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.

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 and Phillips

Altman Siegel
Laeh Glenn

Laeh Glenn is an American painter living in Sebastapol, California. Glenn’s practice explores the conflation of historical and contemporary precedents in painting and the way in which we often experience images today, through their digital representations online.

Her paintings address the digital life of an image; how repetition and sharing affect quality and context and how a physical painting can speak to the altered and damaged images that surround us. Although her source material is diverse, Glenn’s paintings are uniformly characterized by a flattened application of paint. Her perfectly articulated edges and matte surfaces are executed in refined and controlled color palettes. She often returns to the same image multiple times, with each subsequent painting shifting slightly in tonality, texture or scale. These subtle shifts mimic the effect of an image’s digital experience as it travels from screen to screen. A border of raw canvas surrounding the painting is a signature motif creating a kind of window within a window and alluding to the way we often experience images through the mediation of our screens. She often finishes a painting with a handmade wooden frame made by the artist, reinforcing the object quality of Glenn’s paintings in contrast to their digital inspirations.

Laeh Glenn’s solo exhibition, The Doldrums is on view at the gallery through October 24th. To make an appointment to view it in person please use this link or email us at info@altmansiegel.com.

Laeh Glenn
8, 2020
Oil on canvas, wood frame
66 1/2 x 55 in
168.9 x 139.7 cm
$22,000.00
Laeh Glenn
Orange Clone, 2018
Oil on canvas, wood frame
67 1/2 x 55 1/4 in
171.4 x 140.3 cm
$22,000.00
Laeh Glenn
Timbuktu, 2017
OIl on canvas, wood frame
67 1/2 x 55 1/4 in
171.4 x 140.3 cm
$28,000.00
Laeh Glenn
Little Pic, 2018
Oil on canvas, wood frame
67 1/2 x 55 1/2 in
171.4 x 141 cm
$22,000.00
Laeh Glenn
Wack, 2020
Oil on canvas, painted frame
21 1/4 x 17 1/4 in
54 x 43.8 cm
$8,000.00
Laeh Glenn
Knots, 2020
Oil on canvas, wood frame
21 1/4 x 17 1/4 in
54 x 43.8 cm
$8,000.00
Laeh Glenn
Brush, 2020
Acrylic and Flocking on canvas, painted frame
12 x 16 in
30.5 x 40.6 cm
$6,000.00
Laeh Glenn
Map, 2020
Oil on canvas, wood frame
66 1/2 x 55 in
168.9 x 139.7 cm
$22,000.00
SOLD
Fraenkel Gallery
Sophie Calle, Johnnie Chatman, William Eggleston, Jason Fulford, Katy Grannan, Mishka Henner, Richard Misrach and Alec Soth
I'm Not the Only One

Fraenkel Gallery is pleased to present a selection of 8 works from I’m Not the Only One, a group exhibition that explores solitude alongside our relentless yearning to connect. This unprecedented time of social distance has upended many of the usual ways we find connection while underscoring that which we truly value. Through photographs and videos from 20 artists, the intention of this exhibition is to bring us together and to acknowledge our connectedness in a world that can sometimes feel broken apart.

The show will be on view in our gallery from September 8 to October 24, 2020. To make an appointment, please email inquiries@fraenkelgallery.com.

MISHKA HENNER

I’m Not the Only One, 2015

single-channel video with audio

2/3 from an edition of 3 + 1AP

accompanied by a Certificate of Authenticity, signed by the artist

dimensions variable, 4 minutes, 34 seconds

$15,000

Link to video excerpt

KATY GRANNAN

Alexa, 2018

pigment print

1/3 + 2APs

signed & dated verso on label in ink

58-1/4 x 44-1/4 inches (framed) [148 x 112.4 cm]

$18,000

ALEC SOTH

William Eggleston, Memphis, TN, 2000 / printed 2018

chromogenic print

1/10 (edition of 10 + 2 APs, in this format)

signed, titled & dated mount verso on artist’s label in ink

33 x 41 inches (framed) [83.8 x 104.1 cm]

$12,000

SOPHIE CALLE

Patrick X, Sixteenth Sleeper, 1979

8 gelatin silver prints & 1 text panel

1/3 English (from an edition of 3 English & 3 French)

accompanied by a Certificate of Authenticity, signed by the artist

6-1/4 x 8-1/4 inches (each framed) [15.87 x 20.95 cm]

