Before the rainy season takes hold here in the tropics and with the unforgiving seasonal traffic faded, I dashed to peruse the Picturing Fame exhibition at Ft. Lauderdale’s NSU Art Museum (Edward Larrabee Barnes, architect, 1986).
“I began collecting couture when I was 24,” said supermodel turned connoisseurexceptionnelStephanie Seymour, schooled on runways, red carpets, and behind the velvet ropes. “I am dedicating the show to my son Harry, who passed away. He loved fashion,” Seymour commented in a video interview when the show opened.
Then, I motored to Miami’s Allapattah Arts District for the Women and Sculpture show at the Spinello Project, engaged as much by the show’s industrial staging as the artworks, exploring women as creators of art and their eternal role as the ideal objet d’art.
Picturing Fame NSU Art Museum One East Las Olas Blvd. – Ft. Lauderdale 03.12.2023-10.01.2023
Stephanie Seymour and her husband Peter Brant are collectors of Karen Kilimnik’s artwork, having loaned their collection for the NSU exhibition. “We have a great collection of her work,” said Seymour. Kilimnik’s multi-sourced creations and fabrications sometimes transplant cultural icons and media idols as characters onto historical and current settings making for otherworldly mise-en-scenes in sharp contrast with haute couture’s ineffable splendor.
Women & Sculpture, a two-person show featuring the paintings of Elizabeth Tremante and sculptural works of Bernadette Despujols. The exhibition brings together the works of these two disparate artists who examine the objectification of women and the female figure. Museums and art galleries provide the settings for Tremante’s most perceptive works displaying torsos and limbless figures of women based on Greek and Roman antiquity as well as Rodin and Brancusi.
Alejandra Moros Tip of the Tongue / Bridge of the Nose Spinello Project 05.13.2023-06-24-2023
For her first solo exhibition, Alejandra Moros, a recent University of Miami alum, zooms-in on various anatomical landscapes and body parts, skin pores, wrinkles, fingerprints, eyelids, and the like. Apparently, the closer we look, the less recognizable the painting’s subject. Because of the scale of the pieces, her mono-hued works appeared overwhelmed by the industrial multi-level area where they were exhibited.