Artbeat

Capsule reviews of current area art exhibitions.

More than a view through children's eyes, the photographs on display as part of Palm Beach Photographic Center's "Picture My World" program offer a look at our community — both the people and the places. The exhibit is the result of the program's goal to use photography and digital imaging as means to develop self-esteem, non-violent expression, responsibility, and community in underprivileged and at-risk youth. For student photography, the exhibit is a strong one, particularly the "An All-American Town: Our Lake Worth" portion, where kids of Guatemalan Maya parents visually explore the neighborhood. The kids chose eclectic subjects for their photos. Of course, there are family members, but there are also shots of strangers: a man getting his hair cut at the vintage barber shop, a postman in front of the chocolate shop, ROTC members marching in a parade, an elderly couple holding hands ankle deep in the surf. Then there are the series like Madonna busts on an antique store shelf and a display of burritos for sale at a local market. Some kids even successfully experiment with foreground elements and reflected images. Deserving special note are the images of 10-year old Omar Andres, who has a natural talent for the art. In one photo, he captures the sun spilling through palm branches, the light shooting from the center so that its beams resemble the blades of the palms. In another, he shoots the interior of a market through its window so that the foreground elements become abstract, geometric squares. (Through August 5 at Palm Beach Photographic Centre, 555 NE Second Ave., Delray Beach. Call 561-276-9797.)

It's a sure sign summer has arrived when museums begin delving into their permanent collections. Hence, Miami Art Museum's "Big Juicy Paintings (and More): Highlights from the Permanent Collection." The exhibition delivers on its provocative title with more than 50 items from the vault, along with ten loans, presumably works it hopes to acquire. As always with such grab-bags, there are clinkers, often from big names: a 1991 oil-on-wood abstract by Gerhard Richter that another artist dismissed as so much corporate décor; a surprisingly uninspired shaped canvas from 1971 by Frank Stella; even a small roomful of Joseph Cornell collages and boxes that, with one or two exceptions, fall flat. But there's plenty to compensate. Morris Louis' monumental 1958 acrylic Beth Shin is as captivating as ever, and Edouard Duval Carrié's Apotheosis of Erzulie Dantor is a delightful sprawl of mixed media. The show fares especially well with wall installations, from the shimmering acrylic cubes of Teresita Fernández's Eclipse to María Fernanda Cardoso's Cemeterio-jardín vertical(Cemetery-Vertical Garden), an assemblage of artificial white flowers wired to the wall in clusters. Most commanding of all is a loan — Enrique Martínez Celaya's massive portrait of the late Leon Golub, which MAM should be so lucky to snag. (Through September 17 at Miami Art Museum, 101 W. Flagler St., Miami, 305-375-3000.)

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