Richard "Misrach, Swamp and Pipeline, Geismar, Louisiana," 1998

The Pomona College Museum of Art fall exhibitions—on view from Sept. 2 through Dec. 19—encompass a range of work: a collaborative visual narrative spotlighting the industrialized landscape of the Mississippi River Corridor; outdoor sculpture and paintings that investigate the long-term effects of sunlight and weather; and a portfolio of etchings that address the harrowing impact of AIDS. An opening reception for the exhibitions will be held at the museum on Saturday, Sept. 6, from 5-7 p.m.

Sam Falls, "Untitled (Life in California)," 2014
Sue Coe, "Anthony," 1994

"Petrochemical America" represents a unique collaboration between photographer Richard Misrach, one of the most influential and prolific photographic artists of his generation, and landscape architect Kate Orff, a visionary designer who thinks deeply about connecting our shared landscape with public health, environmental and ecological imperatives. The exhibition, organized by the Aperture Foundation, brings into focus the industrialized landscape of the Mississippi River Corridor that stretches from Baton Rouge to New Orleans—a place that first garnered attention as "Cancer Alley" because of unusually high reports of cancer and other diseases in the area. 

"Project Series 49: Sam Falls" represents the first solo museum exhibition of the Los Angeles and New York-based artist, who presents several of his signature weather-driven paintings—using sun and rain instead of a paintbrush or camera to explore the shifting terrain between nature, place and duration— and a new outdoor sculpture in the Museum's courtyard, composed of an altered pickup truck filled with succulents. In his work, Falls investigates the mutability of perception, examining entropy, the artistic process, and the natural processes of decomposition and deterioration. 

"Allied Against AIDS: Sue Coe's AIDS Portfolio" is drawn from the Museum's permanent collection, showcasing 10 drawings by "graphic witness" Sue Coe. Packaged in a paper wrapper emblazoned with a red biohazard symbol are portraits of five hospital scenes and also five men in the final stages of life with AIDS, accompanied by simple titles and texts. The etchings focus on personal events and stories rather than cast Coe's subjects as abstractions. Drawn from a 1994 hospital visit that was part of an initiative by the Department of Infectious Diseases at the Galveston, Texas hospital, to make the AIDS pandemic more visible, Coe's prints counteract political and social stigma.