California-based photographer Jeff Dunas, known for glossy portraits of Angelina Jolie and Cameron Diaz, charts the gritty landscape of the blues from Mississippi to Chicago.Dunas’ photos of blues venues are simple and straightforward: most look as if they were shot in the 1930s by Walker Evans, the famed chronicler of the Great Depression. America, for good and bad, changes far more slowly than many people think.

Photographer Lynn Goldsmith, a Detroit native who has spent 40 years in rock shooting album covers — and even managing bands — captures a grand slice of rock history. A circa 1978 Mick Jagger is photographed on stage in some vast arena, looking tiny and forlorn. In another shot, taken in 1994, Trent Reznor of Nine Inch Nails jumps from the stage into the outstretched hands of his fans.

Hip-hop is the dominant youth culture of our time, and yet David Scheinbaum — born in 1951 — proves equal to the task of documenting young stars like the X-Ecutioners. Based in Santa Fe, Scheinbaum was introduced to hiphop by his teenage son and is adept at all kinds of concert photography. The luminous Erykah Badu, documented at the Sunshine Theatre in Albuquerque, is pure joy, all about the transcendence of music.

In the middle of the exhibition space is an arrangement of images shot by Moby. At his concerts, Moby often takes photos of the audience, a churning mass of fandom with yearning faces: The power of pop music can be a bit scary. Moby’s photos are paired with a classic clip of Americana, the 17-minute film Heavy Metal Parking Lot. In 1986, filmmakers Jeff Krulik and John Heyn ventured out to the parking lot of a Judas Priest concert in Landover, Md. The short film, mostly interviews with wasted teenagers, is both a time capsule to the 1980s era of big hair and Spandex and a glimpse of rock’s eternal power as an avenue to escape. The more things change, in life, rock, and art, the more they stay sort of the same.

Tom Austin

Fort Lauderdale

•  All in the Family: Paintings and Works on Paper by Members of the Glackens Family at the Museum of Art in Fort Lauderdale features some 48 pieces drawn from the Glackens family, American artists who were prominent in the early part of the 20th Century. The current exhibit stems from a collection of Glackens family pieces donated to the museum by the late Ira Glackens, the only son of William J. Glackens. The elder Glackens was a well-known painter of his era who moved from tough urban Realism to Renoir-style Impressionism: some of his work on view here are gentle landscapes, suitable for polite drawing rooms. William Glackens’ wife Edith painted whimsical watercolors, while his daughter Lenna favored work with a bit more edge, mixing Surrealism and Symbolism.

Louis Glackens, William’s brother, hacked it out in the trenches of commercial art, crafting cover illustrations for Puck, the famed satirical magazine of the era. A 1913 Puck cover of a boy going off to play football in college, titled When Duty Calls, subtly pushes the idea of an idealized America worth fighting for, a land where all is more or less well.

Through Oct. 7; 1 E. Las Olas Blvd.; www.moafl.org; adults $10, children $5.

Tom Austin

Send information about visual arts exhibitions and events to VisualArts@MiamiHerald.com. For events related to Art Basel Miami Beach, contact HeraldBasel@gmail.com.