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Beckie Kravetz Taps Her Makeup Artist Skills To Sculpt Expressive Faces In Clay

From her studio in western Massachusetts, regardless of material or scale, Beckie Kravetz sculpts remarkably human faces, even when they're abstract.

Some pieces are as large-as-life, others small enough to fit in your hand. And sometimes her canvas is a real human face — as Kravetz is also a makeup artist, most recently for the Berkshire Opera Festival.

This summer, in a renovated barn in Lenox, Massachusetts, a gallery hosted Kravetz's most recent sculpture exhibit. In another room, Kravetz was putting on a makeup demonstration. A couple of opera fans looked on as Kravetz slowly transformed a young woman into a jowly old man.

Beckie Kravetz applying makeup to Luisa Torres, a summer intern and singer at the Berkshire Opera Festival.
Credit Jill Kaufman / NEPR
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NEPR
Beckie Kravetz applying makeup to Luisa Torres, a summer intern and singer at the Berkshire Opera Festival.

Luisa Torres is transformed by Beckie Kravetz with makeup into a jowly old man.
Credit Jill Kaufman / NEPR
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NEPR
Luisa Torres is transformed by Beckie Kravetz with makeup into a jowly old man.

Kravetz's tools on this day were lipstick and pancake. Most of the time, she works in clay and metal from her studio in Cummington. But she loves, and maybe even needs, to remain a part-time makeup artist in the opera world.

“I think part of what's fun about my story of who I am as an artist is that I am many different kinds of artists,” Kravetz said. “I didn't go to art school. I went to theater school. I was trained as a theatrical mask maker.”

Early in her career, with no opera background — and at one point, with a distaste for the music — Kravetz was hired to make masks for dancers at the Santa Fe Opera company. All the while, through rehearsals and shows, she closely observed how the makeup staff transformed singers, for operas like Verdi's "Otello" and Bizet's "Carmen."

“Often in opera, the transformations the makeup artists do are quite dramatic and in fact mask-like,” Kravetz said.

With her curiosity, a few lucky breaks and a job opening, Kravetz became an assistant makeup artist in Santa Fe, then a few years later, a principal makeup artist for the LA Opera. Show production was, and still is, a thrill.

"Wagner calls it the 'gesamtkunstwerk' — the complete artwork," she said. "It's all these different layers of visual and aural and vocal and literary stuff coming together onstage. And I love that."

But as a young artist, early in her career, full-time work at the opera limited Kravetz's own creativity. After a few years, she took her newfound love and knowledge of opera, and like the dozens of braided wigs she'd made, she wove the music around her own pieces.

After the makeup demo, Kravetz sat on a bench and flipped through a portfolio of past work. She pointed out her "Sculpted Arias" — a series of wooden masks, bronze sculptures, and 3D tableaus that capture aspects of opera characters like Violetta from "La Traviata" and Mozart's Queen of the Night.

“These are all storytelling pieces,” she said.

Violetta is a small bust. Kravetz hollowed out the back of the sculpture and put in the space a miniature version of a letter Violetta receives in the final act of "La Traviata." It says her lover is returning.

A sculpture of the character Violetta from "La Traviata" by Beckie Kravetz.
Credit Courtesy Beckie Kravetz
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Courtesy Beckie Kravetz
A sculpture of the character Violetta from "La Traviata" by Beckie Kravetz.

The head of Violetta from "La Traviata," sculpted by Beckie Kravetz, contains a miniature love letter.
Credit Courtesy Beckie Kravetz
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Courtesy Beckie Kravetz
The head of Violetta from "La Traviata," sculpted by Beckie Kravetz, contains a miniature love letter.

A different collection of heads and figures make up Kravetz's most recent exhibit. It's called "Talk to Me."

“There are so many ways you can say ['talk to me'],” Kravetz said — casually, or with anger, or almost crying. "And every one of those different ways of saying 'talk to me' became a potential sculpture."

Around the barn gallery, clay and bronze sculptures are set up as scenes. Some pieces are poised as if in conversation, some are isolated, but in a crowd. The subtitle of the show is contemporary figurative sculpture, but Kravetz’s work is also considered classical.

"Joe," at left, and "tête-à-tête" are two pieces in Beckie Kravetz's exhibit "Talk to Me."
Credit Courtesy Beckie Kravetz
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Courtesy Beckie Kravetz
"Joe," at left, and "tête-à-tête" are two pieces in Beckie Kravetz's exhibit "Talk to Me."

“They’re anatomically accurate faces, some of them,” she said, pointing to a giant head hung on the wall. “I mean, it's definitely a real person's expression, but it's a very abstract shape.”

Nearby are two nudes side-by-side on a pedestal, apparently walking and talking. A few feet away is a tabletop piece of a female bronze figure. She's in front of a wooden frame. Her hand is on her hip, and she's looking for something to wear.

“And what is hanging in the closet are five little masks, each with a different expression,” Kravetz said.

Each tiny mask is a mold made from the figure’s face.

"She's saying, 'OK, all the different parts of my personality, all the different people I can present to the world, talk to me. Who am I today, or who do I need to be today?'" Kravetz said.

"The Closet" by Beckie Kravetz, a work in bronze and mixed media, part of the exhibit "Talk to Me."
Credit Jill Kaufman / NEPR
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NEPR
"The Closet" by Beckie Kravetz, a work in bronze and mixed media, part of the exhibit "Talk to Me."
A detail in "The Closet" shows five masks, each with a different facial expression.
Credit Courtesy Beckie Kravetz
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Courtesy Beckie Kravetz
A detail in "The Closet" shows five masks, each with a different facial expression.

Kravetz uses her technique and experience to push at that central question.

She has lots of reference books about bone structure and mouth shapes, but she said she really learned anatomy at the tips of her fingers doing makeup.

The tiniest movement of her thumb, in clay or eye shadow, can really transform an expression.

"Conflict" is made of resin and gypsum with wax patina. It was part of an exhibit called "Talk to Me."
Jill Kaufman / NEPR
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NEPR
"Conflict" is made of resin and gypsum with wax patina. It was part of an exhibit called "Talk to Me."
"Comfort" by Beckie Kravetz.
Jill Kaufman / NEPR
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NEPR
"Comfort" by Beckie Kravetz.
A self-portrait of artist Beckie Kravetz.
/ Courtesy Beckie Kravetz
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Courtesy Beckie Kravetz
A self-portrait of artist Beckie Kravetz.
Luisa Torres, right, is transformed into a jowly old man in the hands of artist Beckie Kravetz.
Jill Kaufman / NEPR
/
NEPR
Luisa Torres, right, is transformed into a jowly old man in the hands of artist Beckie Kravetz.

Copyright 2019 New England Public Media

Jill has been reporting, producing features and commentaries, and hosting shows at NEPR since 2005. Before that she spent almost 10 years at WBUR in Boston, five of them producing PRI’s “The Connection” with Christopher Lydon. In the months leading up to the 2000 primary in New Hampshire, Jill hosted NHPR’s daily talk show, and subsequently hosted NPR’s All Things Considered during the South Carolina Primary weekend. Right before coming to NEPR, Jill was an editor at PRI's The World, working with station based reporters on the international stories in their own domestic backyards. Getting people to tell her their stories, she says, never gets old.

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