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.
Claudia Altman-Siegel, Kelly Huang, Sophia Kinell, Micki Meng, Daphne Palmer, Chris Perez, Sarah Wendell Sherrill, Jessica Silverman, and Elizabeth Sullivan
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
Lobus, Phillips, The Space Program
Altman Siegel is pleased to announce A Platypus Glows Under Blacklight, a solo exhibition of new paintings by Los Angeles-based artist Alex Olson. The selection of new works, while consistent with Olson’s signature controlled materiality, mark-making, and collage-like approach, introduces a new element of script patterning and “text” components. A Platypus Glows Under Blacklight marks the artist’s second solo exhibition with Altman Siegel.
Within Olson’s new painted works her mastery of surface is evident. Through the use of color, layering, and texture (both in terms of three-dimensional impasto and in terms of implied textures within visual patterning), she controls surface tensions in a manner simultaneously meticulous and playful. Layers appear to peel away to reveal peaks at other layers, suggesting several paintings imbedded in one, some of which remain forever concealed, at least in part, like a Russian doll. Her mark-making pushes and pulls from both historical abstraction and contemporary design.
Another strategic yet playful recurring element in Olson’s practice is cross-referential nods between works. An example of this is the subtle dialogue between separate works, Page and Cover, both of which contain layers of painted effects that physically obscure a ground layer inscribed with carved marks, resembling notations and scribbles from Olson’s sketchbook. Text-based elements like jotted show notes, calligraphic scrawl and the Roman alphabet primer, seem to be attempting to reaffirm their own legitimacy or permanence by carving into the surface, only to be wryly obscured by the artist both materially and conceptually.
Whether partially revealed, hinted at, or otherwise resisting full literal consumption, the text components embedded in Olson’s new paintings dance just outside the grip of the legible, leaving us in a perpetually contemplative state, ever-hovering amongst the aesthetics of decipherability.