LitLUNCH! kicks off at 11 a.m. in the Aviva Ballroom at the newly renovated Pier Sixty-Six in Fort Lauderdale, 2301 SE 17th St. Guests will enjoy a complimentary glass of wine upon arrival, followed by book signings, exciting raffle drawings, a multi-course luncheon and an engaging presentation by the featured author. Serving as the opening event for the Library Foundation’s Literary Feast, LitLUNCH! sets the stage for an exciting series that continues with LitLIVE! on Friday, March 28, and A Night of Literary Feasts on Saturday, March 29, both showcasing a dozen bestselling authors.

Tickets for LitLUNCH! are now available, with options for Premium Tables and sponsorships. Individual tickets cost $150, which includes a signed copy of The Rulebreaker. Proceeds benefit Broward County Library literacy programs and services, proudly supported by the Broward Public Library Foundation.

The first-ever LitLUNCH! took place in 2010 at the iconic Pier Top Lounge of Pier Sixty-Six. The Broward Public Library Foundation is excited to return to the newly reopened resort for this special event.

“It feels like a homecoming bringing LitLUNCH! back to Pier Sixty-Six,” says long-time LitLUNCH! co-chair Laurie Menekou Ernest-Jones. “The beauty of this new and improved event space will perfectly complement our continued celebration of literature and community. I can’t wait to make new LitLUNCH! memories with everyone who attends this event in support of the Foundation.”

For ticketing and event information, visit: https://www.bplfoundation.org/litlunch or call 954-357-7382.

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“It happened very young for me. And so, you know, when I think about it, I have been sort of a fixture in my career,” says Sutton. He’s not only been a fixture, but he’s also been a fixer.

“I have run four major performing arts centers now – in Colorado, Texas, Indiana and Ohio, and all of those jobs were coming to solve a problem.”

But when he took over the reins of the Broward Center and its affiliated venues in February, Sutton knew he was inheriting a place that had already been through its fixing.

Kelley Shandling had helmed the performing arts center for 25 years since 2009 before he retired in 2024. Under Shandling, the Broward Center mounted its monumental capital expansion project, “ENCORE! Building Community through the Arts” in 2011. More than $60 million was raised to upgrade the facility to a state-of-the-art performance venue primed for the future.

 “Kelley was a great leader and so was Mark Nerenhausen [Broward Center’s CEO from 1998 to 2009] before him,” Sutton says. “I knew both of them very well.”

“I came in here without a mandate,” Sutton says. To put it all in context, he brings up the Broward Center’s history.

“Back in 1987, people weren’t building performing arts centers like this one. And a group of people here for a decade before had said, ‘We need culture. We’re not Miami. We need this.’ Buddy [Robert B.] Lochrie was one of them.”

Lochrie, who passed away in 2009, was the founding chairman of the Broward Performing Arts Foundation in 1985 and was instrumental in getting the required private funding to build the center and create an endowment.

“You know, they went out in the community, and they made promises, and they fulfilled all those promises. But one thing that hasn’t happened and that they didn’t control was this area around the building, which is now going through a massive redevelopment,” Sutton says.

One of the ideas he repeats frequently during the interview, looking out at the picturesque view from the Mary N. Porter Riverview Ballroom, is the notion of the prime spot on which the Broward Center is positioned along the New River.

 “I would just love to see us really create this area as a thriving arts and culture district,” he says. He talks about the cultural institutions near Riverwalk: the NSU Art Museum, the Museum of Discovery and Science and Esplanade Park, a frequent location for outdoor performances. “It’s just an opportunity to create,” he says.

Sutton also oversees the Broward Center’s affiliate venues, including the iconic The Parker, formerly known as the Parker Playhouse, which got a $30 million facelift completed in 2021, spearheaded by the Broward Performing Arts Foundation. Also under the Broward Center umbrella is the Rose and Alfred Miniaci Performing Arts Center on the campus of Nova Southeastern University and the Aventura Arts and Cultural Center.

When the lights are up at all four venues, 30 shows can happen in a week, says Sutton.

“You know, it’s interesting. Nationally, if you talk to people in the performing arts, it’s not Miami, it’s Broward. And people know the Broward Center because we have two of the busiest theaters in the country – the Au Rene here at the Broward Center and The Parker.”

SELF RELIANT

There’s a business model that the Broward Center runs on, too, which is different than the other large performing arts center to its south, Miami’s Adrienne Arsht Center, and the opposite of most other performing arts centers around the country.

“We’re not financed by government, so we have to perform like a business,” he says. Money from Broward County’s cultural division typically represents only about 1 to 2 percent of funding.

“Government funding doesn’t factor into any of our programming,” says Sutton, so when Gov. Ron DeSantis vetoed funding to all arts organizations across the state in June, it had almost no impact on Broward County’s performing arts centers. “We’re a $65 million budget and we get $150,000 from the state, if we’re lucky.”

Sutton talks the numbers like the CEO of a multi-million business. “We’re about 85 percent earned revenue and about 15 percent contributed — a lot of that is from foundations and individual donors.”

He arrived at the Broward Center with a stellar reputation and his own accolades. During his six years as president and CEO of Dayton Live in Dayton, Ohio, five venues were under the Dayton Live brand, including opening the PNC Arts Annex and the Dayton Live Creative Academy, a performing arts education center. Before that, he was executive director of the Butler Arts Center at Butler University in Indianapolis; led the Wagner Noel Performing Arts Center in Midland, Texas; and managed an $8.2 million renovation at the Lincoln Center for the Performing Arts in Fort Collins, Colorado, which shut down for a year during its major overhaul.

