is on view at the gallery through December 18th. To make an appointment to visit in person, please use this link or email us at gallery@ratio3.org

Ryan Mrozowski
Untitled (Orange), 2020
Acrylic on linen
36 x 24 in
SOLD
Yui Yaegashi
Untitled, 2020
Oil on canvas
8 3/4 x 6 1/4 x 3/4 in
$4,500
Noam Rappaport
Dyad, 2020
Acrylic, oil, wood, high density foam, and resin on canvas over panel
57 x 45 1/2 x 2 in
$18,000
Kyoko Murase
Tulips, 2019
Pigment color pencil and oil on cotton
39 1/2 x 32 in
$10,000
Nobuya Hoki
Untitled, 2019
Oil on canvas
18 1/8 x 13 1/4 in
$ 3,000
Ulala Imai
Lovers, 2020
Oil on canvas
31 5/8 x 23 7/8 in
SOLD
Amy Feldman
Twirl World , 2019
Acrylic, silkscreen ink and impasto on canvas stretched over wood panel
48 x 48 in
$ 18,000
Matthew Metzger
That Which Can’t Be Played, 2020
Acrylic and oil on MRMDF panel
11 7/8 x 11 7/8 in
$12,000
Art Drop
Side Chair by Pied-à-terre

Our latest drop is a new offering from off-space, label, and publisher, Pied-à-terre. Now also making Shaker chair reproductions, the Side Chair is based on a design circa the mid-1800s and used within the community at Canterbury, New Hampshire.

Available via 8-Bridges in checked Natural and Old Red.

$ 400

More available at http://www.shaker-chair.com/

Headlands Center for the Arts

Headlands Center for the Arts is a multidisciplinary, international arts center occupying a cluster of artist-rehabilitated military buildings at historic Fort Barry in the Marin Headlands, part of the Golden Gate National Recreation Area. Headlands provides an unparalleled environment in support of the creative process and the development of new work and ideas. Through a range of programs for artists and the public, we offer opportunities for reflection, dialogue, and exchange that build understanding and appreciation for the role of art in society.

To support Headlands Center for the Arts, visit Headlands.org/give2020

To learn more about Headlands programs, visit Headlands.org