Sentences with phrase «as the viewer explores»

Referencing such sources as Golden Age children's book illustrations, 19th - century botanical drawings, floral textile patterns, lunar maps, and prints of underwater sea life, Bowdoin's fragile, lush installations shift and change as viewers explore their surfaces.

Not exact matches

As the new benefits were created with today's global traveler in mind, American Express also recently debuted a new, travel - focused creative advertising platform that invites viewers to explore the world with a mix of new print, out - of - home and digital ads.

Danish journalist Lone Frank and director Pernille Rose Grønkjær took viewers on a deeply personal journey of discovery as Frank explored current research on the genetic factors at play in personality development.

At the Nobel Museum's Cultures and Creativity exhibit, viewers can explore the creative processes of Nobel laureates such as Röntgen, Martin Luther King and Ernest Hemingway.

This means you'll be able to explore the whole site without revealing yourself as a viewer on other profiles.

As for the Kubrick - ian flourishes, exploring beyond Jupiter, something that looks very like Hal's eye, and a sequence that may cause the viewer to solemnly implore said Hal to open a pod - bay door, they are integrated with such wit that rather than being derivative, they are sheer pleasure.

Following 2002's The Ring and its sequel The Ring 2 (2005), this time around, a young woman, Julia, played by Matilda Lutz, grows increasingly anxious as her boyfriend explores a dark subculture surrounding a disturbing videotape that supposedly kills viewers seven days after they view it.

Rosefeldt's Manifesto (2015) delivers extraordinary filmmaking that invites viewers to explore the limits of emotional range as actor Cate Blanchett inhabits thirteen roles from school teacher to puppeteer, newsreader and factory worker.

He allows us to exist in this world, taking time to explore each moment and guiding the viewer through every door and hall of the Woodcock household, in rooms where love is as tender as it is dreadful.

The visual style of «Monkeybone» — which explores the melding of a cartoon character in our real - life world, in addition to an incredibly stylistic, Burton - influenced roller coaster of an afterlife — is something that really sticks with you as a viewer.

Following 2002's The Ring and its sequel The Ring 2 (2005), this time around, a young woman, Julia, played by newcomer Matilda Anna Ingrid Lutz, grows increasingly anxious as her boyfriend explores a dark subculture surrounding a disturbing videotape that supposedly kills viewers seven days after they view it.

Heineman's gift is in articulating the complexity of a situation while maintaining coherence, bringing viewers along as he explores territory hidden from view.

St Aubyn's books about that time are infused with his biting humor, and the creators allow Cumberbatch free rein to explore that range of emotions, and he's absolutely essential casting to not only pull off the role but to let viewers know it's OK to enjoy the often hilarious, drugged - out debauchery, so long as they can stomach the telling of the whole story (told in flashbacks, with Sebastian Maltz as a young Patrick, plus voice overs from grown - up Patrick and a separate, archly British narrator) and to understand his bad behavior is a bandage covering an awful wound.

It's also quite confusing to follow for many viewers, as alternate realities, paradoxes, and time traveling theory aren't the sorts of things most people who loved Back to the Future spent a good deal of time exploring in their thoughts while watching it.

Next to each work is a brief description of the piece as well as some questions that encourage viewers to intellectually explore certain topics and to take a critical perspective.

Don't record yourself as the sage on the stage, harness the power of TouchCast to be the guide on the side as you challenge your viewers to explore and investigate learning.

Tools such as the Trade Generator, Stock Screener and Risk Viewer help explore new ideas and structure trading strategies and to give you intuitive assessments of likely profit and loss

Video installations throughout the exhibition task the viewer in exploring the works as both observer and participant.

Text sourced from Čapek's play is reanimated as poetic ruminations and composited over the videos, enticing and guiding the viewer to explore the 360 axis of the video through touch.

Ultimately, Linsʼs work is both imperialist and generous — voraciously consuming much that is outside it, only to offer the multifarious results as situations to be explored by the viewer.

Described as «definitely an exhibition to go see», Yau summarizes the work from Chen's «Light Space Intimacy» series as:» [she] likens the viewer's experience of her painted constructions to «exploring a newly acquired digital device,» but they have much more staying power than that.»

Valledor's paintings are as dynamic and fresh as the day they were painted and the viewer is still encouraged to challenge visual perception and use their imagination to explore his canvases.

These works draw the viewer in as a form of associative expeditions for them to explore.

Curvilinear and circular shapes became another one of Valledor's many tools in his kit of economical means, along with color and shaped canvases, for exploring an expansive topic such as space and cueing viewers to look beyond the literalness of his compositions and see another world beyond.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery spaces.

