Now on Display
"Life as a Legend: Marilyn Monroe," a sensory overload of an exhibition at the Boca Raton Museum of Art, includes roughly 300 works in various media by more than 80 artists. The emphasis is on photography — as befits a woman whose most enduring love affair was with the camera — and even the nonphotographic works are inspired by or influenced by either still photos or motion pictures. The show includes the work of such acclaimed photographers as Eve Arnold, Peter Beard, Cecil Beaton, Henri-Cartier Bresson, Alfred Eisenstaedt, Philippe Halsman, and many others, as well as the famous silk prints by Andy Warhol and other paintings and sculptures. Some of the artists seem less interested in Monroe herself than in her potential as raw artistic material to be manipulated. Much has been made, and continues to be made here, over Monroe's iconic status as a product of her dramatic rise and fall, culminating in a tragic, mysterious death 45 years ago that froze her at age 36 in our collective memory. We are mesmerized by her, according to this view, because she is eternally young and ageless, her beauty preserved like an insect in amber. No doubt that is part of her apparently perennial appeal. But it's also a bit sad that none of the art included here takes the imaginative leap to envision an elderly but still elegant Monroe (although a couple of artists use the famous photo of her taken just after her death as a starting point to harrowing, even ghoulish, effect). (On display through April 1 at the Boca Raton Museum of Art, 501 Plaza Real, Mizner Park, Boca Raton. Call 561-392-2500.)
How much of the everyday objects surrounding you could be considered art? "Objects of Design: Decorative Arts and Elements of Frank Lloyd Wright" shows that in the hands of a genius, nothing — no matter how ordinary — is exempt from becoming a work of art. The exhibit displays stained-glass windows, china, furniture, fabrics, sculpture, screens, photographs, stationery, drawings, and copper panels that make you consider the opportunities we have to surround ourselves with things of beauty. For instance, chairs and lamps can be sculptures that just happen to provide us with a place to sit and a little light to read by. The show, presented in the front gallery, is modest in representation but vast in the array of the architect's design elements. According to the gallery catalog, Wright's philosophy — that space "should be experienced as a whole, without division between inside and outside or between the table and what's on the table" — is employed in the presentation of his works. The fabrics, for instance, are displayed on a long, dark wood bureau folded in rectangles and squares in geometric asymmetry for which the architect/designer is famous. The gallery also offers an opportunity to watch two 1987 Mike Wallace interviews for a better understanding of Wright and his aesthetic and philosophy. Meanwhile, in the rear gallery, the black-and-white photographs (gelatin silver prints) of "Lewis Baltz: Important Prototypes and Portfolios," which offers exploited landscapes, unimaginative structures, and the refuse of modern life, starkly contrasts with the beauty of Wright's shimmery iridescent stained glass and colorful geometric patterns. (Through February 10 at Eaton Fine Art, 435 Gardenia St., West Palm Beach. Call 561-833-4766.)
Graham Flint's mural-sized photographs aren't just artistic — they're scientific. That's why they feel like portals to other places rather than mere photographic evidence that those places exist. It's almost surreal. No mere virtual reality, the images provide a kind of meta-reality. In New York Cityscape at Night (2006), for instance, the image is so crisp, so lifelike, that you actually feel like you're flying over the Big Apple and experiencing it firsthand. Pick up one of the magnifying glasses provided by the museum and you'll find that you can actually see even more detail — almost like you were looking at the urban setting with a pair of binoculars. Unlike other photographs that lose resolution as you get closer, these maintain their clarity. That's because Flint is not only a shutterbug; he's also a physicist, and among his inventions is a high-resolution camera — a Gigapxl camera — that he designed and built in 2001. Since then, he has used his invention to capture images of the good ol' USA. You'd think the exhibit would be an excellent way to see the country without all the hassles of travel. But only four of the 13 photographs that comprise "Portrait of America: Images From the Gigapxl Project," at the Boca Museum, are from out of state. So, other than the NYC skyline, a couple of images of a Louisiana state park, and another of a Padre/White Sox game (which provides a fascinating opportunity to use the magnifier to study the crowd's expressions and postures), it's really more of an opportunity to get up-close and personal with Florida while experiencing a technological breakthrough in photographic documentation. (Through April 1 at Boca Museum of Art, 501 Plaza Real, Boca Raton. Call 561-392-2500.
Eugene and Clare Thaw set about gathering artifacts that show that Native American art equals — or rivals — the art of other cultures. "Masterpieces of Native American Art From the Eugene and Clare Thaw Collection" displays 108 of more than 800 pieces from the Fenimore Art Museum in Cooperstown, New York, that the couple collected "not for their anthropological value but for their artistic aesthetic." Organized by geographic regions, we see how natural resources influence art. For instance, the fashion of arctic and subarctic zones includes a lightweight seal-gut parka in white with festively dyed purple, red, and green triangles made of tufts of walrus fur. The hand-stitched garment shares little with a Southwestern woman's shawl, woven and embroidered in cotton. Of course, on the runways, fur is a big P.C. no-no, but here in a Native American exhibit, it becomes a mere cultural difference. We think nothing of the eagle feathers and tufts of horse hair in the 1890 Plains indian headdress or the other animal remains incorporated into these objects. So the exhibit shows us not only how the artistic sensibilities of these cultures differ from each other but from ours as well. The exhibit includes masks, weaponry, clothing, jewelry, weavings, bead work, and souvenirs, and it provides cultural commentary to explain the imagery depicted within the objects. {Through February 4 at Society of Four Arts, 2 Four Arts Plaza, Palm Beach. Call 561-655-7226.)
Nothing like kicking the bucket to make others appreciate a person — and this is doubly true for artists. In May, the death of the Dutch abstract expressionist who helped found an art movement known as CoBrA (an acronym for the initial letters of the founders' cities of origin: Copenhagen, Brussels, and Amsterdam) inspired a Fort Lauderdale exhibit — "Karel Appel: In Memoriam." As far as memorials go, this is an intimate one, comprised of just 11 works from the museum's permanent collection. Despite its size, the exhibit not only honors the artist but provides examples of his work in a variety of media. Though his work may be labeled abstract, it is not strictly so. Even in the ones that come the closest to being nonrepresentational, there is at least the hint of object. Using vivid colors applied in thick swipes and swirls, one untitled, undated oil painting (which is more non-specific than abstract) might be construed as a portrait: dark blue splotches suggest eyes, the rectangle at the bottom could be a mouth. Most works are abstract in the art term's original meaning — the reduction of the subject to a simplified form. The works exhibited have a childlike quality in their simplicity, expressiveness, and playfulness. Big Bird with Child offers an excellent example, where the mixed media piece uses wood to give dimension to the otherwise flat forms. (Through May 1 at Museum of Art/Fort Lauderdale, 1 E. Las Olas Blvd., Ft. Lauderdale. Call 954-525-5500.)