A COLLEGE HOBBY

The career trajectory to the top of the performing arts venue business started off as a hobby in college. Sutton grew up in San Francisco, then headed to the University of Utah in Salt Lake City – “a big school, 30,000 people.” He majored in political science. “I thought I was going to do law or finance. I knew a lot of people in the finance world.”

And then, he says, he started working on the college’s concert committee. “It was for the student government, and I had grown up in the arts. I sang all through high school, but I knew it was never a career, it was just something I enjoyed, being in different choirs.”

He recalls that it was the mid-1990s and as college students do, those who had committed to putting on the shows started dropping out. “We had a lot of money I could spend and as people bailed, I just kept booking artists.”

He had tenacity and he started calling people and got to know managers who were saying, ‘Hey, you have real money, and you can pay.’’’

The next thing he knew he had booked Dave Matthews of the Dave Matthews Band and Tim Reynolds, member of TR3. He started working for promoters in Salt Lake City. “I really started learning the business.” He did get his degree in political science from the university and met his now wife, Polly, there.

“She was finishing her master’s degree, and I was working there.” After being a successful concert promoter, the university hired him to do their programming. “We met in the arts.”

Polly danced with the Utah Ballet at the University of Utah School of Dance, professionally with Charleston Ballet Theatre, the Anaheim Ballet, American Folk Ballet and has been on the dance faculties at Brigham Young University and Butler University. Since the couple and their two children moved to South Florida, she is enjoying time as a Pilates instructor for Club Pilates Studios at several Broward County locations.

As he continued to be successful in the concert promoting business, Sutton says, “I never thought it was my career. It was always, well, I’ll do this for a while because it’s fun and then I’ll go do finance or get a real grown-up job.”

Then the grown-up job came – he worked for the 2002 Salt Lake Olympic and Paralympic Games and was eventually hired by the National Hockey League’s Anaheim Ducks.

WHAT LIES AHEAD

Now, with Fort Lauderdale at his feet, Sutton says he’s looking decades down the road at what the Broward Center could be. “What do we need to be in the community?” And he understands some hurdles such as the private development happening downtown. “You can find common ground with private developers, and I’ve built a lot in my career, so I get where they’re coming from. But I think if we can lead in terms of continuing to tell our story better about what the experiences we offer mean to people, then developers want in on that – they want to know how they build on that.”

His vision for the Broward Center is that it’s the epicenter of a vital arts and entertainment district. “I think if we all really lean into that with streetscapes and beautification and walkability and restaurants and all the things that, well, that we don’t have right now, I think that’s exactly where we can be. But we still have to stay focused on how we continue to make it worthwhile for people to come here, to keep making the experience better and better.”

His years working in sports honed his strategy in what it takes to excel in the C-suite of a performing arts center. “It’s the same as sports. You have to put out a winning product for people to want to come, right?”

The post Arts Mean Business appeared first on Lifestyle Media Group.

Renowned 20th-century lifestyle photographer George ‘Slim’ Aarons (1916-2006) famously stated that his images depicted “attractive people doing attractive things in attractive places.” This groundbreaking exhibition reveals rare and previously unseen works by one of America’s most celebrated lifestyle and fashion photographers, who spent decades capturing the essence of Lilly Pulitzer and her family. To mark Lilly Pulitzer’s 65th Anniversary, ANSG will feature a special gallery within the Slim Aarons exhibition dedicated to the legendary Palm Beach designer and the debut of new collections during Sculpture in Motion.

“Adding Sculpture in Motion to this year’s iconic and exciting exhibition combines a collective eye for art, craftmanship, high-fashion and bravado,” says Frances Fisher, Board Chairwoman for ANSG and Sculpture in Motion co-chair with husband, Jeffrey. “Great cars celebrate the joy of life and a beckoning passion for style and fun.  We are pleased to present an array of cars from private collections that are seldom seen for public viewing but are recognized for their rich history and sculptural design at the world’s most important venues for rare cars, such as the Pebble Beach Concours d’Elegance and the Concorso d’Eleganza Villa d’Este. Our visitors who come to the Gardens on November 16 will sample the creative geniuses who share a passion for recognizing beauty, speed and history.”

During Sculpture in Motion, people of all ages can explore the history and artistic craftsmanship of unique, award-winning automobiles, including:

• 1949 Alfa Romeo 6C 2500 SS Villa d’Este Coupé by Touring
• 1937 Bugatti Type 57C Vanvooren Convertible
• 1969 Ferrari GT 2+2
• 1936 Pierce Arrow V-12 Country Club Roadster
• 1938 Delahaye 135 MS Torpedo Grand Sport 
• 1950 Alfa Romeo 6C 2500 SS Riva ‘Serenissima’ Berlinetta

Throughout the day, automotive historians will provide tours, and attendees will have the opportunity to vote for categories including “Most Artistic,” “Most Elegant,” “People’s Choice,” “Young Connoisseur,” and “Sculptural Speed.”

John Barnes continues as the featured Curator. Lew Crampton, a Palm Beach resident and Town Council Member, will take on the role of Grand Marshal for the event. Chuck Mitchell will serve as the Honorary Chair, while Frances and Jeffrey Fisher, along with Audrey and Martin Gruss, will serve as the co-chairmen.

