Super #1 Thursday

You’ve probably heard that we’re closed Thursday nights until the Shanghai exhibition starts up next year.  Bittersweet, considering the packed Thursday evenings of the last few months, but, this meant that I could finally drag one of my hard-working colleagues out for First Thursday.  Neither of us had been to the hive of galleries at 49 and 77 Geary in a long time, which is just as well.  I find that I quickly lose steam amidst the press of cheap wine-drinking art lovers and the awkward first dates–much better to visit galleries in quiet moments after the opening, when socializing takes a backseat to the work. 

That said, the buddy system ensured that a good time was had by all.
The much-beloved Ruth Asawa was showing at Rena Bransten Gallery.

The wire sculptures that have made her legendary were casting their shadows and spells on the audience, but this time around it were her drawings that knocked my socks off.  With the same precise line-work and nearly obsessive attention to detail, there’s no mystery as to why she remains current.

I was supposed to see Michael Arcega‘s opening at the end of October, but a rough day at work had other plans for me and I missed it.  Lucky for me, he was in attendance for First Thursday and we had the chance to speak briefly.

Fans of Arcega look forward to the manner in which he teases new meanings out of familiarity (yellow-and-black CAUTION tape became AUCTION, manila folders turned Conquistadors), but it’s ultimately his craftsmanship that wins us over.  For The Collapse, which features dangerously fragile woodwork, he taught himself to sew in order to make a large tent that houses a video installation.  Seeing that we were incredulous, he mentioned that his materials background made it possible for him to pick up yet one more skill.

Proving that art does not exist in a vacuum, 15% of the proceeds from the show at Marx & Zavattero will benefit the Philippines National Red Cross.

The evening was wearing on, and we still hadn’t made it to A440, one of our original destinations.  What I hadn’t realized was that this wasn’t just a show, but a collaborative explosion.  Artists Formerly Known As Friends (AFKAF) is the collective consisting of Arvin Flores, Manuel Ocampo, Juan Carlos Quintana, and Carlo Ricafort.  Their statement explains that AFKAF is “a collaborative project that involves a game of painterly taunting and one-upmanship between four friends.”  Oh yes it is:

AFKAF provides a good show: you can stand back and take in the many-layered effect, or come in close and be rewarded for your looking.  These artists pull no punches, and I watched several patrons enter the room with smiles.  Nice to see, where crossed arms and poker faces tend to be the rule.

If you can’t get to the gallery, a video will suffice: