Exhibition / Marc Horowitz

If it’s not mine, it’s mine, a solo exhibition by Marc Horowitz featuring new paintings and assemblage, opens September 8 at Jonathan Hopson Gallery with a reception from 1-5 pm. If it’s not mine, it’s mine remains on view through October 13.

Exhibition / Petra Cortright

Petra Cortright is included in The Body Electric, a group exhibition at Yerba Buena Center for the Arts (San Francisco) featuring more than 70 works by an intergenerational and international group of artists who have seized upon the screen as a place to rethink the body and identity. Featuring video, sculpture, photographs, virtual reality, and more, from over 45 artists and collectives, the exhibition places a particular emphasis on gender, sexuality, race, and class. The Body Electric opens September 6 with an opening night party from 7-10 pm and remains on view through January 26, 2020.

Petra Cortright
Enterprise Products_HATACHI CDR-8334_Honeybees, 2018
Digital painting on gloss paper, face mounted
48.5 x 95 inches

Press / Bay Area Reporter

Shaina McCoy‘s upcoming solo exhibition at Ever Gold [Projects], A Family Affair, is included in Fall Preview: Bay Area Galleries, a selection of fall exhibitions by the Bay Area Reporter. A Family Affair opens September 7 with a reception from 5-8 pm.

Shaina McCoy, Maryann & Leila, 2018. Oil on canvas, 36 x 48 inches.

The following is an excerpt from the full article, available on the Bay Area Reporter website.]

Ever Gold Projects: “Shaina McCoy: A Family Affair
In a new group of intimate portrait paintings, McCoy, a Minneapolis-based African American artist, summons her family heritage and legacy of closeness. Based on photographs from her family album and influenced by Impressionism, she creates suggestive afterimages of familiar, well-trodden places and loved ones with featureless faces. Mothers hold their children, a trio of friends in T-shirts and baseball caps link arms, a couple nestles close to each other: what shines through is the affection that binds them. Withholding just enough realism, her blur of emotional memories provides a canvas onto which we can project our own. (Sept. 7-Oct. 26) evergoldprojects.com

Press / San Francisco Chronicle

Mark Flood’s upcoming solo exhibition at Ever Gold [Projects], Paintings From the Postwar Era, is included in 7 Bay Area gallery shows to see this fall, a list of recommendations by Charles Desmarais for the San Francisco Chronicle Datebook. Paintings From the Postwar Era opens September 7 with a reception from 5-8 pm.

Mark Flood’s “NBC Prop Kid” is part painting, part photograph, no video. His show opens Sept. 7 at Ever Gold [Projects].
Photo: Ever Gold [Projects].
[The following is an excerpt from the full article, available on the San Francisco Chronicle website.]

‘Paintings From the Postwar Era: Mark Flood’

Mark Flood is not easy to categorize as an artist, and he goes to great lengths to keep things that way. A critic of contemporary culture, his favorite target is the structure of the art world itself. How could one miss an exhibition of the latest work from a painter who once sold advertising space on his canvases by the square foot?

Press / Architectural Digest

The beta launch of [On Approval] is mentioned in a selection of noteworthy design events by Architectural Digest; the [On Approval] Beta Launch exhibition includes an interior design installation by NICOLEHOLLIS featuring furniture from The Future Perfect.

Installation view, interior design by NICOLEHOLLIS for [On Approval] Beta Launch at Ever Gold [Projects], San Francisco, 2019.
Center: Andy Warhol
Car Crash, 1978
Screenprint on paper
32.5 x 42.5 inches

Exhibition / Christie’s

August 3, Christie’s opens Cut & Paste, an exhibition of works by Kour Pour paired with 19th century Japanese woodblock prints, curated by Shiva Balaghi. Cut & Paste remains on view through August 22.

Press / Artsy

Frédéric Bruly Bouabré is one of the artists included in collector Jean Pigozzi’s gift of 45 works of African contemporary art to New York’s Museum of Modern Art. Pigozzi, an Italian photographer, began collecting art from Africa after seeing the Centre Pompidou’s landmark 1989 show Magiciens de la Terre, in which Bouabré’s work was exhibited. The work by Bouabré included in Pigozzi’s gift is a 449-piece pictographic alphabet, Alphabet bété (1991).

Installation view, works by Frédéric Bruly Bouabré on view during Defying the Narrative: Contemporary Art from West and Southern Africa at Ever Gold [Projects], San Francisco, 2018.

Press / Cultured Magazine

Tom Sachs is featured in the latest installment of “Inside My Studio,” Anderson Ranch Arts Center’s second annual summer video series published by Cultured Magazine. All current installments of “Inside My Studio” are available for viewing on the Cultured Magazine website.

Press / Vanity Fair

In an interview with Vanity Fair, Petra Collins discusses her new book, Miért vagy te, ha lehetsz én is? (translates in Hungarian to “Why be you, when you can be me?”), a collaboration with publisher Baron.

Petra Collins, Miért vagy te, ha lehetsz én is?, 2019. Hardback, 166 pages. Edition of 2000.

Exhibition / Adam Parker Smith

Adam Parker Smith is included in The Smiths, a group exhibition at Marlborough (London) featuring more than 30 artists, all with the surname Smith. The Smiths remains on view through August 2.

Installation view, The Smiths at Marlborough, London, 2019.

Adam Parker Smith, Fearlessly the Idiot Faces the Crowd, 2019, mixed media, 52 × 12 × 67 in., 132.1 × 30.5 × 170.2 cm. Photo: Luke Walker.

Press / office

Petra Collins has been interviewed by office about Miért vagy te, ha lehetsz én is? (translates in Hungarian to “Why be you, when you can be me?”), a newly released collaborative project for Baron Magazine.

Read the interview here: office
Purchase Miért vagy te, ha lehetsz én is? here: Baron

Press / The New York Times

Mario Ayala has been interviewed by The New York Times for ‘Latinx Artists Explain Their Process,’ an article highlighting Latinx artists and creative thinkers incorporating family history and cultural heritage into their work.