$21,000

JASON FULFORD

Pompeii, 2010 / printed 2017

pigment print

1/5 (edition of 5 + 2 APs)

signed, titled, dated & numbered on artist’s label verso in ink

25-5/8 x 25-5/8 inches (framed) [65.1 x 65.1 cm]

$3,500

RICHARD MISRACH

Boyscouts and Fremont’s Pyramid, Pyramid Lake Indian Reservation, Nevada, 1991 / printed 2018

pigment print

1/3 (in this format)

signed, titled, dated & numbered on label verso

61 x 77 inches (framed) [155 x 195.6 cm]

$90,000

JOHNNIE CHATMAN

Self Portrait, Vasquez Rocks, 2017

pigment print

10/10

signed, dated & numbered verso in ink

14 x 20 inches (sheet) [36 x 51 cm]

$2,100

CHRISTIAN MARCLAY

Telephones, 1995

single-channel video with sound

7/250

accompanied by a Certificate of Authenticity, signed by the artist

7 minutes, 30 seconds

$25,000

Link to video excerpt

Friends Indeed
Troy Chew, Sarah Hotchkiss, Colter Jacobsen, Stephanie H. Shih, Mungo Thomson, Zio Ziegler, and Sung Jik Yang
How to Read the World

How to Read the World is a presentation of commissions by Bay Area related artists exploring the potential of visual tableaux through allegory and narrative. The exhibition looks at ways in which artists see the world; specifically those who use new forms of language to interpret the current moment. The codex, in this case, acts as a container for escapism, imagination, knowledge, and passage of time.

ZIO ZIEGLER
Migration of the Soul, 2020
Oil, acrylic, and crayon on linen
96 x 72 inches

SOLD
STEPHANIE H. SHIH
Pandemic Survival Kit, 2020
Ceramic
Capital: 8 x 5.75 x 1 inches; Softsoap: 6.25 x 4 x 1.5 inches; Purell: 4 x 2 x 1 inches; mask 1.75 x 6.25  x 4.75 inches
SOLD
MUNGO THOMSON
Inclusion (The Raw Materials), 2015
Lucite embedment, unique
12.25 x 10.375 x 1.5 inches
$6,000
COLTER JACOBSEN
shrubs as high as walls or joy of the eyes or river, 2019
Graphite on manila folder
11 3/4 x 18 3/8 inches
29.8 x 46.7 cm
$7,000
SARAH HOTCHKISS
Frets and Meanders, 2020
Gouache on canvas over panel
24 x 24 inches
SOLD

SUNG JIK YANG
Joanne, 2020
Oil on wood
17 x 19 inches

SOLD

MUNGO THOMSON
Inclusion (Newton’s Cradle #2), 2015
Lucite embedment, unique
7.625 x 4.875 x 6 inches
$10,000

 

TROY CHEW
Brrr!, 2020
Oil on wood
12 x 12 inches

SOLD
Gagosian
Jay DeFeo

I’ve always got to get down there and show what is underneath everything.
—Jay DeFeo

Gagosian is pleased to present selected works by Jay DeFeo from the exhibition Transcending Definition: Jay DeFeo in the 1970s, on view at Gagosian, San Francisco, through October 31, 2020. DeFeo spent most of her life in the San Francisco Bay Area and remains an influential figure in the region. This presentation focuses on the artist’s output in the decade following the completion of her pivotal work The Rose (1958–66), when she was based in Larkspur, Marin County. In her paintings, photographs, and works on paper of the 1970s, DeFeo fused the representational with the abstract, permeating her images of everyday objects—a camera tripod, a jewelry fragment, a shoe tree—with a sense of mystery. The artist described her works of this period as “beings suspended in space and time” that “transcend the definition of the literal objects from which they are derived.”

To schedule an appointment to visit the exhibition, please contact sanfrancisco@gagosian.com.

