Destination. Culture.

Visual Art

The Happy Teapot - Five Month Time-Lapse Painting

The Happy Teapot by Eric JonesI painted The Happy Teapot in 1992 using a traditional oil-glaze technique because I wanted color saturation that seemed to be lacking in most photorealism at the time. Oil glazes allow light to pass through transparent layers of pure color, and be perceived on the rebound as transmitted light. Opaque paint, on the other hand, absorbs most of the light rays and reflects back just a small amount. That's why a painted blue wall can never look as vibrant as blue stained-glass.

Color glazes are made with pure color pigments mixed with oil, and pigments are never mixed together. Whereas in modern opaque painting one might create a custom green by mixing blue and yellow paints together, this is never done in traditional glazing. Pigments, often made from metals like lead and cadmium, interact with each other on a molecular level, sometimes with unexpected results. Naples Yellow, for example, can never be touched with a metal palette knife because it will tarnish or develop a black cast over time. Mixing this pigment with lead white or cobalt blue could cause the same problem.

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Asian Artists Break Down Borders

Curator June Yap says “There is a tremendous diversity of artistic practice in South and Southeast Asia, and certainly more artists and artworks than any single project can accommodate. In this exhibition, the intention is to present the range of aesthetic developments and subjects of interest to contemporary artists, and to challenge the privileging of nation and national narrative as a basis for understanding them. Accompanied by programs for engagement with different local audiences, No Country is more than an exhibition; it is a platform for discussion and exchange.”

This is an outstanding touring exhibition of the Guggenheim UBS MAP Global Art Initiative,  featuring recent work by 13 artists from Bangladesh, Cambodia, India, Indonesia, Malaysia, Myanmar, Pakistan, the Philippines, Singapore, Thailand, and Vietnam.

No Country presents some of the most interesting artists in South and Southeast Asia today. All works have been newly acquired for the Guggenheim’s collection under the auspices of the Guggenheim UBS MAP Purchase Fund. Following its presentation in Hong Kong, the exhibition will travel to Singapore. 

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Noboo

Loving New York by Noboo
NobooThe focus of Noboo Kawaguchi's art is human beings. She takes people as her subject and delves deep into their emotions and state of mind. Noboo uses the full spectrum of human emotion to show the complexity and beauty of all. She combines notions of 'normal' versus 'strange' to bring forth a distinctive, expressive image. Loving New York focuses on the uniqueness of New York City. Although a native of Osaka, Noboo is fascinated with New York City's ability to not only tolerate many nationalities, but to use it's diversity as an asset in creating a culture where everyone is very different, yet all still consider themselves to be New Yorkers.

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Fidelio with a Twist

fidelioBeethoven, Nam Jun Paik, Claus Nomi, and the Pasadena Doo Dah Parade walk into a bar...

Traditionalists may be aghast but they won't stop the current wave of operatic reinvention. A month after Lincoln Center got it's socks rocked by a Chinese opera with live-action stunts and Pink Floyd style projections (Monkey: Journey To The West), the Edinburgh Festival filled every seat to Opera de Lyon's extreme production of Fidelio.

With his intriguing staging of Beethoven's only opera, Seattle artist Gary Hill literally turns operatic segues into Segways. In addition to performers on gyroscopic transporters, he incorporates huge video projections and effects, Nomi-esque costumes, and an overlay of science fiction poetry. Yes, opera is moving forward - and sideways, and backwards and maybe even pulling a few donuts in the parking lot.

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Zack DeZon

zack dezonBased out of Brooklyn, NY, Zack DeZon is a fashion and portrait photographer with a background and education in theatre performance. This mixture of disciplines imbues his shoots with a sensitivity and openness that helps make his portraits stand out not only for their style, but their honesty. "I graduated from theatre school in 2009—with a nascent career in photography. The reasons I stopped pursuing acting are uninteresting, but in starting to shoot I discovered what had attracted me to the field in the first place: the actors. "To me, actors are an incredible breed—expressive, empathetic, quick to say 'yes' to any new life experience, and, for reasons that vary from person to person, driven to compete in one of the most legendarily ruthless industries in the world. "When work is slow, I keep my skills sharp by shooting my friends, many of whom are still actors. Their boundless determination keeps me motivated, their bouts with adversity keep me humble. And I'm beginning to realize these people are my artistic inspiration.

"With The Field, I hope to capture a snapshot of the performing world in 2013. Starting in January in New York, I will be shooting a series of portraits with actors and other performers under 35. In June, I plan to take a two-to-three-month trip out to L.A. to capture the West Coast's crop of young performers. By the end of the year, I will produce a 40-50 page 8"x10" hardcover book containing the best photos from the project. For sponsors who donate $750 or more, I'll print up an extra-special 12"x12" limited edition version, including outtakes and professional-grade printing. "Some will be film actors, some stage. Some will perform improv comedy, others Shakespeare. Some will be struggling, some will see their stars already rising. And I hope that in 20 years, they will all be able to look at this book and see in it page after page of huge successes in the making."

Below are some of Zack's previous portraits of actors.   

All images copyright Zack DeZon and used with permission. Please contact the photographer here: zackdezonphotography.com