As the event wraps up, the community is invited to partake in a heartfelt tribute honoring Gold Star Families, Friends of Fisher House, and Veterans, followed by the Grand Tour Parade of Cars at 4:15 p.m. This parade will showcase around 40 remarkable and one-of-a-kind classic cars, taking a picturesque route from the Gardens along the Intracoastal on Flagler Drive, with a complimentary viewing opportunity for the public. The parade will consist of a five-mile loop that crosses the Flagler Memorial Bridge to Palm Beach Island, traveling south along South County Road, then west on Royal Palm Way, ultimately ending at the Flagler Museum.

“Sculpture in Motion is a unique event that celebrates the artistry and history of classic automobiles,” says Margaret Horgan, ANSG Executive Director, “while paying tribute to the families and Veterans who have given so much for our country, including the ultimate sacrifice.”

 Sponsors for Sculpture in Motion include Key Private Bank, Lilly Pulitzer, Wölffer Estate Vineyard Summer in a Bottle Rose and Palm Beach Illustrated.

The Ann Norton Sculpture Gardens will offer special admission prices all day long. General admission tickets are available for $30 each. For ANSG members and seniors, the price is reduced to $25, while children aged 18 and under can enter for just $12 each. Parking will be available just north of the Palm Beach Day Academy Gardens, located at 1901 S. Flagler Drive. To purchase event tickets, become a sponsor, or get more information on the Ann Norton Sculpture Gardens, please visit ansg.org or call 561-832-5328.

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“The theme of ‘In the Dark’ is kind of an extension of something I’ve been exploring in my own work,” says Yang. The artist, whose mother passed away in 2020 after suffering from Alzheimer’s disease, was her caretaker for many years. “I got caught up in trying to be strong for so long. But lately, I’ve been having dreams that are getting more and more bizarre, so this show began as a way for me to feel my way through the darkness of discovering my new identity after a difficult period in my life,” says Yang.

She is not only the curator of the exhibition but is also one of the featured artists. Four of her pieces will be on display including “Chrysalis,” which is meant to serve as a symbolic reflection of her current transformation, she says. “My work in the show is all about finding your way through the darkness and the little processes that can happen within.”

Yang also put out a call to Central and South Florida artists who work in all mediums, including video, performance, and music to submit their work selecting 23 from the submissions.

 “There are all these different things that one can do in the dark, so I invited other artists to explore whatever subjects they wanted to relate to the darkness that they’ve experienced or observed,” she says.

One of the artists featured, Karla Del Valle, has been painting for a little over a year and has found art to be a therapeutic way for her to process the darkness she sees at her job as a crime scene investigator while also paying homage to her Mexican upbringing.

 “I come from Mexico, which is a very traditional Catholic country where we were taught since we were little to be afraid of the dark. But for whatever reason, I never felt afraid of the dark which is why I always knew I wanted to become a crime scene investigator,” says Del Valle.

The Pembroke Pines-based artist who has worked as a crime scene investigator for 17 years was also drawn to art growing up, but it wasn’t until her husband gifted her a package of five art classes that she fell in love with painting. It was during that time that she painted her piece that is on display at the “In the Dark” exhibition entitled “The Séance.”

“I had a challenging case at work that made the international news because it was very gruesome. So, I wanted to paint a family portrait because they are my home and my guiding light in the darkness. That’s why I depicted them holding a candle in a dark room at a séance table with three tarot cards. The Lovers represent my husband and me, Justice because the outcome of that case was excellent, and The High Priestess which I felt represented my daughter and how I want her to lean into her intuition and feminine power,” says Del Valle.

As for Fort Lauderdale-based artist Gary Rodriguez, his take on the exhibition’s theme differs from his fellow artists. In his paintings and illustrations, typically created using watercolor, Rodriguez highlights his appreciation for science and nature by using strange and exotic animals as his subjects. 

“I love wildlife and science, so I think one of the best things I can utilize art for is to inform people and have them learn something new. So, when it comes to the theme of this exhibition, I thought about literal darkness but, more specifically, the dark depths of the ocean,” he says. 

Rodriguez is in the process of creating two pieces for the exhibit working with acrylics for the first time while focusing on two deep sea creatures – the bigfin squid which is characterized by its string-like tentacles reaching up to 26 feet in length and the humpback angler fish known for rows of sharp teeth and a bioluminescent appendage dangling from its head.

“We have all these remarkable creatures like these two in the deep depths of the ocean which is why people should be a lot more mindful of the decisions that they make towards providing better stewardship for the environment because these creatures might not be around for future generations to admire,” says Rodriguez.

While Rodriguez hopes to encourage a conversation about environmental appreciation and conservation, artist and Broward College professor Niko Yulis emphasizes the importance of narrative and storytelling in his work, which includes ceramics, drawing, and painting. 

“A lot of my work is narrative-based, and I’m very inspired by storytelling. That’s what I like about stories is that they develop over time as you read them, which is what I aspire to do with my art,” says Yulis. In the two pieces he’s created for the exhibition, there’s a layered narrative that encompasses the overall theme of darkness.

One piece, entitled “The Art of the Deal,” has multiple meanings hidden throughout, including a nod to the myth that blues musician Robert Johnson met the devil at a crossroads, and in exchange for his soul, was given the mastery of the guitar. Yulis also pokes fun at another prominent figure, which is hinted at in the title.

“It’s meant to be a little poke-and-jab at Donald Trump because I named the piece with his book in mind, and then I thought, is Donald Trump someone who could make a deal with the devil? Probably,” he says. 

These artistic creations, along with many more by the other 20 featured artists, will be on display at the 1310 Gallery in Fort Lauderdale starting at 7 p.m. on Friday, Oct. 25, at the “In the Dark” opening reception.

