Six artists collaborate on this installation, which dedicates one intricate wire sculpture to each of Philadelphia’s 2012 murder victims — a meditation on public apathy to urban violence. Through Feb. 10, Painted Bride.
Catch as Catch Can
A turn-of-the-century, no-holds-barred wrestling spectacle is juxtaposed with the movements of a rehearsing dancer in Picabia’s Catch as Catch Can (1913). The PMA rarely dusts off this lyrical, abstract painting, but at Locks Gallery, it’ll be the star attraction of its own eponymous exhibition. Curated by Fionn Meade (he did the clever “Bivouac” show at Vox Populi in 2009), “Catch as Catch Can” features works that grapple with, then slyly undermine, their own medium or subject. Besides Picabia, multimedia work by Nick Mauss and a 1993 painting by Jutta Koether are also of interest.
Feb. 13-March 30, Locks Gallery.
Auguries of Idolatry
Sculptor David Stephens conceived and planned the works in this show as he gradually lost his sense of sight. Drawing on William Blake’s Auguries, these four scale-shifted installations feature Braille-like bumps to give participants a multi-sensory art experience.
March 1-May 25, Center for Art in Wood.
Sculpture on the Wall
Ellsworth Kelly’s massive Sculpture on the Wall (1956-57) graced the Philadelphia Transportation Building until 1998, when it moved to NYC’S MoMA. Now this gorgeous, monumental piece returns to Philly to inaugurate contemporary programming at the Barnes and mark the one-year anniversary of the collection’s relocation.
May 4-Sept. 2, Barnes Foundation.
Great and Mighty Things
Curator Ann Percy assembles a show of nearly 200 works from 27 self-taught artists using unconventional materials for “Great and Mighty Things: Outsider Art from the Jill and Sheldon Bonovitz Collection.”
March 9-June 9, Philadelphia Museum of Art.