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For the past five years that she has lived in South Florida, Carol Prusa has been quietly going about her business. And that business is turning out some of the area's most distinctive art. Prusa, who teaches painting at Florida Atlantic University in Boca Raton, specializes in imagery that looks as if it's from some sort of alien anatomy textbook: pale, ethereal forms that suggest both plants and animals, rendered in a near-monochromatic palette that includes such ingredients as gesso, sulfur, graphite, and silver. Fittingly, she studied biocommunication arts and medical illustration at the University of Illinois before going on to earn an MFA in painting with a minor in drawing at Drake University in Iowa. Since arriving in Florida, Prusa has accumulated an impressive array of awards for her work, from the Art and Culture Center of Hollywood and the Boca Raton Museum of Art, most notably. Her solo shows have been at Palm Beach Community College's Eissey campus, Broward Community College's Pembroke Pines campus, and the Coral Springs Art Museum.

Best Solo Art Exhibition "The Sideshow of the Absurd" There are installations, and then there are installations. And then there is Pamela Joseph's take on the art form that people either love or love to hate. Joseph swept into town in February 2003 with "The Sideshow of the Absurd," which converted the first floor of the Art and Culture Center of Hollywood into a series of interconnected installations and supplementary materials such as banners, sketches, and spotlights casting carny come-ons onto the walls. The Colorado-based artist draws on carnival culture and freak shows for her subject matter, which she then transforms into sly commentaries on contemporary American pop culture, usually with a feminist slant tempered with a sense of humor. Many of the "pieces" are interactive, not to mention wired for sound. Even the exhibition's catalog is outrageously over-the-top, a garish volume filled with photographs, drawings, essays, an interview with the artist, and an introduction by artist Larry Rivers, who died not long after contributing to this traveling show. The catalog also includes an interactive CD and a batch of temporary tattoos that play off the show's themes. What better way to celebrate the innate sideshow-like character of South Florida?

Best Stage Ensemble John Archie, Elizabeth Dimon, Dawn Renee Jones, Tracey Conyer Lee, Dan Leonard, and David Mann This all-star cast delivered all-star performances. Archie, an art-museum director, and Mann, his bookish art historian subordinate, were on fire in their central, conflicting roles. So was Tracey Conyer Lee as a pragmatic assistant caught in the middle. To this add Dan Leonard as the ghost of a sly, rough-talking philanthropist, Dawn Renee Jones as a regal museum executive, and Elizabeth Dimon as a brutally effective reporter. All brought welcome layers of humanity and humor to their roles, an inspired example of creative collaboration.

Best Stage Ensemble John Archie, Elizabeth Dimon, Dawn Renee Jones, Tracey Conyer Lee, Dan Leonard, and David Mann This all-star cast delivered all-star performances. Archie, an art-museum director, and Mann, his bookish art historian subordinate, were on fire in their central, conflicting roles. So was Tracey Conyer Lee as a pragmatic assistant caught in the middle. To this add Dan Leonard as the ghost of a sly, rough-talking philanthropist, Dawn Renee Jones as a regal museum executive, and Elizabeth Dimon as a brutally effective reporter. All brought welcome layers of humanity and humor to their roles, an inspired example of creative collaboration.

Thomas Gibbons' drama featured complex characters locked in a fierce struggle over race and culture, examining the deep currents of casual prejudice and paranoia that continue to flow under the surface of American life. But the fiery, articulate ideas were only part of this play's appeal. Gibbons has the uncanny knack of revealing one of the most maddening and central aspects of human experience -- his people are expert at spotting the flaws of others but completely unable to see their own.

Thomas Gibbons' drama featured complex characters locked in a fierce struggle over race and culture, examining the deep currents of casual prejudice and paranoia that continue to flow under the surface of American life. But the fiery, articulate ideas were only part of this play's appeal. Gibbons has the uncanny knack of revealing one of the most maddening and central aspects of human experience -- his people are expert at spotting the flaws of others but completely unable to see their own.

Fort Lauderdale's Sol troupe has found a devoted and growing following for its funky, informal "lounge theater" style. Offering a tossed salad of updated classics and high-powered, issue-oriented new plays, Robert Hooker and company have come a looong way in only a few short years. With such recent hits as Marisol, Vampire Lesbians of Sodom, and the blazing Stop Kiss, this Sol is generating a whole lotta heat.
Fort Lauderdale's Sol troupe has found a devoted and growing following for its funky, informal "lounge theater" style. Offering a tossed salad of updated classics and high-powered, issue-oriented new plays, Robert Hooker and company have come a looong way in only a few short years. With such recent hits as Marisol, Vampire Lesbians of Sodom, and the blazing Stop Kiss, this Sol is generating a whole lotta heat.

As the quality of South Florida theater continues to rise, several companies merit high praise but none more than Florida Stage for its challenging, high-quality productions, outstanding mix of local and national talent, and 100 percent dedication to new scripts. Instead of relying on star vehicles or recent New York hits, the Manalapan company, headed by producing director Louis Tyrrell, presents an array of new writers and contemporary issues for a discerning, adventurous audience. The funny, fantastical Running with Scissors took on the age-old conflict between love and death. The romantic, mysterious Mercy of a Storm delved into marital discord and class consciousness, while the fiery, articulate Permanent Collection tackled racial prejudice. To this add top-quality directors of national renown, top-caliber acting, production, and design and the result is a consistently high standard of theatrical art.

As the quality of South Florida theater continues to rise, several companies merit high praise but none more than Florida Stage for its challenging, high-quality productions, outstanding mix of local and national talent, and 100 percent dedication to new scripts. Instead of relying on star vehicles or recent New York hits, the Manalapan company, headed by producing director Louis Tyrrell, presents an array of new writers and contemporary issues for a discerning, adventurous audience. The funny, fantastical Running with Scissors took on the age-old conflict between love and death. The romantic, mysterious Mercy of a Storm delved into marital discord and class consciousness, while the fiery, articulate Permanent Collection tackled racial prejudice. To this add top-quality directors of national renown, top-caliber acting, production, and design and the result is a consistently high standard of theatrical art.

There might soon be a pill, if it's approved, and it probably will be, that would wipe out negative memories from the human brain permanently. Regret. Heartbreak. Failure. Your significant other throwing a pair of scissors at you. Anything your brain encodes as distressing. Before we all turn into Stepford wives, listen to Charm Wrestling, the debut album from Summer Blanket, and soak up the regret and heartbreak of Keith Michaud's voice as it glides over the dystopia of South Florida with achingly beautiful, blissful rock and the pastoral hues of something straining to break out of this water-logged state.

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