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
Kikuo Saito (1939–2016) was born in Tokyo and moved to New York City in 1966 at the age of 26, curious about the city’s burgeoning artistic movements. He had began painting a decade prior, building a steady understanding of traditional Japanese arts alongside contemporary movements such as the Gutai Group, while working for three years in the studio of established traditional painter Sensei Itoh. Landing in San Francisco, Saito traveled to New York by bus, visiting the country’s museums and witnessing its variable and remarkable landscape, confronted by the city’s own topography of signs upon arrival. During his first decade in New York, Saito worked between painting and theater. In many senses, he considered much of life as a performance. By 1979 he decided to devote his attention entirely to painting, preferring the serene isolation of the studio, where he could physically manipulate paint across ground, over the complex, multi-disciplinary approach behind his theater pieces. Nevertheless, at the core of his work is this early interplay between theater and painting, and the artist’s longstanding interest in choreographic expression and theory is evident throughout his career. Saito attended to a number of concerns throughout his decades of painting, which he would continually reference and revisit, forming feedback loops across time. For Saito, painting relied on the explicit relationships of color and light, alluding to examinations in nature and daily life rather than offering the literal or pictorial—implying observation and delivering sensation. The artist’s works offer notations that change pace and direction, just as color reacts to color, so as to necessarily involve (and even instruct) the one looking into or at them. Through his intensive commitment to painting, Saito was able to render expression more explicit, permanent, and exclusive.