This fall promises something for everyone: painting, installation, photography, video, ceramics, sculpture — and hybrids of all of those.
Abstract painter Louise Fishman, long a New Yorker but born and raised in Philadelphia (and a Tyler graduate), is having her first one-person show with Locks Gallery. Julie Heffernan’s large, surreal, self-portraits, at Rowan University Art Gallery, are astonishing in every way.
The brilliant painter, illustrator, filmmaker, and video artist Ed Emshwiller (1925-1990) is finally getting his close-up in a retrospective. It’s organized by the Lightbox Film Center and taking place both there, where his films will be screened, and at the University of the Arts’ Rosenwald-Wolf Gallery, which will display his early paintings, video works, sketches, and cover art for science fiction books.
Bronx-based Ronny Quevedo has covered the 3,200-square-foot hardwood floor of Tyler School of Art’s Temple Contemporary gallery with a complex line drawing in colored vinyl that borrows from sports playbook diagrams, Mayan architecture, and Andean geo-glyphs.
In Elkins Park, David Hartt, a Philadelphia-based artist, is presenting a site-specific installation at Beth Sholom Synagogue, a building designed by Frank Lloyd Wright. Among other components, it features Hartt’s photographs and films shot in New Orleans and Haiti revealing the influence of Caribbean culture on the 19th-century American composer Louis Moreau Gottschalk.
Also this season, we get to see what current and former Clay Studio resident artists fell for when they were invited in to the Philadelphia Museum of Art’s storage catacombs.
Or Both (Sept. 27-Dec. 9, The Galleries at Moore). This is the first iteration of Moore College of Art & Design’s visiting curators initiative, organized by Mia Locks, senior curator at the Museum of Contemporary Art, Los Angeles. A two-part exhibition, it features a solo presentation of work by Ulrike Müller alongside a group show of works by Martin Beck, Barbara Chase-Riboud, Jennie C. Jones, Eric N. Mack, Medrie MacPhee, Dona Nelson, and Deborah Remington. (215-965-4027, moore.edu/the-galleries-at-moore)
Jaume Plensa: Talking Continents (Sept. 28-Dec. 8, Arthur Ross Gallery, University of Pennsylvania). An exhibition organized by the Madison Museum of Contemporary Art, presenting 19 interrelated sculptures by the internationally known Spanish sculptor. (215-898-2083, arthurrossgallery.org)
Susan Moore: Sub Rosa (Oct. 4-26, Gross McCleaf Gallery). Portraits of anonymous men and women, some of them confrontational in appearance, others mask-like, that hint at secrets beneath the surface. (215-665-8138, grossmccleaf.com)
A Time for Farewells (through Oct. 11, Cantor Fitzgerald Gallery, Haverford College). A 10-artist group show of sculptures, drawings, videos, and photographs that suggest the possibility of, and groundwork for, a radically better future, including works by Markus Baenziger, Atul Bhalla, Julia Christensen, Gigi Scaria, others. (610-896-1287, haverford.edu/exhibits)
Unveiled: David Slovic (through Oct. 12, InLiquid Gallery). Photographs, paper, and artist’s tape cut and assembled into intriguing geometric compositions that create an illusion of depth, by the late Philadelphia artist and architect. (215-235-3405, inliquid.org)
Dream Dance: The Art of Ed Emshwiller (Oct. 18-Dec. 7, Lightbox Film Center and Rosenwald-Wolf Gallery, University of the Arts). A Pew Arts & Heritage-funded project, this is the first retrospective of the films, videos, paintings, and illustrations by Emshwiller, best known for his experimental films and cover illustrations for science fiction paperbacks and magazines. (215-895-6590, lightboxfilmcenter.org; and 215-717-6481, uarts.edu/about/rosenwald-wolf-gallery)
Jim Lee: makeitmagnificent (Oct. 19-Nov. 23, Larry Becker Contemporary Art). Paintings that take a playful approach to modernism and minimalism, wearing their intentionally DIY interventions — seams and staples accentuate their cobbled-together look — with wit and verve. (215-925-5389, artnet.com/galleries/larry-becker-contemporary-art)
Louise Fishman: My City (through Oct. 19, Locks Gallery). The New York-based, Philadelphia-raised artist’s first show with Locks Gallery, of monumentally scaled, richly worked abstract paintings. (215-629-1000, locksgallery.com)
A Survey of Recent Acquisitions of Photographs (Oct. 26-Dec. 8, Atrium Gallery, Haverford College). Forty photographs and photographic works on paper that have entered the college’s collection over the past two years, either as purchases or gifts, among them works by Edouard Baldus, Mathew Brady, Catherine Jansen, George Krause, Hiroji Kubota, and Charles Negre. (610-896-1287, haverford.edu/fine-arts/exhibitions)
Henry Horenstein: Selected Works (through Oct. 27, List Gallery, Swarthmore College). Photographs from his series “Animalia” and “Humans,” as well as intimate portraits and figure studies taken along Cuba’s El Malecón seawall in Havana. There will be a screening Oct. 24 of his documentary film, Partners. (610-328-7811, swarthmore.edu/list-gallery)
Julie Heffernan: Mending a Reflection (through Oct. 26, Rowan University Art Gallery). Monumentally scaled paintings of Heffernan in surreal compositions that pay homage to women. (856-256-4521, rowan.edu/artgallery)
Jesse Harrod and Lisi Raskin: Mending and Repair in Response (through Oct.26, Fleisher/Ollman Gallery). A collaborative project in which these two artists have responded to Fleisher/Ollman’s inventory of self-taught artists — among them James Castle, Joseph Yoakum, and Eugene Von Bruenchenhein — with works of their own, among them suspended macramé sculptures by Harrod and constructions of repurposed plywood by Raskin. (215-545-7562, fleisher-ollmangallery.com)
Translations: Martha Clippinger (through Nov. 10, Magic Gardens). Rugs made in collaboration with weavers in Oaxaca, and ceramics and quilts fashioned from found materials. (215-733-0390, phillymagicgardens.org)
The Politics of Rhetoric (through Nov. 16, Print Center). Works that draw on archived materials and reveal the inherent biases in everyday language, by Bethany Collins, Sharon Hayes, Sarah McEneaney, Keris Salmon, María Verónica San Martín, and Didier William. (215-735-6090, printcenter.org)
From Storage to Studio: The Clay Studio Resident Artists Explore the Philadelphia Museum of Art Collection (through Nov. 17, Clay Studio). Under the guidance of Philadelphia Museum of Art curators, present and former Clay Studio resident artists chose objects in storage at PMA that inspired them, and made their own clay objects in response. (215-925-3453, theclaystudio.org)
Ronny Quevedo: no hay medio tiempo/there is no halftime (Amazona) (through Dec.13, Temple Contemporary, Tyler School of Art and Architecture). Quevedo’s installation of colored vinyl on the gallery’s wood floor draws from diagrams used in sports. Quevedo gives a talk at the gallery at 6 p.m. Sept. 19. (215-777-9138, tyler.temple.edu/temple-contemporary/whats-happening)
David Hartt: The Histories (Le Mancenillier) (through Dec. 19, Beth Sholom Synagogue, Elkins Park). An installation examining the Jewish and African diasporas, and the influence of Caribbean culture on the music of the American composer Louis Moreau Gottschalk. (215-887-1342, bethsholompreservation.org)