IF YOU GO

WHAT: “In the Dark” Exhibition

WHERE: 1310 Gallery at Sailboat Bend Artist Lofts, 1310 SW 2nd Court, Fort Lauderdale

WHEN: Exhibition hours are 9:30?a.m. to 4?p.m., Monday through Friday. Through Nov. 14. Closing reception, 6 to 8 p.m., Friday, Nov. 15.

COST: Free

INFORMATION: (954) 399-2737 or sailboatbendartists.com

This story was produced by Broward Arts Journalism Alliance (BAJA), an independent journalism program of the Broward County Cultural Division. Visit artscalendar.com for more stories about the arts in South Florida.

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Directed by Slow Burn Theatre’s artistic director, Patrick Fitzwater, and running Saturday, Oct. 19 through Sunday, Nov. 3, the South Florida premiere is based on the 1984 John Updike novel of the same name. 

The book, which was made into a film in 1987 starring Jack Nicholson, Michelle Pfeiffer, Cher and Susan Sarandon, and tells the story of three bored New England professional women who conjure up a wicked lover. He may actually be the devil incarnate – or as Nicholson says in the film, “your average horny little devil.”

And in 2000, the novel was adapted into a stage musical with book and lyrics by John Dempsey and music by Dana P. Rowe, who has South Florida connections.

Fitzwater says Slow Burn received exclusive rights to produce “Witches of Eastwick” directly through producer Cameron Mackintosh (“Cats,” “Les Misérables”).

“We have a special dispensation,” he says. “We are the only theater in the U.S. to currently produce this show.”

While the show never ran on Broadway, it was nominated for an Olivier Award for Best New Musical in the original West End production in London in 2000 produced by Mackintosh.

“Witches” has gone on to be produced in Russia, Japan, Sweden and Australia, making its U.S. debut in 2007 in Arlington, Va. 

Rowe, who is based in New York, has spent time in Florida working with Actors’ Playhouse in Miami, The Parker and at the former New River Repertory in Fort Lauderdale, where, in addition to composing the score to the campy musical, “Zombie Prom,” says he created the zombie make-up and ran the sound system.

That production launched the “Zombie Prom” right onto the off-Broadway stage in 1996.

“I’m so grateful to have ‘Witches of Eastwick’ produced by Patrick and Slow Burn Theatre and can’t wait to come down and see it,” says Rowe.

Also an author and podcaster, Rowe is working on his latest book, tentatively titled, “So You Have a Theater Kid – Now What?”  

Fitzwater, who collects CD cast recordings, says he’s always loved the show.“At Slow Burn, we like to do the shows you might have missed on your trip to Broadway or to the West End and ‘Witches of Eastwick’ is the perfect selection to bring to our audience.”

With his musical scores, Rowe says he aims to tell a story with his music and marry the music to the narrative.  

“My goal is to provide an emotional experience to the audience,” says Rowe by phone from Provincetown, Mass., before he heads south to Florida for opening night.  “For ‘Witches of Eastwick,’ the theme is about women finding and owning the power they always had and conveying those emotions musically.”

One of those songs is “Words, Words, Words,” sung by Carbonell Award-winner Lindsey Corey, who plays Sukie Rougemont (Michelle Pfeiffer in the film), which goes in part:

“I’d like to talk about Euripides
And Schopenhauer and Bach.
And if there’s any doubt remaining,
I’d be happy just to talk.”

The fast-paced lyrics are a tongue-twister and Corey says she took home the score and practiced every night.  With only two weeks of rehearsal time, and a hurricane on the horizon, practice time is of the essence.

“I got them down,” she says, launching into a live rendition on a Zoom call to illustrate her point.

The cast also includes Broadway actor Gail Bennett as Alexandra Spofford and Leah Sessa, a Carbonell and Silver Palm award recipient, who last appeared with Slow Burn as Nancy in “Groundhog Day” and as Heather Chandler in “Heathers” who plays Jane (the role created by Susan Sarandon in the film).

Making his Slow Burn debut in the Jack Nicholson role is veteran Broadway touring actor Philip Bryan as the devilish Darryl van Horne.

Bryan will perform the musical’s signature dance number, “Dance With the Devil,” on an illuminated staircase, which Fitzwater characterizes as “very Vegas and very Liza.”

Rounding out the cast are Britte Steele as Felicia Gabriel, Christopher Dreeson as Clyde Gabriel and Tony Carrubba as Michael Spofford. 

Fitzwater notes that “Witches of Eastwick” has three strong women leads “smack-dab” in the center of the story.

“This is a timely story,” he says.  “This is a joyous time for women in our country and the storyline may start a few conversations on the way home.”

He compares the camaraderie of the female actors on stage to the actual chemistry of the actors in the film.

“There was an instant connection between the actors,” he says.  “There’s a palpable sense of community; it’s a real sisterhood.” 

Sessa credits Rowe’s “beautiful music” and harmonies as the conduit for creating a special bond among the cast.. 

And while another iconic scene in the play where the witches fly over the audience may be hard to replicate in the space, Fitzwater promises, “they will fly – the witches will fly.”

“It’s very magical,” he says. “And, also a lot of fun.”

If You Go:

WHAT: Slow Burn Theatre Company’s “Witches of Eastwick”

WHEN: 7:30 p.m., Thursday and Friday, 1 and 7:30 p.m. Saturday, 2 p.m. Sunday. Opens Saturday, Oct. 19 through Sunday, Nov. 3.

WHERE: Amaturo Theater at the Broward Center for the Performing Arts, 201 SW Fifth Ave., Fort Lauderdale.

TICKETS: $72.50, $77, $80, $85. 