Mario Ayala’s work is primarily driven by his working-class upbringing in Los Angeles. “I airbrush a lot in my paintings, and I think of that machine or that material as really labor intensive,” he said.
Natalia Mantini for The New York Times.
[The following is an excerpt from the full article, available on The New York Times website.]

Mario Ayala, a painter who also lives in Los Angeles, shares Mr. Esparza’s interest in exploring manual labor in his art. (They have worked together on several projects, including a permanent installation of adobe columns decorated with paintings and tiles called “Puente,” which sits along the Los Angeles River.)

Mr. Ayala’s father was a truck driver who often doodled with a ballpoint pen during his downtime. He brought home drawings of everyday sightings like dogs, women or cars. Mr. Ayala started out trying to imitate them, and after high school he attended the San Francisco Art Institute, which he said opened up “a whole new world” in terms of broadening and deepening his artistic practice.

But his work is primarily driven by his working-class upbringing in Los Angeles. “I airbrush a lot in my paintings,” he said, a process he calls “really labor intensive.” The same machine is used to paint lowrider cars, which are a cultural marker for Chicanos in Los Angeles. Mr. Ayala hopes this overlap makes his work accessible to people who share his background.

For a long time, art like Mr. Ayala’s or Mr. Esparza’s was rarely seen in galleries and museums, more often “incubated by Chicanx or Latinx organizations,” said E. Carmen Ramos, the deputy chief curator of the Smithsonian American Art Museum. Major art museums in the United States “did not invest in acquiring works by Chicanx and Latinx artists, and we see that when we look at the underrepresentation of these artists in permanent collections.”

Press / Juxtapoz

Mario Ayala is featured in the current (Summer 2019) issue of Juxtapoz. The feature includes a conversation between Ayala and Andrew McClintock, Ever Gold [Projects]’s owner/director, and a series of photographs of the artist and his studio by Grant Gutierrez.

Exhibition / Sandy Kim

Sandy Kim is included in Coming of Age, an exhibition presented by Virgil Abloh at Little Big Man Gallery (Los Angeles). Coming of Age opens June 1 with a reception from 6-9 pm.

Exhibition / Petra Cortright

At the 2019 edition of FEMMEBIT (a triennial festival uniting an all-female roster of Los Angeles based artists working in video and new media), Petra Cortright presents “Airsworld”, a collaboration with FLOAT. Cortright’s work will be presented on Saturday, June 1, 2019.

Press / Harper’s Bazaar Arabia

The current cover of Harper’s Bazaar Arabia features Serge Attukwei Clottey‘s installation at Vestfossen Kunstlaboratorium (Vestfossen, Norway) for KUBATANA, an exhibition of contemporary African art curated by Kristin Hjellegjerde. KUBATANA remains on view through September 21, 2019.

Exhibition / Zachary Armstrong and Petra Cortright

Zachary Armstrong and Petra Cortright are both included in Malmö Sessions, a group exhibition at Carl Kostyál Gallery (Malmö). Malmö Sessions is now on view through June 16, 2019.

Installation view, works by Zachary Armstrong (left) on view for Malmö Sessions at Carl Kostyál Gallery, Malmö, 2019.

Installation view, work by Petra Cortright (left) on view for Malmö Sessions at Carl Kostyál Gallery, Malmö, 2019.

Exhibition / Adam Parker Smith

, a solo exhibition of work by Adam Parker Smith, is now on view at Galería CURRO (Guadalajara). Meanwhile is Adam Parker Smith’s first solo exhibition in Mexico and remains on view through June 28, 2019.

Installation view, Meanwhile, Adam Parker Smith at Galería CURRO, Guadalajara, 2019. Courtesy of the artist and Galería CURRO.

Exhibition / Petra Cortright

On view nightly from 11:57 pm to midnight through May 31 on Times Square’s electronic billboards, Pink_Para_1stchoice is a fragmented self portrait by Petra CortrightPink_Para_1stchoice is presented as part of Midnight Moment, the world’s largest and longest-running digital art exhibition, synchronized on electronic billboards throughout Times Square.

Public Programming

In conjunction with #cryptomemes: women and Leo DiCaprio, a solo exhibition by Christine Wang, Ever Gold [Projects] presents Applied AI at Scale, a talk by Erica Lee, Director of WomenOfAI.org.

June 22, 2-3 pm — Applied AI at Scale

Erica will discuss how to apply the latest deep learning techniques to solve real-world business problems at scale. She’ll provide a high-level, non-technical overviewed of AI to educate the audience on fundamentals, followed by a few case studies highlighting useful business applications. Erica will focus on educating listeners on available AI tools that can scale, and best practices for using AI for industry. Learn more at ericalee.ai.

Public Programming

In conjunction with #cryptomemes: women and Leo DiCaprio, a solo exhibition by Christine Wang, Ever Gold [Projects] presents Digital Gold Rush, a talk by Olive Allen, technology entrepreneur and visual artist.

June 8, 2-3 pm — Digital Gold Rush

In the 19th century when gold deposits were discovered, fortune seekers from all over the world rushed to mine their “fortune.” Just like gold, digital currency has fueled wild dreams, grandiose delusions, and next level hustle. Tonight is the night to reveal some insider secrets and share unusual success stories. Viva la Speculatión!

Exhibition / Takis

The Tate Modern presents a solo exhibition of work by Takis, opening July 3 and remaining on view through October 27, 2019. Takis at Tate Modern will include more than 70 works and will be the largest exhibition of Takis’s work ever held in the UK.

Takis, Telelumiere 4, 1963–4.
Private collection, London © ADAGP, Paris and DACS, London 2018.

Exhibition / Serge Attukwei Clottey

Serge Attukwei Clottey is featured in KUBATANA, an exhibition of contemporary African art curated by Kristin Hjellegjerde at Vestfossen Kunstlaboratorium (Vestfossen, Norway) opening May 4. KUBATANA remains on view through September 21, 2019.

