On the first Thursday of every month, Seattleites flock to the streets of Pioneer Square for the city's central and oldest art walk, which offers opportunities to stroll, sip on wine, and attend as many gallery openings as possible. But, in most cases, the shows are up for longer than just one night, and the historic neighborhood is a great place to check out art any day of the year. So, below, we've compiled the most promising exhibits that are having opening receptions on November 7—complete with a Google map at the bottom. You can also find more options on our First Thursday calendar, including shorter-term events like Sam Wood Wilson: A-Painted Gallery and Kalee Choiniere: i'm staring at the sun! i'm milking it gold! i'm seeing double! i'm barely awake! For art in other neighborhoods, check out our complete visual art calendar.

Ancestral Journeyz of Coastal Voices
Multidisciplinary artists from various tribes—including Quileute, Quinault, Lummi, Tulalip, Makah, Skokomish, Kalispel, Muckleshoot, and Duwamish—juxtapose 1989's Coastal Canoe Journey Roadway (an annual celebration that recognizes the cultural importance of canoe travel to indigenous people) with 2019's through photographs, stained glass, weaving, paddles, regalia, and other art forms. 
SOIL Gallery

David Hytone: The Armchair Librettist
David Hytone has worked in paint, ink, paper, ceramics, and large-scale collage. His latest paintings on okawara Japanese paper blur the lines between geometric abstraction and the macroorganism.
Linda Hodges Gallery

Eva Isaksen: Urd/New Collages
Former Stranger critics Jen Graves and Nathaniel Deines called Isaksen "one of those rare, non-schlocky collage artists." Here, she uses materials reminiscent of her Norwegian childhood, like cut-ups of the "vintage Norwegian women's magazine URD."
Foster/White Gallery

Eva Pietzcker: Earth, Water, Light
Berlin-based Eva Pietzcker’s prints are mostly in the vein of Japanese-style woodblock printmaking, a process where watercolor paint is applied to a carved woodblock with brushes and printed by hand onto soft paper, as opposed to the Western style of using a press. Of this method, Pietzcker says that Japanese style prints “tend to have a more painterly appearance and can often resemble watercolor paintings.” I love the way the sun shines and falls upon water in her work. She has a piece that features Lake Crescent, in Olympic National Park, where the lake sparkles through the black trees. It almost seems to transform the medium of ink and paper into earth, water, and glimmer. JASMYNE KEIMIG
Davidson Galleries

Janna Watson: Seven Perfect Syllables
In 2018, Emily Pothast wrote for The Stranger: "In the early 20th century, nonobjective painting was seen as something revolutionary. Today, it feels almost quaint and anachronistic, as though every painting for its own sake that the universe could possibly need has already been made. The large-scale mixed-media works of Toronto-based painter Janna Watson stand in defiance of this trend. Large brushstrokes and small bursts of color wiggle and dance on soft gradients like visual music. A recent article from Artsy named Watson's paintings among the most collectible offerings at Seattle Art Fair—but even if you're not in the market to buy art, these are very nice to look at."
Foster/White Gallery

Ko Kirk Yamahira
Ko Kirk Yamahira’s works—one of which was recently acquired by the Frye Art Museum for its permanent collection—are destruction in suspension. Yamahira creatively takes apart sections of canvases, thread by thread (vertically, horizontally), expanding the breadth of the material and forcing it to occupy the gallery space in a new way. When I first saw his pieces, I marveled at the fastidiousness of his deconstruction, his unravelings. Of his work, he writes, “There is no specific aim to find a meaning, neither in the creative act itself, nor through the creative process.” His pieces are never finished, representing the beginning of a process of undoing and creation. JASMYNE KEIMIG
4Culture Gallery

Maja Petrić, Etsuko Ichikawa, Peter Gronquist: Digital Perspectives
This group exhibition brings together three artists whose work—in one way or another—utilizes different digital mediums to talk about humanity’s relationship to the world around us. Maja Petrić will be presenting Particle Attraction, a new interactive piece where viewers have the chance to walk through a simulated landscape. Etsuko Ichikawa will be continuing her exploration of nuclear waste and “what we choose to leave behind” in Murmurings of Love, in which a futuristic figure smashes a vessel made of uranium glass. And finally, in A Visual History of the Invisible 2, Peter Gronquist will be projecting a “soothing and hypnotic” digital installation of a large gold fabric magically suspended against a bright-blue sky. JASMYNE KEIMIG
Winston Wächter Gallery

Norman Lundin: Remembered Detail
I do believe in the holiness of certain overlooked spaces. Especially at times of the day that almost do not exist. Like, 3:30 p.m. is definitely a time, but 6:43 a.m.? I don’t know her. Seattle-based artist Norman Lundin’s work memorializes and depicts this kind of time, in these kinds of spaces. The way the light from the late-afternoon sun slants through the windows onto the neglected side of a studio, or the orange glow of dawn outside the windows of a dark workroom. A reminder that the forgotten, the overlooked, the just barely remembered can be sacred and beautiful, too. JASMYNE KEIMIG
Greg Kucera Gallery

Paul Rucker: Forever
In past exhibitions, this Guggenheim Fellowship-winning artist and cellist has meditated on such topics as police shootings, racism, slavery, and other atrocities against African Americans and other people of color. His 2016 series Forced Migration, for example, used animation and acrylics to expand upon the image of an enslaved person on a Confederate $100 bill. This exhibition features stamp prints on aluminum that depict activists, schoolchildren, falsely accused teens, and others murdered by white supremacists.
Greg Kucera Gallery