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Art Reviews |
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Eye Doctor
International cinematographer set to show prints during the Seattle International Film Festival
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“Chris Doyle is an Australian-born cinematographer based in Hong Kong,” says Seattle International Film Festival Executive Director Helen Loveridge, going on to praise his work with the pride of a pal. Doyle has designed a poster for SIFF, and will teach a master class on June 4 at the Broadway Performance Hall. SIFF will screen two recent films featuring Doyle's cinematography, the 2003 Academy Award nominee “Hero” and 2003's “Last Life in the Universe,” shot in China and Thailand, respectively. Finally, Pioneer Square's Howard House will also present Doyle's photography and collage work for nine days.
Initially, “I was aware of his cinematography but not his photography,” says the gallery's Billy Howard about the proposal from SIFF's Loveridge and Matt McCarty. The pieces they selected include about 12 three-by-four-foot prints and about six illuminated light box collages. The photography is photo-process prints of digitally manipulated images, all of which started life as film-based shots. Everything in the show will be available for purchase.
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Doyle is widely reported to have worked in Chinese medicine prior to having begun his film career. Chinese medicine expresses elemental principles via strong, vibrant colors. These colors are seen in the cinematography of “Hero” and at least some of the photos to be displayed.
Doyle first gained international recognition on director Wong Kar-Wai's 1994 “Chungking Express.” Since then Doyle has continued to work worldwide with directors such as Barry Levinson and Gus Van Sant. Upcoming is Wong Kar Wai's “2046,” where several of the show's photos were taken.
“In all of his photos, and even in the movies, there's a lot of negative space. It's not typical of a cinematographer,” says McCarty. He doubts that Doyle's strong use of primary colors carries hidden meaning. “I think it comes from an art direction aesthetic. I'm going to guess—I think it's just an eye thing.”
Loveridge recalls meeting her friend. “Oh yes, I've known him for a long time. I met him at the Rotterdam Film Festival in January 1987.” She laughs when asked about Doyle's favorite beer, and answers without hesitation. “Heineken. He's a Heineken man.” — Mike Whybark
Doyle’s gallery showing is at the Howard House, 604 2nd Ave, Seattle from June 3-12. Opening night reception with Doyle in attendance is June 3. Visit seattlefilm.com.
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Circus Contraption's Grand American Traveling Dime Museum
Performances at 8pm on Fridays, Saturdays and Sundays through June 27, at Workshop 30, Sand Point Park in Seattle. Tickets: 800.838.3006. circuscontraption.com.
Those familiar with the dark and whimsical antics of Circus Contraption will be pleased to know this latest show is their most elaborate and outrageous to date. The idea behind many of these brand spanking new skits came to them while on the road during their 2002 tour. After viewing a menagerie of turn-of-the- century Americana tourist traps and curiosity shops, they decided to make art out of the experience. The House on the Rock in Wisconsin that boasts rooms filled with bizarre collections and The Musée Mécanique in San Francisco, which has an unusual collection of Nickelodeons and old music/peep box machines, are just a few places that inspired the raucous troupe. In celebration of cheap popular entertainment, Circus Contraption is bringing this strange little world to life. As per usual there will be the crazed array of twisted acrobatics, divine aerial shows, kooky vaudeville and gifted music. But remember, this is the ultimate surreal circus experience, so be prepared to be taken away to a completely different world, where mannequins misbehave, a circus girl tries to get revenge for being replaced by an elephant, and where flora and fauna are stored away as specimens, just aching to get out so that they may wreak havoc upon the midway. It's a show not to be missed. — Karla Esquivel
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Extra Virgin: Work by
Judith Schaechter
At the Museum of Glass in Tacoma through August 1. 253.396.1768.
Judith Schaechter's current exhibit at the Museum of Glass is both a surprise and a treat. Her stained glass pieces brutally embrace such realities of modern existence as madness, murder and masturbation. Stylistically, her work, which is always grounded by a human figure, is occasionally reminiscent of Jim Woodring or Tony Millionaire (of “Maakies” fame). This look was most prominent in “Bigtop Flophouse Bedspins,” which features a drunken clown surrounded by a swirl of hotdogs, rabbit-eared toys and nauseated mice. Yet Schaecter's cartoon-like images are in no way gimmicky. Her pieces subtly comment on art history (the serial killer in a “vanitas”), personal identity (the dreaming woman of “Ancestor Worship”) and her personal obsessions (“Self Portrait,” complete with wrecked car), all executed with a technical eloquence that made me ashamed I had dared to doubt that good art could be done in such a weary medium. Although the signs outside the gallery warned the art wasn't suitable for all audiences, anyone who likes their museum trips meaty and rare will find this exhibit a must-see. — Tonnvane Wiswell
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Stolen
Bluebottle Art Gallery/Store, 415 E Pine St, Seattle. June 1-27, opening reception June 5, 7-11pm
The concept of this show came to husband and wife team John and Robin Gumaelis while remodeling their new home. Household items left on the front lawn began disappearing and they began wondering what would make a person do this to them. The metaphor of cage and ladder is used to symbolize the two sides of the equation. This should be a great match for Bluebottle's intimate loft gallery. —Kristopher Monroe
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