Serge Attukwei Clottey, NOKO Y3 DZEN – There’s Something in the World, 2018-2019. Sculptural installation, dimensions variable. Installation view, KUBATANA at Vestfossen Kunstlaboratorium, Vestfossen, 2019.

Exhibition / Serge Attukwei Clottey

Current Affairs, a solo exhibition of work by Serge Attukwei Clottey, is now on view at Fabrica Gallery (Brighton), and remains on view through May 27. Current Affairs is organized in conjunction with the 2019 edition of Brighton Festival.

Related events:

TALK: Creative Catalyst: art for a sustainable future
May 22, 7 pm
Co-curated by Fabrica and University of Brighton Responsible Futures
Serge Attukwei Clottey’s twin role as a artist and community activist will be explored as part of a panel discussion.
ARTIST TALK: Serge Attukwei Clottey
May 23, 7:30 pm
Serge Attukwei Clottey will present a slide presentation about his work, his working methods and his motivation as an artist.
PERFORMANCE: Serge Attukwei Clottey and GoLokal
May 25, 7 pm
Co curated by Fabrica and University of Brighton Responsible Futures
In this one-off, improvised performance the artist and GoLokal will respond to the the site and context of Fabrica, the city and the politics of the current time.

Press / Serge Attukwei Clottey

The Voice has interviewed Serge Attukwei Clottey about his participation in the 2019 edition of Brighton Festival.

[The following is an excerpt from the full article, available on The Voice website.]

“STRIKINGLY BEAUTIFUL yet politically charged, Ghanaian artist Serge Attukwei Clottey’s large-scale Afrogallonism sculptures are meticulously fashioned from discarded 20 litre-plus yellow jerry cans.

The cans, imported into Ghana from Europe for carrying fuel, are often repurposed to carry potable water by people struggling with Ghana’s water shortages. This unhealthy practice was especially true during the era of president John Kufuor, giving them the nickname “Kufuor gallons”.

Attukwei Clottey’s use of the cans touches on global issues of plastic waste and access to basic services, but also promotes his philosophy of exploring personal and political narratives rooted in histories of colonialism, trade and migration.

The works will be on display at the Fabrica gallery as part of the Brighton Festival 2019, an annual curated multi-arts festival. Afrogallonism also takes note of the idea of space and territory. The artist has used his large yellow ‘tapestries’ to delineate or ‘re-territorialise’ space in new ways, both in Labadi, Ghana and in the space of the international art world.”

Exhibition / Brian Harte

X will mark the place, a solo exhibition of work by Brian Harte, is now on view at GNYP Gallery (Berlin). X will mark the place remains on view through May 25.

Exhibition / Tom Sachs

Smutshow, a solo exhibition of work by Tom Sachs, is now on view at Tomio Koyama Gallery (Tokyo). Smutshow remains on view through May 25.

Exhibition / Tom Sachs

Tea Ceremony, a solo exhibition of works by Tom Sachs, is now on view at Tokyo Opera City Art Gallery (Tokyo). Tea Ceremony remains on view through June 23.

Press / Artsy

Petra Cortright and Marc Horowitz are both featured in Get Lost in the Strange, Dizzying Websites of These Contemporary Artists, a list of unconventional artist websites compiled by Kelsey Ables for Artsy.

Visit Petra Cortright’s artist website.

Visit Marc Horowitz’s artist website.

Press / The Brooklyn Rail

Kour Pour‘s solo exhibition, Manzareh/Keshiki/Landscape, has been reviewed by Hadley Suter of The Brooklyn Rail. Manzareh/Keshiki/Landscape remains on view through May 4, 2019.

[The following is an excerpt from the full article, available on The Brooklyn Rail website.]

“At Ever Gold [Projects] in San Francisco, the Manzareh/Keshiki/Landscape is another such rebuttal—this one shedding light on the non-Western traditions of abstraction that go back centuries. This solo exhibition of the Los Angeles-based artist Kour Pour’s paintings and woodblock prints draws inspiration from—and demonstrates the parallels between—several Asian and West Asian practices. Manzareh/Keshiki/Landscape should be considered a direct rejoinder to the 2012 exhibition at MoMA; in fact, it represents Pour’s second such attempt to set the record straight.

Alongside a previous show at the same gallery in January 2017—Earthquakes and the Mid Winter Burning Sun (2017), which paired the artist’s paintings with works by Kazuo Shiraga—Ever Gold [Projects] put out a zine consisting of Pour’s reading of the MoMA show’s exhibition book. Pour re-titled the text Re-Inventing Abstraction 1910-1925, and systematically annotated each Eurocentric assumption and outright falsehood in the text. Written in a yellow highlighter, a black marker, and a red pen, Pour’s acerbic marginalia calls the MOMA show out for its willful ignorance of non-Western artistic traditions. “Bullshit!,” he writes in response to Lowry’s conjecture that Europe’s new mania for abstraction was so radical in 1912 that “comparison with the past was impossible.”2 To the claim that the MOMA exhibition took on a “transnational perspective” in its consideration of abstraction throughout the “Eastern and Western Europe and the United States,” Pour replies: “It doesn’t look far enough.”3 In subsequent pages, Pour follows up with examples of traditions left out of this cannon—most of which are reprised, through his paintbrush, instead of his pen, such as Japanese Ukiyo-e prints, tantric art, Chinese landscape painting, and Islamic art (which, in fact, was Lowry’s specialization before he became the director of MoMA).

Manzareh/Keshiki/Landscape continues Pour’s work of countering this discourse, this time through works that reference, and in turn unveil, the vast history of non-Western abstraction. The show spans both of Ever Gold [Projects]’s galleries, consisting of eight series of paintings and woodblock prints, for a total of twenty-three works. Pour sources his inspiration primarily from Persian and Japanese traditions, as indicated by his title—Manzareh and Keshiki both mean something close to Landscape, in Farsi and Japanese (they are often translated as “view” or “scenery”), though India and China are present, too. The result, though culturally variegated, is esthetically and chromatically coherent—and quite breathtaking.”