Jay DeFeo
Untitled, 1971
Gelatin silver print
7 × 8 1/4 inches (17.8 × 21 cm)
$25,000

Jay DeFeo
Untitled, c. 1975
Graphite and photograph collaged on mat board, wrapped in plastic
7 3/8 × 7 1/2 inches (18.7 × 19.1 cm)
$80,000

Jay DeFeo
Untitled (Tripod series), 1975
Acrylic, graphite, grease pencil, tape, paper, and vellum on paper
23 1/4 × 19 5/8 inches (59.1 × 49.8 cm)
$115,000

Jay DeFeo
Figure V (Tripod series), 1976
Graphite and acrylic on paper
13 7/8 × 11 inches (35.4 × 27.8 cm)
$60,000

Jay DeFeo
Untitled, c. 1975–76
Collage of photomechanical reproduction, gelatin silver print, and transparent pressure-sensitive tape
9 1/2 × 4 inches (24.1 × 10.2 cm)

SOLD

Jay DeFeo
Untitled (Jewelry series), 1977
Graphite and acrylic on paper
29 × 23 1/4 inches (73.7 × 59.1 cm)
$125,000

Jay DeFeo
Untitled (Shoetree series), 1977
Graphite, acrylic, and charcoal on paper
16 × 13 inches (40.5 × 33 cm)
$115,000

Jay DeFeo
Untitled, 1980
Charcoal and acrylic on paper
30 1/2 × 22 1/2 inches (77.5 × 57.2 cm)
$125,000

Jessica Silverman
Matthew Angelo Harrison

For the inaugural edition of 8-bridges, Jessica Silverman is pleased to present eight new sculptures by Matthew Angelo Harrison. Harrison creates enigmatic sculptures that are in conversation with anthropology, industrial design, science fiction and the realities of 21st century capitalism. Born and raised in Detroit, Harrison occasionally accompanied his mother to work at American Axle, a small car parts firm, where she worked on the assembly line. His early experience of this “intense, almost violent working environment,” as he puts it, has fueled a fascination with machines and the relationship of Black American identity with labor.

As part of a new “Global Dissidents” series, Harrison has made resin encapsulations of fragments of car headlights – specifically the curvilinear forms of the Porsche 911, made in Stuttgart, Germany. Sitting on raised pedestals at viewer eye-level, the sculptures take on anthropomorphic qualities, suggesting heads or eyes that are not entirely inanimate. As such, they become rebels from the assembly line, runaway slaves, robots gone rogue, figures that refuse their function and deconstruct what would otherwise be an emblem of power.

Harrison’s “Bodily Studies” take the form of thrones made of resin and real zebra bone. The combination of materials – organic animal and petroleum-based acrylic – is oxymoronic, evoking both preservation and extinction. The carefully sliced skulls create beautiful patterns and phantom faces, a soul-stirring life after death. Representing the African savannah as well as the idiosyncrasies of evolutionary camouflage, the zebra’s black and white coat is replaced by a harmony of tinted resins.

With these latest works, Harrison continues his exploration of the aesthetics and politics of globalization, mass production, authenticity, and metamorphosis. Alongside his “abstracted ancestries,” these new works contribute to the artist’s long-term project to make “archaeologies of the future.”

Matthew Angelo Harrison
Bodily Study: Fallow, 2020
Zebra skulls, tinted polyurethane resin
32 1/4 x 15 3/4 x 20 1/4 inches
81.9 x 40 x 51.4 cm

SOLD

Matthew Angelo Harrison
Seer: Gleam Subdued, 2020
Headlight, tinted polyurethane resin, anodized aluminum, acrylic
Sculpture: 20 5/8 x 10 3/8 x 6 1/2 inches
52.4 x 26.4 x 16.5 cm
Overall: 73 5/8 x 12 1/2 x 7 1/2 inches
187 x 31.8 x 19.1 cm

SOLD

Matthew Angelo Harrison
Seer: Peering through Gloam, 2020
Headlight, tinted polyurethane resin, anodized aluminum, acrylic
Sculpture: 20 5/8 x 10 3/8 x 6 1/2 inches
52.4 x 26.4 x 16.5 cm
Overall: 73 5/8 x 12 1/2 x 7 1/2 inches
187 x 31.8 x 19.1 cm

SOLD

Matthew Angelo Harrison
Bodily Study: Stasis Restored, 2020
Zebra skulls, tinted polyurethane resin
32 1/4 x 15 3/4 x 20 3/8 inches
81.9 x 40 x 51.8 cm

SOLD

Matthew Angelo Harrison
Seer: Peering through Aurora, 2020
Headlight, tinted polyurethane resin, anodized aluminum, acrylic
Sculpture: 20 5/8 x 10 3/8 x 6 1/2 inches
52.4 x 26.4 x 16.5 cm
Overall: 73 5/8 x 12 1/2 x 7 1/2 inches
187 x 31.8 x 19.1 cm
$ 28,000