INFORMATION: (954) 462-0222 or BrowardCenter.org

This story was produced by Broward Arts Journalism Alliance (BAJA), an independent journalism program of the Broward County Cultural Division. Visit ArtsCalendar.com for more stories about the arts in South Florida.

The post Slow Burn Theatre Company Opens 15th Season With ‘Witches of Eastwick’ appeared first on Lifestyle Media Group.

Beck, a native Floridian, is from Miami and currently lives in Coconut Creek.  She has appeared in 50 art exhibits and works as a graphic designer at the Cultural Council of Palm Beach. Since 2022, she has been a caregiver for her father, who was a proud Coast Guard veteran and Ohio businessman and is the grandfather of three. He was diagnosed with dementia in 2019.

While caring for her dad, Beck was inspired to create an exhibition that explored the themes of memory loss and identity, to show others what dementia is like, and to help her cope as her father was becoming what he describes as a “shadow of his former self.”

“It was like a lightbulb in my head,” says Beck. “I asked myself, ‘How can the concepts of dementia, memory and identity be systematically shown in a way people can understand and be moved by it?’ I wanted to pull heartstrings and make people think. I wanted them to respond.” 

In the past, Beck’s art was always done as a “one-off” about multiple subjects, she reveals. She says she was “consistently inconsistent” with her art projects. But for this exhibit, she knew she needed to go beyond what she had done before and deeply and thoroughly explore one very serious theme. 

“My series visually represents impaired and declining cognitive functions,” says Beck. She shows reduced capacities and realizations of losing her sense of self, and she helped finance this exhibition with an Artist Support grant from the Broward Cultural Division.

Before I Forget resonated deeply with our visitors, transforming into more than just an art experience,” says Juliana Forero of Cooper City, the arts and culture manager at the Coral Springs Museum of Art, where the exhibition was on display from Aug. 1 through Oct. 5.

When the exhibition was at her museum, Forero says that guests would return after seeing Before I Forget. (They were) eager to introduce their loved ones to the personal connection they’ve felt. It was heartening to see how approachable and relatable the exhibition was, which turned into an experience that people were excited to share with one another,” says the Cooper City resident

In September, 40 people attended Beck’s “Art and the Brain” interactive class at the Coral Springs Museum of Art.  Beck created the event with Lindsey Wuest, a science through art specialist who teaches how the brain works to kindergarten through fifth grade at A. D. Henderson School at Florida Atlantic University in Boca Raton.

Wuest, a Lighthouse Point resident, says, “We challenged the attendees to draw a neuron. There are billions of them sending electric and chemical signals through the brain. We showed how a single malfunction meant the link to other neurons was gone. This means loss of identity and confusion. The impact is huge.”

Wuest says that using the visual arts was the best way to get attendees to empathize with the struggles of people enduring memory loss.  Recounting their own favorite earliest memories was the most direct way to involve them in the process of understanding how devastating it is to lose memories.    

“I told the class my strongest memory was the smell of coconut oil. I taught in Hawaii and every time I smell that, it takes me right back. Everyone has something like that in their life. One person said it was how as a child, he petted his dog’s fur. Another said it was the sound of palm fronds rustling in the wind. We discussed how these crucial memories shape our identities,” says Wuest.  “Then we imagined if this precious memory was no longer accessible. The emotions are gone.” 

Wuest’s grandmother passed away from Alzheimer’s and dementia last December. “It was heartbreaking. She called me by my Mom’s name. She asked me over and over, ‘When are we going to dinner?’ She used to love family dinner every Sunday night and that was the one memory she held on to,” says Wuest. 

Beck describes her own personal experiences in dealing with her father’s illness. 

“He used to have a big, deep-belly laugh. I’m not sure what makes him laugh, it’s not prepared jokes. When I ask, ‘How do you feel today?’ he would answer, ‘With my hands.’ Now he just wiggles his fingers,” says Beck, who says that he told her, ‘I used to have purpose,’ which she uses as part of the exhibition.

Beck reached out to the Alzheimer’s Association Southeast Florida Chapter and was put in touch with Joe Baldelomar, a neuropsychologist and the care and support program director for the Alzheimer’s Association Southeast Florida Chapter.

“When Kristin reached out about her project, I thought, wow—this is something people need to be aware of,” says Baldelomar. “Not only does her Memory Quilt provide the concept of capturing a memory on fabric—but your brain also builds that memory, meaning we build connections within ourselves, and it keeps our brains healthy.” 

The Memory Quilt was from an earlier project, a community quilt program, coinciding with the Alzheimer’s Association’s “The Longest Day.” Last  May and June, participants wrote memories on fabric scraps or on a favorite T-shirt.  The finished Memory Quilt is displayed in the exhibition.

IF YOU GO

WHAT:  Before I Forget

WHERE: North Regional/Broward College Library, 1100 Coconut Creek Blvd. 2^nd floor, Coconut Creek

WHEN:  On view from Tuesday, Oct. 8 through Friday, Nov. 29 during regular library hours.

TICKETS: Free

INFORMATION: (954) 201-2600 or www.broward.org/library

This story was produced by Broward Arts Journalism Alliance (BAJA), an independent journalism program of the Broward County Cultural Division. Visit ArtsCalendar.com for more stories about the arts in South Florida.

The post Artist’s Alzheimer’s Exhibit Is Inspired By Caregiving appeared first on Lifestyle Media Group.

