The rest of the exhibition includes warmed-over Dali-brand surrealism, oversized photo portraits of Barbie that are like a joke lacking a punch line, an enamel-on-aluminum portrait of a reallyunattractive man, and a creepy installation with five balls of various sizes made of human hair. Bright spots along the way: the quiet menace summoned by Stephen Lepofsky's untitled photo of a woman and girl approaching a house whose front door resembles a cloudy sky; the pleasing tangle of swirling lines that make up Barry Sparkman's Restless, the show's sole notable abstract; the amazing intricacy of Michael Antony Thomas' Future Fusion, which uses tiny wood and glass panels to create a building façade, complete with balconies, staircases, and a street café; and the deadpan whimsy of Buttplug & Lipstick, an oil painting by P.J. Mills (no relation) whose title really does say it all.
And of course, I would be remiss not to mention Thelxepeia (soothing words) by Carol Prusa, who remains one of my favorite South Florida artists. I've written many times about her delicate, otherworldly biomorphic forms, created with such media as silverpoint, graphite, and metal. She has a body of work as consistently articulated of any I can think of, here represented by an oval horizontal panel in which the imagery seems to be flowing into, or out of, a sort of central vortex.
One Bourbon, One Scotch, and One Beer: The crime scene tape isn't all yellow.
Best in Show, Garland
On display through May 20. Call 954-921-3274.
Art and Culture Center of Hollywood, 1650 Harrison St., Hollywood
Now back to Best in Show, an improbably plain piece called Garland, by Robert C. Flynn, in which the artist gives us... a big floral garland in graphite, charcoal, and acrylic. I stared for a long time, thinking: That's it?
Maybe Breukel got the category Best in Show confused with Most Boring in Show. Along with some minimal info on the artists (where in Florida they're based, for starters), this exhibition perhaps all juried shows, for that matter would benefit from some wall text in which the juror offers insights into the selection process, however perverse it might be. But don't hold your breath.