Press / SF Weekly

Kour Pour‘s solo exhibition, Manzareh/Keshiki/Landscape, has been reviewed by Jonathan Curiel of SF Weekly. Manzareh/Keshiki/Landscape remains on view through May 4, 2019.

[The following is an excerpt from the full article, available on the SF Weekly website.]

“Pour’s exhibit at Ever Gold [Projects], called “Manzareh/Keshiki/Landscape,” is an exhibit of patterns — and patterns of influence. On one wall are a series of new works that resemble Persian carpets. One work, Foreign Traveler, might as well be a brand-new carpet with its intricate floral patterns and panoramic scenes of turbaned men on horses. But look closely, and Foreign Traveler is faded in spots. And it’s paired with two works called History Painting (Fragment) that look like outsized segments of carpets — but have more obviously faded spots. Like Warhol’s paintings of Marilyn and Mao that repeat their faces in different colors and shades, Pour’s carpet paintings play with expectations and the idea of memory. The old becomes new.

But “the old” was never a fixed pattern, Pour says. “Traditions” always borrowed from other traditions, and Pour’s homage to Japanese Ukiyo-e prints, with his new block-printing works like Chopped & Screwed (Kuniyoshi), are also an homage to the influence of Ukiyo-e prints on European Impressionists. Pour created his new works using traditional Ukiyo-e block printing, but his art is at a much larger scale. It’s messy, time-consuming work, with inks that have to be monitored, replaced, and waited on.

“I don’t think of my work as ‘identity artwork,’ ” Pour says. “The friends I’ve made [in Los Angeles] are all from other places or have these different cultural backgrounds, but even though our identities may be different, our races may be different, and the languages we speak might be different, we’re all connected in this way of experience. It’s the experience of moving between cultures.”

 Exhibition / Petra Cortright

Petra Cortright is included in Extract, an exhibition by bitforms gallery at the ROW DTLA (Los Angeles). Extract opens April 13 with a reception from 6-9 pm and remains on view through May 12, 2019.

Petra Cortright, CHAT ROOM “Checkov” +dark +porn, 2018. Digital painting on gloss paper, face mounted, 59 x 59 inches. Courtesy of bitforms gallery.

Exhibition / Serge Attukwei Clottey

Serge Attukwei Clottey is featured in KUBATANA, an exhibition of contemporary African art curated by Kristin Hjellegjerde at Vestfossen Kunstlaboratorium (Vestfossen, Norway) opening May 4, 2019.

Exhibition / Petra Cortright

Petra Cortright is included in Primary Directives, an exhibition at Marlborough Contemporary’s London location. Primary Directives is a small group exhibition with a focus on technology as accelerator and refractor of image and meaning, and remains on view through March 30, 2019.

Petra Cortright, “alcatraz puzzle” fat chicks nude_FF5, 2018. Digital painting on anodized aluminum, 48 x 94 inches.

Press / Kour Pour

Kour Pour’s solo exhibition, Manzareh/Keshiki/Landscape, has been reviewed by Charles Desmarais of the San Francisco Chronicle. Manzareh/Keshiki/Landscape remains on view through May 4, 2019.

“There is something beguilingly perverse about the artist Kour Pour’s working method. His show at Ever Gold [Projects] is composed of canvases up to 8 feet on a side. All of them are painstakingly created, all refer to traditions of Asian and Middle Eastern art.

Some are paintings of “Oriental” rugs that call into question the relative value of the utilitarian and the unique, and the difference between cultural and economic worth. Some reproduce fragments of great narrative works.

I am particularly drawn to the artist’s canny conflation of works on paper that were made for popular distribution with the high-art pretensions of paint on canvas. Fragments of images drawn from ukiyo-e woodblock prints by Japanese masters like Yoshitoshi and Hiroshige become abstract works for contemplation on the wall — half history, half modernity. Of course, French Impressionism drew heavily on the model of Japanese prints, a fact that hovers just below the surface.

The best works in the exhibition were made not with brush and paint but by employing traditional printmaking techniques on an overblown scale. Giant block prints of dense and vivid color read like inventive abstract paintings, yet they quote small fragments of antique visual narrative. They are offered, wryly, in a variety of tonal combinations, like commercial wallpaper colorways.”

“Kour Pour: Manzareh/Keshiki/Landscape”: Noon-5 p.m. Wednesday-Saturday. Through May 4. Free. Ever Gold [Projects], 1275 Minnesota St., S.F. 415-254-1573.

Exhibition / Petra Collins and Petra Cortright

Petra Collins and Petra Cortright are both included in FOR REAL, an exhibition at [Senne] (Brussels) during Art Brussels 2019. FOR REAL opens April 24 with a reception from 5-8 pm and remains on view through April 28, 2019.

Exhibition / Brian Harte

Brian Harte is included in Now is the Time, an exhibition opening March 24 at the Kunstmuseum Wolfsburg (Wolfsburg, Germany). Now is the Time remains on view through September 29, 2019.

Installation view, paintings by Brian Harte on view in Now is the Time at the Kunstmuseum Wolfsburg, 2019.

Exhibition / Mieke Marple

Mieke Marple‘s first solo exhibition, God is an Audiobook, opens April 10 at the 1301PE Annex (Los Angeles). God is an Audiobook remains on view through May 10, 2019.

Mieke Marple, Eternal (Metamorphosis/Wildflowers), 2019. Acrylic and inkjet on canvas, 54 x 70 inches. Courtesy of the artist and 1301PE.

Exhibition / Cameron Platter

FR1000ID, an exhibition featuring Cameron Platter and Herman Mbamba, opens at blank projects (Cape Town) on March 28, and remains on view through May 4, 2019.

Cameron Platter, Untitled, 2019. Pencil on paper, 160 x 110 centimeters. Courtesy of the artist and blank projects.

Press / New York Magazine

New York Magazine has reviewed Nothing on the Other Side of the Slash, a solo exhibition by Marc Horowitz at Johannes Vogt Gallery (New York). Nothing on the Other Side of the Slash is now on view through March 30, 2019.

