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
Rina Banerjee, who was born in Kolkata, India and lives in New York, works with a cosmopolitan eclecticism that reflects both her transnational background and her sophisticated understanding of the narrative power of objects. She assembles rapturous sculptures that are mystifyingly shamanistic, yet overflowing with connotation. Conjoining rarities with cheap, mass-produced bric-a-brac, she appropriates extravagantly while rejecting hierarchies of material, culture and value.
In Banerjee’s paintings and delicate drawings on paper, female figures float in chimerical landscapes, often in states of transformation or with hybrid features of birds and beasts. Her titles are long, free-form refrains that immerse the viewer in the physical and emotional space of the work, heightening its quasi-mystical magnetism.
In a 2011 feature in Artforum, Banerjee describes the foundations of her work:
My mother told me that my first name is special because it is not typical in India—it is spelled differently. Hence, I was free to be what I wanted, so I presumed. Growing up abroad was a strange experience in the 1960s; there were so few Indians in the West. My parents saw themselves as international citizens. Maybe they imagined a future that we are just beginning to glimpse. I dream of this willingness to close the gaps between cultures, communities, and places. I think of identity as inherently foreign; of heritage as something that leaks away from the concept of home—as when one migrates. Even my interest in science embodies an awareness of other worlds, worlds that coexist with us, but which we cannot experience or know. The sky, the stars, and the earth contain so much more than we think.
Freedom is the most expensive commodity; nature the most dangerous beauty. My work examines both. My art depicts a delicate world that is also aggressive, tangled, manipulated, fragile, and very, very dense.