In experiencing their art, we as viewers, are welcomed to explore the deeper themes that trouble the American psyche and collective American memory.

According to The Art Newspaper, the artist described the piece as a way to «provide a safe haven for viewers to speak their minds with their bodies, to reflect on how politics are pushing us to a cultural boil and to explore how we can work through our frustrations in ways that are healthy.

As the artist's speculations mine the gender dynamic of female cyborgs, she invites viewers to take leaps of imagination when considering the believability, cognition, and emotional potential of cyborgs, while exploring how they reflect our identities, anxieties, and aspirations.

Abstract Expressionist painters commonly spoke of being «in» their work, but as the poet Frank O'Hara observed, the Combines» call to explore their every aspect offered viewers a way to be «in» them as well.

Leaving the viewer space to interpret the narrative and the message, she explores sexual desire and domination, as well as the creation of self - identity as a mass deception.

Reciprocal curves and geometric edges encourage the viewer to navigate the gallery as if physically exploring the spatial compositions on the walls.

The artist uses kitsch imagery to explore his interest in the difference between the photographic image and its handmade counterpart, as well as the limitations of both the artist and the viewer.

Curated as an aesthetically cohesive experience, the show provides myriad opportunities to explore themes of repetition, familiarity, memory, history and the viewer / subject relationship both within and between works.

With a series of drawings entitled The Alice Chronicles, Ridgway references the title character in Lewis Carroll's beloved book, Alice's Adventures in Wonderland, as a means to explore the idea of personal journey, not only for the fictional character, but for the artist and viewer as well.

As viewers, we become voyeurs peering into the unkempt and lonely corners of the city that Wolfson invites us to explore.

The drawings in this exhibition give the viewer an opportunity to see Ellsworth Kelly as a young artist exploring the full range of abstraction within his chosen vocabulary.

These works call on viewers to explore relationships and responses to art, and to consider the physicality of sensory perceptions as well as the way in which different forms, textures, and materials prompt certain psychological associations.

The Steps Table invites viewers to experiment with one's own body in relation to furniture, exploring the limits of what kind of objects can be meaningfully understood as a table, and questioning commonly accepted concept of such furniture.

British sculptors of the sixties such as David Annesley, Anthony Caro and William Tucker used the potential of sculpture to explore colour more explicitly, using simple geometric shapes placed directly on the floor, as a vehicle to play with the viewer's experience of colour in three - dimensions.

Choi explores the relationship between the banal and profound, allowing seemingly opposite concepts to fragment and become intertwined as he constructs a subjective and ever - changing experience for the viewer.

With CATALIN, «a Wagnerian hybrid environment of sculpture, film, music, fragrance, theater, performance, and grand spectacle» at Jones Center; and Pet Sounds, sculptures at Laguna Gloria that «begin as railings and morph into luscious, playful blobs that engage the viewer with murmurs, vibrations, and strange sounds when touched,» Long explores the human condition «and the fragility of our physical and psychological worlds.»

For the past 5 years, James Welling has explored the phenomena of color: its material presence as layers of dyes on a sheet of photo paper; its perceptual existence in the eyes of the viewer; and its symbolic place in both personal and historical contexts.

Mimicking the quality of blood as a provocative substance, the installation invites the viewer to actively explore the blood droplet as it spills into the gallery space.

In this lecture, delivered on December 14, 2015 as part of the Works in Progress series, John Tyson considers how Haacke has employed weather for both aesthetic and political ends, exploring the way meteorological projects, such as Condensation Wall, can heighten viewers» awareness of the normally invisible systems at work in art institutions.

However, instead of revealing to the viewer the meaning behind the gesture like in previous works, here I am exploring gesture as ornament.

As the Alices hide, show, and swap their faces using the mirrors, the film explores the reciprocity of vision — between the film's two protagonists, and between the film's subjects and viewers.

This is Crosby's discursive inventiveness as a painter: insofar as her works make use of photographic transfers, paint, collage, pencil drawing and marble dust, they draw the viewer gently into a conversation about how «painting» might extend and exceed the traditions of exploring the application of paint to surfaces.

Whilst in Rest Pablo Lobato conjures a new gaze through an innovative cut for the image, in Castell the artist once again explores the idea of cut as a poetic solution, creating an unusual framing that displaces and provokes the viewer.

Exploring the function of materials and forms in concrete space, the simple equations invoked by these works locate them within the physical and conceptual environment of the viewer, who encounters them both as sculpture and study.

By experiencing these works together, we will explore ideas of intimacy while discussing the various ways in which Rist disarms us as viewers and participants.