Exhibition / Marc Horowitz

Nothing on the Other Side of the Slash, a solo exhibition of work by Marc Horowitz, is now on view at Johannes Vogt Gallery through March 30, 2019.

Installation view, Nothing on the Other Side of the Slash, Marc Horowitz at Johannes Vogt Gallery, New York, 2019. Courtesy of Johannes Vogt Gallery.

Press / Ever Gold [Projects] at Art Los Angeles Contemporary

Ever Gold [Projects] presented a bohemian salon February 13-17 at the 2019 edition of Art Los Angeles Contemporary. The Ever Gold [Projects] booth was featured by ARTnews, COOL HUNTING, Galerie Magazine, and the Hollywood Reporter.

Exhibition / Petra Cortright

Petra Cortright is included in Now Playing: Video 1999–2019, a group exhibition at the Scottsdale Museum of Contemporary Art. Now Playing: Video 1999–2019 opens February 16 and remains on view through May 19.

Press / Hypebeast

Kour Pour has collaborated with menswear brand Necessity Sense for Conscious Creatures, their AW 2019 collection. Knits, shirts, and jackets are adorned with the artist’s Japanese woodblock print patterns.

Screening / Mark Flood

The Marciano Art Foundation (Los Angeles) presents a screening of Mark Flood‘s first feature film, Art Fair Fever (2016) on February 6 at 6 pm.

Exhibition / Cameron Platter

Cameron Platter, Untitled, 2018. Ceramic bottles, 16.5 x 4 inches.

Cameron Platter is included in A Higher State of Consciousness, a group exhibition at Éric Hussenot (Paris). A Higher State of Consciousness is now on view through March 2.


“The painting “Bitcoin Princess” began life as a social media meme—a cartoon mashed up with ironic commentary designed for mass consumption on Twitter or Instagram. In the illustration, a knight is shielding a princess from a raging crowd. It’s a standard enough scene that could be cropped from a zillion anime movies or manga comic books. But this knight has the word “me” pasted onto his tower shield, the princess is labeled “bitcoin” and the crowd has been dubbed “Nobel Prize winning economists.”

Behold the brave knight defending the future of decentralized finance from a horde of fiat unbelievers!

But is it satire, or celebration, or a mixture of both?

The difficulty of answering that question is precisely why Christine Tien Wang, an artist who lives in San Francisco, saw the meme as perfect fodder for her “Crypto Rich” series of acrylic paintings. Wang thrives on ambivalence, on the murky territory between idealism and greed that is so essential to the blockchain movement. Her current mode of expression—painting exact copies of online memes into elite-gallery eligible flat-screen TV-sized artworks—is its own exercise in textual ambivalence, a recapturing, back into the offline world, of a mode of expression indigenous to the online playground.

It gets confusing. When she uses her phone to show friends photographs she has taken of her paintings, no one can tell the difference from the “original,” she notes, while laughing. And yet when you see the paintings up close in a gallery, you realize, once and for all, that cryptocurrency truly has come of age, because blockchain is now a text that modern artists are appropriating, recontextualizing, and, in Wang’s case, making hilarious.”

[Full article on BREAKER website]

Press / San Francisco Chronicle

“Saturday: Spider-Man’s Peter Parker exposed

My art week begins at the opening of “Gold Standard,” the Ever Gold Projects gallery’s 10-year anniversary exhibition at the Minnesota Street Projects in Dogpatch on Jan. 12. Ever Gold gallerist Andrew McClintock shows me pieces by big names like Guy Overfelt, Ed Ruscha and Barry McGee. Mark Flood’s acrylic-and-ink “Spiderman” provokes the strongest reaction: The image of the Marvel hero with “I hate you” and “want kill you” scrawled over it is a little jarring, as is the fact that Spidey is letting his Peter Parker hang out the fly of his costume. I post it with an adult content warning on Instagram, but it is later tagged as violating community standards by the company and removed.

Lesson: Forget Jerry Saltz, Instagram is the ultimate social media art critic.

Friday: Shabbat, S.F.-style

Friday, Jan. 18, is Ever Gold Projects’ official 10th anniversary party at Chinatown dive bar EZ5, co-hosted with McClintock by DJ Eug (Eugene Whang) and Adam Swig. The evening begins with a traditional Jewish Shabbat breaking of the challah, which has “Ever Gold” baked into it.

“Shabbat is supposed to be a sundown thing, but it’s San Francisco,” jokes Swig. “We do what we want.”

Swig continues, comparing the light of the Shabbat candles to the light that art shines on a community. McClintock originally started Ever Gold in a space in the Tenderloin before moving to Minnesota Street Project two years ago. It’s been quite the ride, he says, from publishing SFAQ and the Tenderloin to being a gallery that straddles the line between catering to traditional collectors and attracting the younger tech generation (Ever Gold even accepts cryptocurrency). Once the old-school hip-hop bumps up on the speakers, it becomes less an art week party and more a night at the club. McClintock later reports he was out until 5 a.m. celebrating.

“I think we need to have one of these every year, at art week,” he says.

Lesson: Sundown is subjective in the art world, bitcoin is forever (maybe?)”

[Full article on San Francisco Chronicle website]

Press / San Francisco Chronicle

“For gallerist Andrew McClintock, the week offered synergy too good to pass up when it came time to plan the opening of his 10th anniversary exhibition at his gallery, Ever Gold Projects in the Minnesota Street Project. The exhibition itself opened Saturday, before the start of art week. The gallery is also hosting a Shabbat dinner with Innovation Alley founder Adam Swig followed by a party with DJ Eug (Eugene Whang) at Chinatown bar EZ5 to close out the week.

“The fairs are beneficial to the whole ecosystem,” McClintock said.”

[Full article on San Francisco Chronicle website]

Exhibition / Petra Cortright

Petra Cortright, rgb,d-lay, 2011. Video, 0:23.