Matthew Angelo Harrison
Seer: Obstructed, 2020
Headlight, tinted polyurethane resin, anodized aluminum, acrylic
Sculpture: 20 5/8 x 10 3/8 x 6 1/2 inches
52.4 x 26.4 x 16.5 cm
Overall: 73 5/8 x 12 1/2 x 7 1/2 inches
187 x 31.8 x 19.1 cm

SOLD

Matthew Angelo Harrison
Seer: Lay Bare, 2020
Headlight, tinted polyurethane resin, anodized aluminum, acrylic
Sculpture: 20 5/8 x 10 3/8 x 6 1/2 inches
52.4 x 26.4 x 16.5 cm
Overall: 73 5/8 x 12 1/2 x 7 1/2 inches
187 x 31.8 x 19.1 cm

SOLD

Matthew Angelo Harrison
Bodily Study: Turbid Repose, 2020
Zebra skulls, tinted polyurethane resin
32 1/4 x 15 x 19 inches
81.9 x 38.1 x 48.3 cm

SOLD
Pace Gallery Palo Alto
Leo Villareal
Harmony of the Spheres

Pace Gallery is pleased to present Harmony of the Spheres, an exhibition bringing together three new LED works by Leo Villareal alongside eight single-panel pieces from his Instance series (2018), on view August 25 – October 10, 2020. This presentation, Villareal’s first at Pace in Palo Alto, continues his longstanding relationship with the Bay Area.

Custom-built software and devising rules that promote principles of emergent behavior are integral to Villareal’s practice. The works in this exhibition build on the artist’s early examinations of artificial and living systems as seen in The Bay Lights, across networked panels and mosaicked tiles that burst with visual force. Together, they provide a rare opportunity to grasp the full breadth of the artist’s practice, placing his innovative sculptural works in direct dialogue with large-scale public installations

This exhibition will be on view in our gallery through October 10, 2020. To make an appointment, please email pacepaloalto@pacegallery.com.

Optical Machine IV, 2020
LEDs, custom software, electrical hardware, steel
57-1/2″ × 76-1/2″ × 4″ (146.1 cm × 194.3 cm × 10.2 cm)
Edition 1 of 5
Edition of 5 + 1 AP

Optical Machine III, 2020
LEDs, custom software, electrical hardware, steel
57-1/2″ × 76-1/2″ × 4″ (146.1 cm × 194.3 cm × 10.2 cm)
Instance 28, 2019
SCULPTURE
LEDs, custom software, electrical hardware, steel
38-3/8″ × 38-3/8″ × 2-7/8″ (97.5 cm × 97.5 cm × 7.3 cm)
Unique
Instance 27, 2019
SCULPTURE
LEDs, custom software, electrical hardware, steel
38-3/8″ × 38-3/8″ × 2-7/8″ (97.5 cm × 97.5 cm × 7.3 cm)
Unique
Instance 16, 2019
SCULPTURE
LEDs, custom software, electrical hardware, steel
97.5 cm × 97.5 cm × 7.3 cm (38-3/8″ × 38-3/8″ × 2-7/8″)
Unique
Musica Universalis. 2020
SCULPTURE
LEDs, custom software, electrical hardware, steel
9′ 6″ × 9′ 6″ × 3″ (289.6 cm × 289.6 cm × 7.6 cm)
Instance 29, 2019
SCULPTURE
LEDs, custom software, electrical hardware, steel
38-3/8″ × 38-3/8″ × 2-7/8″ (97.5 cm × 97.5 cm × 7.3 cm)
Unique
Instance 30, 2019
SCULPTURE
LEDs, custom software, electrical hardware, steel
38-3/8″ × 38-3/8″ × 2-7/8″ (97.5 cm × 97.5 cm × 7.3 cm)
Unique
Ratio 3
James Siena

“What did I do a lot of when I was a teenager growing up in Palo Alto? I went hiking. I went out to the High Sierra and I would come back and hang these maps all around my walls — the headwaters of the Current River, Mount Tyndall, Milestone Mountain — all these places I still love to go to. Mapping happens in a lot of the work, but I think it’s being subverted in most of these things. They’re not really an homage to the map but something else, emergent form.”
–James Siena