The Curator Circle, launched in 2021 under Director and Chief Curator Bonnie Clearwater’s vision, empowers its members to actively shape the Museum’s permanent collection of works by world-renowned artists. Designed for the next generation of art enthusiasts and collectors, Curator Circle members enjoy exclusive access to private collections, special events, and, most importantly, the opportunity to contribute directly to the Acquisition Fund. This involvement ensures that the museum continues to establish a strong collection of diverse and dynamic contemporary art for patrons of the museum to enjoy for generations to come.

Jacqueline de Jong, who passed away June 29, 2024, at the age of 85, was a pivotal figure in both contemporary art and the European avant-garde. Her art, known for its expressive and confrontational style, often tackled themes of power and resistance. The decision to acquire de Jong’s Moria (08.09.20) (Border Line) exemplifies the Curator Circle’s commitment to impactful art. Created in response to the Moria refugee camp crisis on the island of Lesvos, Greece, in 2020, this powerful piece addresses themes of displacement and human suffering, highlighting the ongoing relevance of de Jong’s work.

Continuing de Jong’s legacy, NSU Art Museum will present Jacqueline de Jong: Vicious Circles beginning November 17, 2024, through May 4, 2025. This will mark the first solo museum exhibition in the United States dedicated to the artist and the first time Moria (08.09.20) (Border Line) will be on view since joining the permanent collection. This survey of her works will consider the perpetual theme of war and protest within the artist’s oeuvre; whether in paintings dedicated to the rebellious spirit of rock ‘n’ roll, or haunting portrayals of the ongoing war in Ukraine, De Jong remained focused on the present, reacting to the now.

“It is a privilege for the museum to be the first U.S. institution to mount a retrospective dedicated to Jacqueline de Jong, a revolutionary who, since the 1960s, vitally engaged the world through art,” stated the museum’s Bryant-Taylor Curator Ariella Wolens. “We are grateful to the Curators Circle for their commitment and foresight, which has enabled us to also be the first American museum to acquire De Jong’s art for its collection. These landmarks held deep personal significance for Jacqueline, who, over the course of what became her final years, dedicated her passion, time, and vision to their realization.”

To learn more about the Curator Circle at NSU Art Museum Fort Lauderdale or upcoming exhibitions, please visit www.nsuartmuseum.org.

Photo caption: Bonnie Clearwater, Director and Chief Curator of NSU Art Museum, Lisa Quinn,
Elisabeth Wennberg, Ariella Wolens, unveiling Moria (08.09.20) (Border Line), 2021, by Jacqueline de Jong, selected by Curator Circle members.

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“A walk through the ‘Think Pink’ exhibit feels like a profound journey through my own experiences and emotions,” says Liesenfelt.

The exhibition opened on Thursday, Oct. 3 and runs through Friday, Oct. 18 at the Broward Art Guild Gallery, 2052 E Oakland Park Blvd., Fort Lauderdale.

When the call was put out for artists to submit, the works needed to showcase the color pink or convey themes related to breast cancer awareness.

“Each piece of art resonates deeply, capturing the raw vulnerability, strength, and resilience that define the cancer journey,” says Liesenfelt, herself an artist.  “The colors, textures and forms evoke memories of the battles fought, the moments of despair and the triumphs celebrated.”

The Guild, now in its 74th year, is the largest and oldest active guild of artists in Broward County and works to encourage and promote the work of local artists, according to Liesenfelt.

With paintings, sculptures, photographs and jewelry items on display and for sale, works showcase the color pink or convey themes related to breast cancer awareness.

“Seeing all the works of art in the ‘Think Pink’ exhibit takes me back to my own journey with breast cancer,” says Liesenfelt. “…All these pieces of art in one place brings back so many memories and feelings of both despair and triumph,” she says, adding that she finds solace in the work and comfort that she is not alone in her journey.

The works were judged by mixed-media artist Lori Arbel of Parkland, who was selected by the Broward Art Guild.  Categories included Best in Show, second and third place, four honorable mentions and a Judges’ Recognition Award, all taking into consideration skill level and what Arbel determined was best representing the theme of the exhibit. On opening night, the art was for sale with a portion of the monies raised going to breast cancer support services.

“There is a wonderful array of mediums and techniques, intimate subject matters, wonderful compositions, mindful titles and a love of art for art’s sake,” says Arbel.

Arbel is an artist and former high school art teacher. She also created the #Marks4TheirLives, an all-virtual exhibition that is seeking 1.5 million “artful marks,” each representing children’s lives taken from in the Holocaust.

“In addition to the remarkable artistry in ‘Think Pink,’ there are emotions and thoughts embodied in each piece,” says Arbel, who has judged other art exhibits and shown her own work at museums and galleries. 

“We all know someone who has faced this challenge and this exhibit is a reflection of our shared experiences and symbolizes the strength of community, the importance of empathy and the collective desire to inspire hope and healing,” she says, adding that the exhibit is personal; her grandmother fought breast cancer.

Pompano Beach-based artist Maria Galligan, 81, works mostly on large canvases using thick layers of oil paint known as impasto, to create her impressionist-style, colorful paintings.

Her 3-feet-by-3-feet bright pink, whimsical flower painting titled, “Does Pink Make You Smile?” is on display in the “Think Pink” exhibition.

Galligan, who was born in Hungary, fled the country in 1948 at the age of five with her family to escape the Soviet takeover, and first tried her hand at oil painting in 2000 after stumbling across an art book in a bookstore. She recalls telling herself, “I want to do that.”

She joined the Broward Art Guild the following year and says, “The Guild is a wonderful place for new artists to have a place to feel welcome and let their art grow.” 

She credits Liesenfelt for her energy and commitment to the Guild.