Petra Cortright is included in Dirty Protest: Selections from the Hammer Contemporary Collection, a group exhibition at the Hammer Museum opening January 24 and remaining on view through May 19, 2019.

Press / San Francisco Chronicle

“Meanwhile, the ever-energetic Ever Gold Projects looks back on 10 years with a show that spreads across three spaces in the Minnesota Street complex. “Gold Standard” (Saturday, Jan. 12, through Feb. 23) has no tight theme, but it does a fine job of reviewing owner Andrew McClintock’s eclectic program of genuine discoveries, historic recoveries and collaboration with dealers outside the Bay Area.”

[Full article on San Francisco Chronicle website]

Press / Guy Overfelt

Guy Overfelt‘s Sujet Poisson Bong (After Picasso) edition is the subject of an article on Artspace.

Public Programming / Tom Sachs

Tom Sachs appears in conversation with Adam Savage and Joseph Becker at FOG Design+Art on January 19 at 3 pm.

Exhibition / Petra Cortright

Lucky Duck Lights Out, a solo exhibition of work by Petra Cortright, opens January 19 at 1301PE (Los Angeles) and remains on view through March 2, 2019.

Exhibition / Zachary Armstrong

White Lines, a solo exhibition of work by Zachary Armstrong, is now on view at GNYP Gallery (Berlin) through March 10, 2019.

Installation view, White Lines, Zachary Armstrong at GNYP Gallery, Berlin, 2019.

Exhibition / Tom Sachs

Sandcrawler, a solo exhibition of work by Tom Sachs, is now on view at Vito Schnabel Projects (New York) through December 8, 2018.

The Pack, a larger solo exhibition by Sachs, opens at Vito Schnabel Gallery (St. Moritz) on December 28 and remains on view through February 3, 2019.

Tom Sachs, Sandcrawler, 2016. Pyrography on plywood, steel hardware, 26h x 58w x 20 1/2d inches (66. x 147.3 x 52.1 cm).
© Tom Sachs; Courtesy of Tom Sachs Studio and Vito Schnabel Gallery.

Press / Vogue

Mario Ayala‘s solo exhibition Give a Dog a Bad Name and Hang Him has been moved to May 2019.

Mario Ayala in a new lookbook for Come Tees, published online with Vogue.

Exhibition / Kour Pour

Abrash, a solo exhibition featuring new work by Kour Pour, is now on view at Shane Campbell Gallery (Chicago) through December 8, 2018.

Exhibition / Petra Cortright

Platinum Blonde Black Knight, a solo exhibition featuring a new series of 17 digital paintings by Petra Cortright, is now on view at Société (Berlin) through November 17, 2018.

Press / SF Weekly

Press / The New York Times

Andrew McClintock, owner/director of Ever Gold [Projects], was interviewed for The New York Times article “The Art World’s Elephant in the Room,” which is excerpted below.

LONDON — It’s one of the most celebrated graphs ever produced by economists.

The chart, first published in 2013 by Branko Milanovic and Christoph Lakner using data from the World Bank, shows global income gains from 1988 to 2008. The graph climbs sharply on the left, indicating how outcomes improved in the developing world from the fall of the Berlin Wall to the Great Recession. Further to the right, it shows how equivalent outcomes declined dramatically for the working and middle classes in the developed world, but soared for the planet’s wealthiest 1 percent. This arrestingly unequal pattern of global income distribution has become known, famously (at least to economists), as the elephant graph.

What does this have to do with the art market? Well, pretty much everything. A decade after the fall of Lehman Brothers and Damien Hirst’s era-defining “Beautiful Inside My Head Forever” auction at Sotheby’s, the art market remains one of the most glaringly visible symptoms of global income inequality.

… [View full article]

“People, particularly younger people, have much less desire to own stuff,” said Mr. Bayley, the cultural critic. “There’s consumer fatigue. And if you’re never going to be able to afford to buy a house, what’s the point of buying the stuff that goes in a house?”

And yet dealers and auction houses keep plugging away, coming up with new initiatives and strategies to keep the grass roots of the market alive, if not verdantly green.

“I show a lot of emerging artists, and under $20,000 is definitely the harder market,” said Andrew McClintock, director of Ever Gold [Projects] in San Francisco. “It’s always been a struggle.”

But unlike Berlin, the San Francisco Bay Area is awash with tech wealth, some of which is trickling to California’s contemporary art dealers.

Enigmatic drawings of tech-inspired tarot cards by Mieke Marple (who also formerly co-owned Los Angeles’s trendy Night Gallery) are currently among Mr. McClintock’s best sellers in the $3,000 to $10,000 range, he said, adding that younger collectors were encouraged by flexible payment plans and invoices payable in cryptocurrency. “Gallerists need to start thinking of themselves as entrepreneurs, not sit around waiting for a client to walk in the door,” Mr. McClintock said.

Press / The Daily Californian

Public Programing / Blockchain

Please join us at Ever Gold [Projects] on Saturday, September 22nd, from 2-3pm for a panel on Blockchain. Coffee and wine/beer to be served.

Press / Christie’s

Petra Cortright is featured in Christie’s Established names, fresh new talent — Part I, a list of 10 artists selected from the auction house’s online Horizon sale and Post-War to Present auction in New York.


September 12, Mizuma Art Gallery presents Pure Pleasure, a solo exhibition of new work by Kate Groobey. Kate Groobey recently became the the first female winner of the Daiwa Foundation Art Prize, which has been awarded to a British artist every three years since 2009; the exhibition at Mizuma Art Gallery is organized in conjunction with the Daiwa Foundation. Pure Pleasure remains on view through October 13, 2018.

Kate Groobey
Places unknown, 2018
Video performance
1 min. 39 sec.

Press / San Francisco Examiner

News / Expansion

January 2019 marks Ever Gold [Projects] ten-year anniversary and to celebrate we are doubling our exhibition space inside the Minnesota Street Project complex beginning this September.