Ratio 3 is pleased to present a selection of new paintings and watercolors by James Siena from the exhibition Phased Resonators and Reciprocating Transitions currently on view at the gallery through October 31st, 2020. The selection featured here exemplifies Siena’s unique balance of methodical, systems-based abstraction and biomorphic lines. Working between the intimate scale of his Quarantine Watercolor group and the expansive surfaces of his largest acrylic-on-linen paintings to date, Siena builds immersive fields of color and line from unexpectedly simple origins. In each work, graphite and charcoal lines proceed concentrically, repeating and gradually amplifying their hand-drawn irregularities, forming seemingly complicated, irregular grids. Throughout the works, patterns, topologies, and harmonies emerge from rudimentary systems, showcasing Siena’s singular ability to reveal the elegance within complexity.

To schedule a private appointment to visit the exhibition, please contact the gallery or use the link provided here.

James Siena
Lovvellaacecceaddaell, 2019
Acrylic and charcoal on linen
90 1/2 x 70 1/4 in
229.9 x 178.4 cm
$75,000
James Siena
Atoptichord, 2020
Black pencil and acrylic on linen
75 x 60 in
190.5 x 152.4 cm
$75,000
James Siena
Heptesserast, 2019-20
Black pencil and acrylic on linen
75 x 60 in
190.5 x 152.4 cm
$75,000
James Siena
Resselgenator, 2019
Acrylic and graphite on linen
75 x 60 in
190.5 x 152.4 cm
$75,000

James Siena
Dentinoid Tenons, 2020
Watercolor and graphite on paper
20 x 25 in
50.8 x 63.5 cm
$28,000

James Siena
Outswam Nitrosamine, 2020
Watercolor and graphite on paper
20 x 25 in
50.8 x 63.5 cm
$ 28,000

James Siena
Shaehft, 2020
Watercolor and graphite on paper
20 x 25 in
50.8 x 63.5 cm
$28,000
James Siena
Enderloctant, 2020
Watercolor and graphite on paper
13 1/2 x 17 in
34.3 x 43.2 cm
$28,000
Rebecca Camacho Presents
Leilah Babirye, Stephanie Crawford, Max Jansons, Sahar Khoury, Claire Oswalt & Vincent Valdez
MANUAL

Rebecca Camacho Presents is pleased to present MANUAL,  an online group exhibition of new works by Leilah Babirye, Stephanie Crawford, Max Jansons, Sahar Khoury, Claire Oswalt and Vincent Valdez. With clear indications of hand and process, works on view interconnect through their visually and physically tactile worlds.

Leilah Babirye
The Kuchu Series (Queer Ugandans), 2020
Monotype on paper
24 x 18 inches
61 x 45.7 cm
$5,500., unframed
Leilah Babirye
The Kuchu Series (Queer Ugandans), 2020
Monotype on paper
24 x 18 inches
61 x 45.7 cm
$5,500., unframed
SOLD
Stephanie Crawford
Cataclysm 1, 2, 3, 2020
Acrylic on paper
Three works
11 1/4 x 15 inches each
28.6 x 38.1 cm each
$2,000., unframed each
Sahar Khoury
Untitled (yellow blue green spots with brown and black belts), 2020
Ceramic, leather belts, resin
15 x 20 x 4 inches
38.1 x 50.8 x 10.2 cm
$6,000.
Sahar Khoury
Untitled (rearview mirror with keffiyeh), 2020
Ceramic, Dorothy Lenehan Architectural glass test pieces, resin, cement, rearview mirror
13 x 13 x 12 inches
33 x 33 x 30.5 cm
$3,500.
Max Jansons
Light in the Forrest, 2020
Oil on linen
24 x 20 inches
61 x 50.8 cm
$18,500.
Claire Oswalt
Floodplain II, 2020
Acrylic on sewn canvas
65 x 48 inches
165.1 x 121.9 cm
$12,000.
Vincent Valdez
Untitled, 2020
Ink and colored pencil on paper
18 x 14 1/4 inches
45.7 x 36.2 cm
$4,500., unframed
MoAD

Opened in 2005 in San Francisco’s Yerba Buena arts district, MoAD, a contemporary art museum, celebrates Black cultures, ignites challenging conversations, and inspires learning through the global lens of the African diaspora. MoAD is uniquely positioned as one of the few museums in the world focused exclusively on African diaspora culture and on presenting the rich cultural heritage of the people of Africa and of African descendant cultures all across the globe.

Click HERE to make a donation to MoAD.