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Zack Brown: The World's His Stage
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11676 |
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Section : |
THE ARTS
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| Issue
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2 / 1994 |
2,951 Words |
| Author
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Stephen Henkin
Stephen Henkin is an arts editor for The World & I. |
Set and costume design are now being taken as serious art forms, thanks to Zack Brown. In part because of Brown's efforts, drawings for the delicately crafted soft backdrops, sumptuous handmade period costumes, and imaginative two-dimensional buildings often taken for granted in theatrical, opera, and dance productions are now receiving long-overdue critical recognition.
One of the most versatile designers in the world today--his career spans over one hundred Broadway, opera, ballet, and television productions--Brown creates designs that possess such visual power that they often elicit gasps of astonishment from the audience and even spontaneous applause from the cast itself. His craft, recently the subject of widespread artistic consideration, is showcased in two new books by renowned designer Lynn Pecktal: Costume Design: Techniques of the Modern Masters (Back Stage Books, 1993) and Designing and Drawing for the Theatre (McGraw-Hill, spring 1994). Brown's artwork and costumes have also been exhibited at several museums nationwide and at two Prague Quadrennials. Last year his work was on display at the Athenaeum in Alexandria, Virginia, and the Very Special Arts Gallery in Washington, D.C.
Brown's watercolors grace the private collections of Gian Carlo Menotti, Mikhail Baryshnikov, and Natalia Makarova, among others. Meanwhile, his framed original sketches are commanding respectable fees.
Elite Attraction
Despite such public displays, Brown notes the obstacles that have slowed serious art criticism for his craft: "In general, the only time the art world takes notice of this kind of art is when someone like David Hockney or Marc Chagall does a production at the Met or Picasso does a production for Diaghilev. If it is an established artist who is `slumming' in the theater, it seems then that the designs are taken more seriously as artwork."
Driven by a desire for perfection, Brown creates detailed images of every aspect of production. The architectural strength of a set and the delicate folds of a gown are conveyed with equal artistry in his watercolors. Brown prefers to design both the sets and costumes of a performance: "It's better for me to do both because I have such specific ideas. [Even] if I have a good colleague, I'd rather do both myself."
Brown arrives at his design for each set through an intensive process. To ensure the accuracy
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