This expansion is a direct result of the new and sustained collector activity we’ve seen developing throughout the Bay Area with increased local sales and enthusiastic foot traffic. Our additional 1,500 square feet of exhibition space, located on the ground floor and across the atrium from our current location, will allow us to organize larger and more comprehensive exhibitions by utilizing both spaces, or to host two exhibitions simultaneously.

The ongoing international spotlight on the Bay Area has enabled room for San Francisco to grow its cultural footprint and become a leader in contributing to global culture, not just in innovation and industry, which in turn has brought world-class institutions and collectors to support those efforts.

The first exhibition we open with as part of the expansion is Defying the Narrative: Contemporary Art from West and Southern Africa, a group exhibition featuring work by fourteen African artists which will be on view in both exhibition spaces from September 8 to October 27.

From November 10 to December 21, we will present concurrent solo exhibitions of new work by Mario Ayala and Joey Wolf, two young Los Angeles painters working with the figure in very diverse aesthetic and material practices.

In January and February, we are thrilled to be working with the Robert Graham estate to present the first solo exhibition the artist has had in San Francisco since the late ’90s. This show will be accompanied by a group exhibition of spherical influences on Graham by artists of California lineage from the ’60s, ’70s, and beyond.

In March and April, we will present an expansive survey of work by Kour Pour from the last four years, utilizing both exhibition spaces.

This will be followed by concurrent solo exhibitions of new work by San Francisco based artist Christine Wang and London based Kate Groobey, with more exhibitions to be announced in the coming months including the continuation of small presentations in our second-floor project space.

We look forward to seeing you at the gallery.


As I See It, a solo exhibition of photographs by Sandy Kim organized in conjunction with the release of a photobook of the same title, is now on view at Muddguts (Brooklyn) through July 27, 2018.

Press / Elle

Press / Mental Floss

The Internet Archive’s 2018 Artist In Residence Exhibition, which features Mieke Marple, Chris Sollars, and Taravat Talepasand, is now on view through August 11, 2018.

Press / Fast Company

The Internet Archive’s 2018 Artist In Residence Exhibition, which features Mieke Marple, Chris Sollars, and Taravat Talepasand, is now on view through August 11, 2018.


Installation of a new commissioned artwork by Serge Attukwei Clottey has been completed at the new Frank Gehry Facebook building.

Press / ARTnews

Serge Attukwei Clottey is interviewed for an article by ARTnews.

Scenes from the Labadi nighborhood of Ghana, where performers and locals participate in Serge Attukwei Clottey’s Afrogallonism piece.


Petra Cortright is included in I Was Raised on the Internet, a group exhibition at the Museum of Contemporary Art Chicago exploring the various ways engagement with the Internet has affected our experiences, interactions, and perspectives. I Was Raised on the Internet is now on view through October 14, 2018.

Installation view, I Was Raised on the Internet (digital painting by Petra Cortright on right) at the Museum of Contemporary Art Chicago, 2018. Courtesy of the Museum of Contemporary Art Chicago.


Michael Swaney has collaborated with Belgian fashion designer Walter Van Beirendonck on a limited edition collection.

Micheal Swaney x Walter Van Bierendonck, Cubic Top, 2018. Courtesy of the artist.


The 2018 Daiwa Foundation Art Prize has been awarded to Kate Groobey. The Daiwa Foundation Art Prize offers a British artist their first solo exhibition at a gallery in Tokyo, and Groobey is the first woman to win the prize in the history of the award. Her solo exhibition will be held at Mizuma Art Gallery.

Kate Groobey, Pure Pleasure Films, 2018. Performance stills.


Nahmad Projects presents Pail Coil Cold Angel, a solo exhibition of new work by Petra Cortright. The exhibition includes of digital paintings, marble sculptures, and a video installation. Pail Coil Cold Angel is now on view through July 20, 2018.

Installation view, Pail Coil Cold Angel, Petra Cortright at Nahmad Projects, London, 2018. Courtesy of Nahmad Projects.


1301PE presents Teen Non_Fiction, an exhibition of new work by Cameron Platter. Teen Non_Fiction is now on view through June 9, 2018.

Installation view, Teen Non_Fiction, Cameron Platter at 1301PE, Los Angeles, 2018. Courtesy of 1301PE.

Los Angeles Times: Marvelous or maddening? In Cameron Platter’s show, it depends on which way you face

June 9, Galerie Hussenot presents You Look Like Your Face, an exhibition of new work by Cameron Platter. You Look Like Your Face remains on view through July 21, 2018.

Installation view, You Look Like Your Face, Cameron Platter at Galerie Hussenot, Paris, 2018. Courtesy of Galerie Hussenot.



Wexner Center for the Arts presents Inherent Structure, an exhibition featuring work by a multigenerational group of 16 artists, including Zachary Armstrong. Inherent Structure is now on view through August 12, 2018.

Installation view, paintings by Zachary Armstrong in Inherent Structure at the Wexner Center for the Arts at Ohio State University, Columbus, Ohio, 2018. Courtesy of the artist.

Museum Acquisition

The Los Angeles County Museum of Art has acquired The Issues are Too Important to be Judgmental, a 2016 painting by Christine Wang.

Christine Wang, The Issues are Too Important to be Judgmental, 2016. Courtesy of the artist.

Public Program

Petra Cortright is featured in the 10th edition of Rhizome’s Seven on Seven event, which pairs leaders in art and technology to create collaborative projects. Cortright has collaborated with Carl Tashian, an engineer and entrepreneur. The projects are revealed on May 19 at a day-long conference at the New Museum, and a publication by Wieden+Kennedy New York is forthcoming.



Tilton Gallery presents Zachary Armstrong: George, an exhibition of new paintings and sculptures by Zachary Armstrong. Zachary Armstrong: George is now on view through June 28, 2018.


Jane Hartsook Gallery (at Greenwich House Pottery) presents Chawan, an exhibition of new ceramics by Tom Sachs. Chawan is now on view through June 28, 2018.

