Jite Agbro
Jite Agbro’s large mixed media collages come on like record-scratching tapestries: embroidery-like patterns, female silhouettes, a glaze of beeswax. They’re warm yet enigmatic, exploring the ways that marginalized communities armor themselves. 4Culture, opening reception 6–8
James Martin
James Martin was born in Everett in 1928 and raised in Ballard, and though his popularity has ebbed and flowed, he’s still something of a mainstay in local art. His vision merges various inflections of expressionism (maybe Edvard Munch, maybe Basquiat) with dark wit and absurdist glee, like Bob Dylan’s “Desolation Row” wrought in gouache. Foster/White Gallery, opening reception 6–8
Théodore Tobaisse
He was born in Israel, lived in Paris during the Nazi occupation, did a stint as an advertising artist, but Théodore Tobaisse didn’t enter his first art show until he was 33. Davidson Galleries presents some of his lush, odd lithographs. They evoke a sort of roaming modernist folk art (a little French cafe, a little Japanese mingei), figures’ bodies ballooning together in a colorful mono-dimension. Davidson Galleries, opening reception 6–8
Ultra Light Beams
Anthony White rides the press avalanche for his first Greg Kucera show—all its pieces sold on its first day—out of the limelight (sort of) and into curation. Ultra Light Beams, the second in Mount Analogue’s new artist residence series, finds White piecing together a day-glow group show with artists like Super Future Kid, Trey Abdella, and Brandon Lipchik. February 22 will also see a new edition of While Supplies Last, a running series where art sells for $30 a piece for one night only. Mount Analogue, opening reception 6–9
Lynda Harwood-Swenson
Longtime SAM staffer Lynda Harwood-Swenson’s new Shift Gallery show explores an imagined landscape, a “land of nowhere.” Her work Sticks and Stones—created by placing stones on photosensitive paper and adding faces on the shapes created—interrogates the way societies literally and metaphorically stone women. Shift Gallery, opening reception 5–8
Ken Moore
LA artist Ken Moore comes to Frederick Holmes with his first Seattle solo exhibition. Conversations in Black Surreality spans 1973 to 2018 and plays out in patinated cubism: jazz portraits, landscapes, a still-life vase. Frederick Holmes and Company Gallery, opening reception 6–8:30
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