Sentences with phrase «art viewer not»

Not exact matches

Netflix may have mastered the art of hooking new viewers, but its user behavior suggests that the streaming platform isn't so great at maintaining them.

I especially like this when it is not just something to observe, but when it includes interaction between the art and the viewer — «something we can eat, drink, watch, touch, feel, smell».

A work of art does not exist totally of itself but is completed by the viewer.

The good of making doesn't lie in the maker or in what art does to a reader or viewer.

This art does not strive to expand experience but rather to reflect a piety that already exists in the viewer.

The site not only highlights the properties and important statistics but also gives viewers detailed imagery using state - of - the - art GIS technology.

2001 is not a movie that lets its viewers off easily — like any good piece of art, it puts forth questions without answers and presses the watcher to ponder them.

Although not limited to the fight game, initial series subjects will take viewers behind the curtain and inside the provocative and often edgy world of boxing and mixed martial arts with virtually unrestricted license as only SHOWTIME can.

Sadly, most baby boomers will consider themselves too mature to ever sit for a cartoon, much less one featuring a bunch of superheroes, while younger viewers who readily eat up such features will not quite be in tune with the many old - school styles in the art or political implications of the back story.

Part of what makes these films Hollywood comedies is their ability to please a wide variety of viewers, not just an art - house crowd.

Isn't passionately loving or hating a work of art a way of measuring what buttons have been pressed and demonstrating that viewers might have been challenged?

And it invites the viewer to take seriously her mode of thought and of art; not just to take seriously, but to revel, inasmuch as one is able to revel in work that is simultaneously so austere and so rich.

But as with her queerness, her pop inclinations are a feature, not a bug, and it is difficult to separate Dirty Computer from the larger narrative of resistance across the arts today; from A Wrinkle in Time, a film dedicated above all else to instilling wonder and empowering young viewers; from Gabby Rivera's (now sadly discontinued) America comic book series, one centering a young, queer Latina, America Chavez, who repeatedly declares she is America; from An American Marriage, Tayari Jones's latest novel that emphasizes to be black is to be American.

One of my favorite aspects of art as a whole is it's ability to take questionable things and make the viewer appreciate them in a way that makes them second guess not only their taste but their moral compass.

Michael Haneke has showed a very sadistic worldview throughout most of his films, ranging from the brutal disturbance of Benny's Video to the provocateur whimsy of Funny Games, all of which have divided viewers between those who accept the art in his work and those who do not like his heavy - handed, Godardian ethos in feeble pursuance of making his statements.

Remind them that, with most art, the viewer is encouraged to relate and take away ideas that are personal and not necessarily those of the creator.

A VTS paper describes what happens when teachers stop telling stories about art that children are not developmentally ready for, and students start «reading» art that they have the capacity to understand: «Over time, students grow from casual, random, idiosyncratic viewers to thorough, probing reflective interpreters.

Literature touches our spirit in a way that film, television, and even art can not, for instead of presenting the passive viewer with a visual image, good writing demands our participation and co-creation.

Fusing art and anthropology Laramée carves books into sculptures which arrest the viewer not only with their intricate three dimensional beauty, but with the cascade of questions each piece compels.

It's perhaps not as interesting to the average viewer as the art videos released previously but we enjoyed it regardless.

Sharp - eyed viewers will also take note that Protodude's prediction was right on, as that mysterious bit of art featuring Mega Man with an odd, brick - like arm and different appearance that wasn't from any of the previous titles featured in the collection was indeed a tease for Mega Man 11, with Yuji Ishihara serving as art director for the game's hand - drawn visuals.

If you're a regular viewer of trendy BBC arts programme, The Culture Show, you'll already be aware of this, but in the unlikely event that you're not... the series is engaging in a search for the public's favourite British design icon.

The video game art that viewers saw at the recent Babycastles Summit — along with a controversial hacked NES game that tackled racism and a Guitar Hero sequel that never happened — wasn't just manifested in button presses.

Not only is this where art can be most easily seen and most thoroughly enjoyed, but using a standard height will also give your booth a professional look and help the viewer go seamlessly from one piece to the next.

Hanging too many pieces on the walls or stacking art against the walls on the floor isn't pleasing to the eye and doesn't give viewers a visual break before they are confronted with your next work of art.

It wasn't that these artists weren't admired, but that the urgency to move forward, to create new visions, to have a different dialogue with the viewer and art history, was powerful.»

For Acconci, the «point beyond which art shouldn't be pushed is when you start to make a fool of the viewer, take advantage of a viewer's gullibility.

It might not be «theatrical» in the conventional sense, but in art, it's the viewer onstage with the object, for sure.

This is not the case for all the work, and two pieces, radically different in form and composition, move beyond the intricacies of internal formal dialogue to effectively engage with the viewer, the gallery space, and larger questions about art's transformational power.

The opportunity to see 86 paintings by Claude Monet at the Museum of Fine Arts, Boston in its exhibition: Monet In The 20th Century, September 20th to December 27th 1998, shouldn't be missed by any serious viewer of important contemporary painting.