Theaster, 2017. English porcelain, high fire reduction, Temple white glaze, NASA Red engobe inlay, and gold luster, 4H x 4.75W x 4.75D inches. S/N: 2017.102. Photograph by Genevieve Hanson. Courtesy of Jane Hartsook Gallery.


GNYP Gallery presents Polypainting, an exhibition of new work by Kour Pour. Polypainting is now on view at the gallery’s Hardenbergstraße location through June 24, 2018.

Installation view, Polypainting, Kour Pour at GNYP Gallery, Berlin, 2018. Courtesy of GNYP Gallery.


UTA Artist Space presents CAM WORLS, a survey of video work from 2007-2017 by Petra Cortright organized in collaboration with 1301PE. CAM WORLS includes 50 works and is now on view through April 7, 2018.

Installation view, CAM WORLS, Petra Cortright at UTA Artist Space, Los Angeles, 2018. Courtesy of UTA Artist Space.


Serge Attukwei Clottey presents new work in Differences between, a solo exhibition at Jane Lombard Gallery (New York), opening February 15, 2018, with a reception from 6-8 pm.

Serge Attukwei Clottey, My family made me, 2017. Plastic, wire, and oil paint, 60 x 72 inches.


Cameron Platter presents new work in Salami, a solo exhibition at GNYP Gallery (Berlin), now on view through April 15, 2018.


Kour Pour presents new work in a solo exhibition with Pearl Lam Galleries (Hong Kong), now on view through March 16, 2018.

Kour Pour, Multi-Love, 2017. Acrylic on canvas over panel, 165 x 135 centimeters.

Press / San Francisco Chronicle


Kour Pour is included in Decoration never dies, anyway, a group exhibition at the Tokyo Metropolitan Teien Art Museum. Decoration never dies, anyway is on view through February 25, 2018.


Adam Parker Smith presents Kidnapping Incites Years of Murderous Doom, a solo exhibition at The Hole (New York), on view through November 19, 2017.


On October 31, 2017, Rizzoli releases Petra Collins‘ first monograph, Petra Collins: Coming of AgePetra Collins: Coming of Age includes contributions from Marilyn Minter, Alessandro Michele, Karley Sciortino, Jamia Wilson, Barbie Ferreira, and Diana Veras.


Petra Cortright presents “human sheep brain “alice in wonderland” Americana”, a solo exhibition at Foxy Productions (New York), on view through October 8, 2017.


Marc Horowitz presents “A Discord in Our Material and Spiritual Harmony”, a solo exhibition at Johannes Vogt Gallery (New York), on view through October 7, 2017.

New Edition

Guy Overfelt / Sujet Poisson Bong (After Picasso) Edition

Now available through the SFAQ [Projects] online store, the Sujet Poisson Bong is a new edition by Guy Overfelt.

Guy Overfelt, Sujet Poisson Bong (After Picasso), 2017.
Partially glazed red earthenware clay bong with decoration in englobes (black, white). Hand blown glass bowl and stem.
Stamped and marked “Edition Picasso Bong / Madoura Plein Feu / Edition Picasso” (underneath).
5.5 h x 8.5 d x 3.75 w inches.
Edition of 50.

Available through the SFAQ [Projects] online store.

Press / San Francisco Chronicle

Press / Blouin Artinfo

Press / SF Weekly


Petra Collins solo exhibition at the Contact Photography Festival, Toronto. April 29 – June 24, 2017

Petra Collins, Anna and Kathleen (Rainbow), 2016. Archival digital photograph. 65×43 inches. Edition of 2.


Petra Collins performance at MoMA on March 18th

Press / San Francisco Chronicle

San Francisco Chronicle on our Kazuo Shiraga & Kour Pour exhibition 

Art Fair

Ever Gold [Projects] is pleased to present a two person booth with Cameron Platter and Kate Groobey, at the 2017 NADA New York. 

Art Fair

Ever Gold [Projects] is pleased to present a two person booth with Petra Cortright and Petra Collins, at the 2017 ALAC (Art Los Angeles Contemporary) at the Barker Hanger in Santa Monica.

All inquires please direct to info@nullevergoldprojects.com

Petra Collins
“Bundle”, 2016
Archival digital photograph
65 x 43 inches
Edition of 2 / (2AP)

Petra Cortright
“CalamariKontractsCAJUNsmokerDisease_on_MainboardLXProII.MajikTheGathering”, 2016
Vibrachrome and digital painting on anodized aluminum
56 x 40 inches

Press / Forbes

Gallery artists Kour Pour and Petra Collins both on the Forbes 2017, 30 under 30 lists for Art and Culture. Kour in Europe, Petra in the US.

Press / The New York Times Magazine

Within Minnesota Street Project’s first building and central hub located on its namesake avenue are about a dozen other galleries, including the last gallery to sign in that space, Ever Gold Projects — run by a San Francisco native, Andrew McClintock, who grew up riding his bike in the Dogpatch. When Ever Gold’s previous lease became unaffordable in the Tenderloin, just under a year ago, McClintock relocated. “Conceptually, there is much more space out in the Dogpatch — space to think and breathe in this ever-encroaching city,” he says. “I saw my sales more than double last year, and our shows are being seen by thousands of people.” This Saturday, McClintock will open a show that puts Kazuo Shiraga, a master of the Gutai group, and the current market darling Kour Pour in dialogue. 1275 Minnesota St., Suite 105, evergoldprojects.com

Press / SF Weekly

Mark Flood’s solo exhibition reviewed by the SF Weekly


Mark Flood’s solo exhibition, “Paintings From The War For Social Justice”, reviewed by the Creators Project.



Petra Collins interviewed by Artnet: Why Everyone Is Talking About Millennial Artist Petra Collins



Petra Cortright in the New York Times feature on Rhizome’s work saving Internet based video art.





Serge Attukwei Clottey solo exhibition at GNYP Gallery, Berlin. October 22nd – December 3rd, 2016


Petra Collins feature in an October issue of the New Yorker magazine.



Petra Cortright solo exhibition at Carl Kostyal, London.



Tom Sachs solo exhibition at YBCA, San Francisco.