Sentences with phrase «depending upon a viewer»

Patrick Jacobs creates miniature realities in the form of dioramas viewed through a lens placed flush with the wall which depend upon the viewer's «willing suspension of disbelief.»

Depending upon a viewer's vantage point, she will see either the former museum walls, the work of the other artists, or a combination of both.

She acknowledges they are depending upon viewer sophistication, because in the way paintings perceive nature and issues such as climate change, the art also comments on landscape painting's history and forces of culture and politics behind it.

Like Rozendaal's lenticulars, these works change in appearance depending upon the viewers perspective.

This work abstractly functions in contrast — or in alignment — to the two others, depending upon the viewer's perception of «order,» how power is constructed, and how abuses of power are facilitated and exercised.

The two artists are prominently featured by Puerta Roja in the group exhibition Movement; Cruz - Diez's Physichromie series (1959), and Chromointerference Spatiale Décembre (1964), use contrast and harmonization to generate virtual colours that change depending upon the viewers point of perception.

Beyond a wink at the artist's own Swedish background, the turtleneck smartly recalls sculpture by Robert Morris, Donald Judd and Bruce Nauman in which perception and meaning depend upon the viewer's stature.

Not exact matches

Furthermore, the degree or intensity of viewer interest in a given program is irrelevant, since advertising dollars depend almost completely upon the number of viewers, not the viewers «interest in the message or program.

A lot depends upon what the viewer brings to the movie in terms of experience, empathy and personal development.

As opposed to creating concrete forms, the transparency of these pieces invite the viewer to examine the intricate interplay of each assemblage and the ways in which the contextual interpretation of each component shifts depending upon the angle at which it is viewed.

Virtuosic mimicry is not the only point of such images, however; «failures» such as smudges and anomalies of scale disrupt the illusions and remind viewers of the usually compliant but sometimes faltering hands and memories upon which the illusions depend.

They were interested in creating artworks that encouraged viewers to avow their own relation to the work of art; receivers had to reckon with themselves in shared space with an artwork whose constitution as a work depended upon them.

The work as such is not grouped thematically within the several rooms of the gallery, but rather it is hung aesthetically within a very open white - walled space such that work in differing rooms and nooks and corners can communicate effectively with one another and with the viewer depending upon one's orientation.

His three - dimensional editions, constructed of high - gloss metal layers, playfully interact with viewers, affording unique experiences depending upon their vantage points.