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.
Founding Committee
Claudia Altman-Siegel, Kelly Huang, Sophia Kinell, Micki Meng, Daphne Palmer, Ratio 3, 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, The Space Program
⚫️ CLOACA PROJECTS ⚫️ presents US: IN THE SHINING CANDY HOLE ARENA, a grouping of works by 4 artists that created projects at the space in the recent past.
The title of this grouping is an amalgamation of the artists projects at Cloaca. Documentation for each project is available on our website and can be seen by clicking on the included artists names: Nikita Gale, Young Joon Kwak, Craig Drennen and Rodrigo Valenzuela.
Other works by each artist are available upon request.
RECEIVERS STUDY VII, 2019
Archival pigment print
13.75 x 18 inches
35 x 46 cm
Edition 1 of 3
$ 2,500 (+ frame: $450)
RECEIVERS STUDY VII, 2019
Archival pigment print
13.75 x 18 inches
35 x 46 cm
Edition 1 of 3
$ 2,500 (+ frame: $450)
Image courtesy of the artist and Commonwealth and Council Gallery
AGGREGATE SNAIL VAGINIS, 2018
Cast bronze
8 x 7 x 5 inches
20 x 18 x 13 cm
$4,000
This piece was part of Young Joon's Shining Palimpsestat Cloaca Projects.
“And the lights are glistening like she and you, ambiguous as the [im]personal pronouns that we no longer conform to for we feel no need of it here, ambiguous as the snails are in their nature, sex, and origin. You, rather, we embody the snail at the core of this joyous measure, representing the atypical, asymptotic, amorphous.” (Maeve Hannah)
A bulbous shape cast in bronze covered with textural layer made of a multitude of small snails. In Young Joon's own words: "the snail became a starting point for thinking about the protection of other marginalized bodies and for imagining the radical potential of the slow movement toward collective resistance and survival."
Image courtesy of the artist and Commonwealth and Council Gallery
HELLO ABA, 2014
Oil and alkyd on canvas (the small canvas is attached to the large canvas)
52 x 40 inches
132 x 102 cm
$4,500
Framing available
HELLO ABA, 2014
Oil and alkyd on canvas (the small canvas is attached to the large canvas)
52 x 40 inches
132 x 102 cm
$4,500
Framing available
Drennen was awarded a Guggenheim Fellowship in 2018.
NEW LAND No.74, 2017
Toner, acrylic, chalk on canvas
70 x 50 inches
$15,000 (+ frame: $500)
NEW LAND No.74, 2017
Toner, acrylic, chalk on canvas
70 x 50 inches
$15,000 (+ frame: $500)
"The Los Angeles–based artist Rodrigo Valenzuela constructs scenes and narratives that point to the tensions between individuals and the societies in which they live. Much of Valenzuela’s work addresses the experiences of undocumented immigrants and laborers. In this series of paintings, entitled New Land, the artist considers the ideology of Manifest Destiny—a nineteenth-century belief in the inherent superiority of white European-Americans and their predetermined fortune to conquer North America—as well as the failures of the Homestead Acts that quickened the settlement of public land west of the Mississippi River.
The image is made by transferring printing toner onto raw canvas. The form of lines and boxes, made on chalk superimposed on the landscape, are references to architecture and interior spaces that the artist describes as “transition zones” and “structures built out of desire.”
Image courtesy of the artist