“Teena is always encouraging and welcoming to new members,” she says.  “She welcomed me and the Guild was the first place I exhibited my work.”

Also on display are the works of Lighthouse Point artist Susan David, 69, a mixed-media artist who creates colorful and light-hearted collages using recycled jewelry and objects she finds in thrift shops, yard sales and auctions.

“Piglet,” her 15-by-5-inch pink sculpture collaged in reclaimed jewelry and sealed with liquid glass, presents a whimsical and light-hearted depiction of the pudgy animal with a small green bird perched on his foot.

David has been a member of the Broward Art Guild for eight years.

Although she initially worked with true-to-life human figures, such as her Templar Knight, a full-size male mannequin sans head embellished in religious memorabilia, David says she now prefers to work in more manageable-sized “critters” and nautical images, which reflect her Florida lifestyle.

Other artists in the show include Fort Lauderdale-based photographer Jane Kreinberg and Tammy Seymour (The Turtle Lady), a watermedia artist who focuses on wildlife and conservation subjects.  

While the challenges of breast cancer are real, Liesenfelt hopes viewers will leave the show with an uplifting message.

“The ‘Think Pink’ exhibit is a sanctuary where pain is transformed into beauty and where the silent struggles of many are given a voice,” says Liesenfelt.  “It’s a cathartic and empowering experience for the artists to reaffirm the strength and solidarity of the breast cancer community.”

IF YOU GO:

WHAT: “Think Pink” Exhibition

WHEN: Noon to 9 p.m., Wednesday, Friday, and Saturday; noon to 6 p.m. Thursday. Through Friday, Oct. 18.  

TICKETS: Free

WHERE: Broward Art Guild Gallery, 2052 E. Oakland Park Blvd., Fort Lauderdale

INFORMATION:  (954) 537-3370 and BrowardArtGuild.org

This story was produced by Broward Arts Journalism Alliance (BAJA), an independent journalism program of the Broward County Cultural Division. Visit ArtsCalendar.com for more stories about the arts in South Florida.

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But, for the first time, he’s taken on a new creative endeavor that challenged him to dive deeper into those themes in his first solo art exhibition, “An Island in the Shape of a Prison” at the Pompano Beach Cultural Center, which runs through Saturday, Oct. 19.

Torres, a new grant administrator for the Broward County Cultural Division, previously applied for one of the division’s artist grants to create a performance art piece. 

He says he applied for the Artist Innovation Grant two years ago for a beachside poetry performance presented with an opera singer, a percussionist, and another poet.

He points out that this was prior to him starting his position at the Broward County Cultural Division. He says that the grant was such an “awesome experience,” he decided to apply for another grant, the Artist Support Grant, that can fund up to $5,000 for a project.

“I looked at it as an opportunity to fund my first attempt at visual art,” says Torres.

“An Island” showcases artwork using mixed media, photographs, video, and a poem written by Torres, which is broken up into sections throughout the exhibit. Themes are reflections of his serving as a soldier at the Abu Ghraib Prison in Iraq while also tackling the idea of self-exploration, in addition to insights into his Puerto Rican heritage that he has explored in other art mediums.

“I write a lot of poetry, and I’m in a theater company called the Combat Hippies, which is an ensemble of Puerto Rican military veteran performing artists. So, I feel like I’ve been kind of using those mediums to tell different stories, including my experience in Iraq in 2004, for some time now,” says Torres. 

When it came to creating pieces for his exhibition, a major theme he endeavored to explore was his Puerto Rican heritage and how that is intrinsically connected to his time serving in the military, he explains.

One of the first pieces that viewers see when walking through the gallery space is entitled “Honor et Fidelitas,” which is a combination of mixed media and found objects on a painting. The artwork was made by altering a replication of “The Borinqueneers,” painted by artist Dominic D’Andrea in 1992 for the National Guard Heritage Foundation. The original painting depicts the U.S. 65th Infantry Regiment, who were an all-Puerto Rican military unit, during a bayonet charge against a Chinese division during the Korean War.

Torres chose to include his interpretation of the piece as a nod to the long history of Puerto Rican soldiers serving under U.S. direction, as well as his own military background. 

“Puerto Rico has an interesting relationship with the United States, living under the U.S. as one of its colonies and fighting in its wars historically. But also, for me personally, my dad was in the Army National Guard in New York in the 80s. So, as a child, he spoke fondly of those few years he served, which had a major influence on me,” says Torres.

At 19, Torres enlisted in the Army and was sent overseas to Iraq at the height of the war. During his deployment, he served as a therapist at the Abu Ghraib Prison, providing therapy to both Iraqi detainees as well as deployed troops, a contradiction which he struggled with daily, he recalls. 

“I found myself in Iraq dealing with some inner turmoil and conflict because I was in this difficult position of helping our troops with their mental health while also helping prisoners who we looked at as the ‘enemy.’”

His job, he says, was about practicing empathy and talking to and getting to know the very people the Army was fighting against.

“That’s why I wanted to experiment with telling the totality of that experience and experiment with doing it visually in this exhibition,” he says.

Unbeknownst to Torres at the time, many military officials and soldiers were at the center of serious abuse, torture, and human rights violations at Abu Ghraib Prison, which Torres addresses in his piece entitled “I Love Me-Ataque De Nervios.”

It is a collage of Torres’ personal effects, awards, and mementoes from his time serving as well as newspaper clippings about the atrocities happening during that time. It serves as a haunting reminder of the stark differences experienced by Torres and others at Abu Ghraib Prison.

It also was during this time working in what he refers to as a “combat stress officer,” however, that Torres was not only tasked with providing therapy to soldiers but also responding to devastating mental health emergencies, including two attempted overdoses and a suicide.