When I think about artists who excel at the art of portraiture, I am thinking about those whom I admire not just for capturing the likeness of a sitter, but those who, courageously and in the most uncompromising way, swore to tell the truth, and nothing but the truth: about the people who model for them, then about us viewers, and ultimately, about themselves...

Martin's art is more retiring in temperament, sparse in means, and, in the end, takes too much for granted, not least the viewer's interest.

An even more exciting figure for viewers unfamiliar with British art — and one whose work, like Sickert's, is not reliably much in evidence in London — is L.S. Lowry.

And while Newman's heavy, metaphorical language hasn't withstood the test of time, his perceptual legacy is evergreen: artists from Op art to Scottish bad boy Jim Lambie's psychedelic neon - tape floor patterns have attempted new ways to trick viewers» eyes.

Asked to explain the meaning of his art, Kline claimed that his aim was not to impose the suggestions, but to let the viewer feel the painting at its sole discretion.

NB: I can not really talk about the reception of my own work, but I can say that as a viewer and recipient of art in different contexts that when, for example, I see a work by Cady Noland at the Art Institute of Chicago or in the Museum Ludwig Cologne, or somewhere else in the world, the initial impetus of the work stays with me the same whilst my view on the surrounding realities can be affectart in different contexts that when, for example, I see a work by Cady Noland at the Art Institute of Chicago or in the Museum Ludwig Cologne, or somewhere else in the world, the initial impetus of the work stays with me the same whilst my view on the surrounding realities can be affectArt Institute of Chicago or in the Museum Ludwig Cologne, or somewhere else in the world, the initial impetus of the work stays with me the same whilst my view on the surrounding realities can be affected.

«A recurring aim of Attia's work is to make viewers step outside of their pre-existing worldview, the «I» that is «the product of thousands of connections which do not belong to you,» and to look back on this perspective from a distance,» notes Hannah Gregory on Apollo about Attia's 2015 retrospective the Musée cantonal des Beaux - Arts in Lausanne.

Friedman states: «Art, for me, is a context to slow the viewer's experience from their everyday life in order to think about things they haven't thought about.

«It's what I prefer,» Zacharias said in a recent interview from his East Hampton studio, sharing his joy in the mysteriousness of art and his belief that it's not necessary for him to interfere with the viewer's interpretation.

Often, when art gets presented, the viewer doesn't get any hints from the curator; that information is the exhibition itself.

Syjuco prompts viewers to question the effectiveness of political action / intention among (art) communities so ingrained within economic institutions and a world that demands black - and - white extremes — not gray.

Built of chiffon, thread, and wood, Jen Pack's Green Bikini and (k) not Entangled use a deconstructed and reconstructed medium to create a dialogue between the viewer and art.

Just like Pop - Art icon Andy Warhol's final cycle of art works, which was also titled «Last Supper», this show — curated by Reyle and Uutinen themselves — is not only dedicated to superficiality, illusion and temptation; attracting and repelling the viewer in equal measuArt icon Andy Warhol's final cycle of art works, which was also titled «Last Supper», this show — curated by Reyle and Uutinen themselves — is not only dedicated to superficiality, illusion and temptation; attracting and repelling the viewer in equal measuart works, which was also titled «Last Supper», this show — curated by Reyle and Uutinen themselves — is not only dedicated to superficiality, illusion and temptation; attracting and repelling the viewer in equal measure.

From Claudia Hart's critique of digital technology and the misogyny of gaming and special effects media to Carla Gannis's performance video where the artist competes with her virtual self; from Cynthia Lin's monumental drawings detailing minuscule portions of skin to Laura Splan's mixture of scientific and domestic in molecular garments and Joyce Yu - Jean Lee's challenge of conventional viewing perspectives; from Christopher Baker's examination on participative media to Victoria Vesna's collaborative project on social networking, identity ownership and the idea of a «virtual body» — the show guides the viewer through an array of captivating approaches that challenge not only current media ideologies but also conceptual paradigms underlying today's digital art, the question of disembodiment and post-humanism in particular.

Many conceptual works take the position that art is the result of the viewer viewing an object or act as art, not of the intrinsic qualities of the work itself.

The artist makes sure to push himself not only creatively but moreover, mindfully — constantly presenting and addressing new ideas and concepts to the viewer, resulting in a diverse and complex yet energetic body of work, turning each art ashow and gallery exhibition into a new experience while staying impressively and consistently recognizeable.

Not only does Thomas upset the power dynamics at work between passive sitter and active viewer, which structure the history of art, she makes a case for upsetting a gendered dynamic beyond the space of the picture.

Dissolving the barriers between the viewer and the art object, the imaginatively designed golf course is reliant on audience participation not only to keep the ball rolling, but also to provoke thought.

Death is a subject of art for the ages, but this work brings with it such delicacy of feeling — as the viewer becomes seduced by the anthropomorphism — counterbalanced by the shocking ending, that one does not begrudge the return to such a theme.

Falls also acknowledges that his work connects with a lot of the land art that emerged from the early»70s, citing the importance for him of Michael Heizer and Robert Smithson, but adding that their work was also «very assertive and not compassionate for the viewer», which Falls feels can be more than a little intimidating.