Saturday, July 18, 2026·

Vol. I · No. 24 · The Weekly Issue · From Key West to the Panhandle

The Floridian

Reporting, fiction, criticism, poetry, and cartoons — from the peninsula

The Critics · The Art World

The Vanishing River

A stunning new photographic exhibition in Fort Lauderdale documents the slow, concrete burial of the historic rivers that once defined the Everglades.

The historic Stranahan House, tucked precariously among the towering glass-and-steel condominiums of Fort Lauderdale's modern Riverwalk, is currently host to a photographic exhibition that feels like a quiet, ghostly haunting. "The Silent Stranahans," featuring seventy large-format black-and-white prints by the legendary Florida photographer Alan Ward, is a devastating chronicle of the transformation of the New River from a wild, brackish watercourse into a sterile, concrete-walled canal for megayachts. Ward, who began photographing the river in the late 1960s, has spent five decades documenting the same fifteen vantage points, creating a series of temporal diptychs that reveal the slow, relentless erasure of the natural landscape in the name of development.

In one particularly striking pair of photographs from 1972 and 2022, a bend in the river that was once home to a dense tangle of red mangroves and nesting herons is shown transformed into a sleek, limestone bulkhead fronting a multi-million-dollar estate. Ward’s lens is remarkably objective, avoiding the temptation of dramatic angles or sentimental lighting in favor of a flat, mid-day sun that exposes every detail of the concrete and the oil slicks on the water’s surface. This clinical precision makes the loss feel even more absolute, presenting the destruction of the river’s ecosystem not as a sudden catastrophe but as a series of small, polite real-estate transactions.

What saves the exhibition from becoming a purely depressing exercise in nostalgia is Ward's eye for the resilience of the natural world. In several of the recent photographs, small sprigs of green mangrove are shown fighting their way through cracks in the concrete sea-walls, their roots searching for the mud beneath the stone. The exhibition’s curator, Diana Rose, has arranged the prints in a way that suggests a circular narrative, ending with a series of quiet, mist-laden shots of the river's headwaters in the Everglades, where the water still runs free. It is a powerful, elegant show that demands we look closely at what we have paved over in our pursuit of the sun.


Also in the critics

The Art World

The Rising Tide

An ambitious new exhibition at the Norton Museum of Art explores how contemporary Florida artists are confronting the slow, watery disappearance of their landscape.

The Current Cinema

The Sugar Sands

A new historical noir turns the muck of Lake Okeechobee into a backdrop for an elegant, slow-burning study of post-war corruption and domestic ruin.

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