By the time Torres left the military, he says he was suffering from mental distress and was prescribed an “overwhelming” number of medications.

It was with these prescription bottles collected by Torres over the years that create the central piece in the exhibition. He glued his numerous pill bottles, prescribed to him from 2019 to 2024, to a plywood board in the shape of the island of Puerto Rico.

His intention was to represent the mental and emotional impact he experienced while deployed to Iraq but also the impact of colonization on Puerto Rico since becoming a U.S. colony in 1898, he explains.

“It’s often promoted in the military this sense of ‘we’re going to tear you down to build you back up,’ which is necessary in order to do the work that’s required in the military. But what gets torn down is the sense of self-individuality, and because of this, there’s a deep sense of loss for a part of your identity that never returns,” he reveals.

Today, Torres is free from medications and instead hopes to use this piece as well as the others in the exhibition to spark a conversation among people who come to see it about the stark realities surrounding military service.

“Creating this exhibition was a true test in vulnerability and I believe vulnerability is a strength. As a man and also as a veteran, I was trying to put myself out there in a way that I hope inspires other people,” he says.

IF YOU GO

WHAT: “An Island in The Shape of a Prison” by Anthony Torres

WHERE: Pompano Beach Cultural Center, 50 Atlantic Blvd., Pompano Beach

WHEN: 10 a.m. to 6 p.m., Tuesday through Friday. Through Saturday, Oct. 19.

COST: Free

INFORMATION: 954.545.7800 or pompanobeacharts.org

This story was produced by Broward Arts Journalism Alliance (BAJA), an independent journalism program of the Broward County Cultural Division. Visit ArtsCalendar.com for more stories about the arts in South Florida.

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“The Christo and Jeanne-Claude Foundation is delighted to designate the NSU Art Museum Fort Lauderdale, part of Nova Southeastern University, as the permanent home for the Surrounded Islands documentation exhibition,” says Karin J. Barkhorn, President of Christo and Jeanne-Claude Foundation. “The museum’s dedication to exploring topics that deeply connect with the South Florida community and its commitment to fostering meaningful discussions through scholarly research align with the ethos of Christo and Jeanne-Claude’s art. We are particularly excited that the museum will permanently display key sections of this historic exhibition, ensuring that the legacy of Surrounded Islands continues to inspire awe for generations to come.”   

Following the passing of the artist duo Christo V. Javacheff (b. 1935, Gabrovo, Bulgaria; d. 2020, New York, NY) and Jeanne-Claude Denat de Guillebon (b. 1935, Casablanca, Morocco; d. 2009, New York, NY), the NSU Art Museum Fort Lauderdale was chosen to be the guardian of the archive for the definitive landmark installation, Surrounded Islands: Biscayne Bay, Greater Miami, Florida, 1980-83.

“A gift of this caliber brings Fort Lauderdale’s cultural landscape to the next level, further positioning the city as a premier arts destination,” says Dean J. Trantalis, Fort Lauderdale Mayor. “As ‘Home of Surrounded Islands,’ our very own NSU Art Museum in Downtown Fort Lauderdale will be a draw for art enthusiasts, visitors and our local community to experience our city’s vibrant cultural offerings.”  

The gift will help NSU Art Museum Fort Lauderdale be known as “The Home of Christo and Jeanne-Claude’s Surrounded Islands.” This gift places NSU Art Museum Fort Lauderdale in a league with the Smithsonian American Art Museum, which acquired Running Fence, Sonoma and Marin Counties, California, 1972-76, The Documentation Exhibition in 2008. Additionally, it is comparable to the Centre Pompidou in Paris, which owns the documentation exhibition of The Pont Neuf Wrapped, Paris, 1975-85, and the Reichstag Building in Berlin, which houses the Wrapped Reichstag, Berlin, 1995 Documentation Exhibition on permanent display.

“A gift of the magnitude of the Surrounded Islands documentary exhibition to NSU Art Museum is incredibly significant,” says Bonnie Clearwater, Director and Chief Curator of NSU Art Museum Fort Lauderdale. “It marks much more than a gift; it’s an investment in the culture of our community and the future of the museum. Surrounded Islands has undoubtedly left an indelible impact on South Florida and the art world by redefining the interaction between art, environment and public space. This contribution further solidifies Fort Lauderdale’s unique cultural offerings and provides an opportunity for visitors to experience the work of Christo and Jeanne-Claude for years to come.”  

Despite the temporary nature of their projects, Christo and Jeanne-Claude considered each of these events as permanent artworks in viewers’ minds, asserting that “an experience can never be taken away.” The artists sparked the curiosity of the broader community and the international art world due to the extensive effort required to realize their works. Documents, such as correspondence, permits, and environmental studies, are preserved as part of the documentation exhibitions curated by the artists.

“This gift, allowing us to bring the Surrounded Islands Documentation Exhibition to NSU Art Museum Fort Lauderdale, will grant NSU students, faculty, and staff, as well as the public, a unique opportunity to be part of the creative process that led to this innovative and culturally significant work,” says Dr. George L. Hanbury II, president and CEO of Nova Southeastern University. “Exhibits like this one attract more people of all ages to come in and experience the power of imagination, creativity, and dedication that comes through engaging with works like these. That’s how the NSU Art Museum not only helps to foster a lifelong passion for the arts but also allows us all to come away with a bit of that artistic passion in ourselves, to enrich whatever else we may choose to do in our own lives.”    

For more information, please visit https://nsuartmuseum.org.

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