For every leaf falling from a tree there is an art exhibit to consider. The fall art season is fully upon us and so it seems as if the only places you won't see art exhibits mounted these days are highway toll booths, hazardous waste landfills and Sen. Jesse Helms' office.
Amidst the multitude of local exhibits, here are some to consider:
Connie Imboden's admirable black-and-white photographs deal with presenting human figures as they appear in water or mirrors. All the reflections and refractions -- what amounts to the bending of our perception -- might initially make you suspect there is a lot of darkroom manipulation, but her disorienting effects are achieved in the camera.
Imboden's current show, running at the Knight Gomez Gallery (836 Leadenhall St., 752-2080) through Nov. 2, ups the ante: a multiplication of figurative images and shimmering reflections. Showing in the front gallery of Knight Gomez are Irvin Greif Jr., with small graphite drawings, and Leonora Salzman, with varied work including enamel on metal.
Members of the organization Maryland Printmakers have a group show at the Katzenstein Gallery (729 E. Pratt St., 727-0748) through Oct. 26. Exhibiting their diverse printmaking techniques and subjects are Sam Peters, Simone Osthoff, Mary Heiss, Robert Llewellyn, Corinne McMullan, Dorothea Barrick, John E. Sparks, Jill E. Henriod, Elizabeth Gaither Ochs, Camellia A. Blackwell, Richard Hellman, Calvin Custen, Caroline Thorington, Genevieve Roberts, Sue Anne Bottomley, Marcy Shear Wolpe and Tonia Matthews.
Gladys Goldstein, who has been a consistent presence on the local art scene, has a large and inconsistent exhibit at the Artshowcase Gallery (336 N. Charles St., 783-0007) through Oct. 26. Her attention to the technical possibilities of drawing, painting and applying paper pulp on canvas sometimes seems to be at the expense of the final image rendered. Likewise, those paintings in which she works interesting variations on gridded patterns don't always seem fully resolved.
The paintings by Cornelia Foss at the Steven Scott Gallery (515 N. Charles St., 752-6218) through Nov. 2 often rely on firmly rendered tabletop displays of flowers beyond which we can also glimpse a cityscape through the window. Foss's strong compositional sense translates to pictures that are pretty without being softly sentimental.
"Shaping Space," an exhibit by six Baltimore sculptors, remains at Goucher College (Towson, 337-6116) through Oct. 20. Showing indoors for a few more days are Scott T. Pina, Jerry Roe, Scot Cahlander, Chris Gavin and Allyn Massey, while Jann Rosen-Queralt's outdoor installation is permanent. Emphasizing sculpture that is constructed rather than carved or cast, these accomplished, space-filling pieces are not always well served by their gallery installation.
The annual faculty show at Towson State University (Holtzman Gallery in the Fine Arts Building, 830-2808) has some artwork that seems overly familiar, but also enough that is invigorating. Well represented is Carmen Robb, whose charcoal drawing "Carpenter Baroque" and graphite drawing "Kansas City Corridors" evince the right combination of exactitude and emotion for architectural rendering. Also notable are two all-black oil paintings by Carol Wood, in which her awareness of gesture and texture make all-black paintings seem downright sensuous. The TSU faculty show runs through Nov. 3.
Also on the academic front, 70 faculty members at the Maryland Institute, College of Art (1300 Mount Royal Ave., 225-2300) are having their annual faculty show through Nov. 3. Among the pieces to keep an eye out for are Susan Abbott's watercolor "Still Life in Arezzo," which has enough carefully handled references drawn from both picnics and Renaissance art history to merit a steady look; and Jan Stinchcomb's untitled mixed-media assemblage, which combines dried real roses and painted depictions of them.