Sentences with phrase «as viewers walk»

Shifting in unexpected ways as the viewers walk, the sculpture creates a surprising experience of space and the sensation of steel in motion.

As viewers walk past these films, the shadows of their legs overlay the projections and they become part of Marclay's experience.

Jonathan Zawada @ Beers London These colourful works tremble and oscillate as viewers walk around them.

Meanwhile, the clouds shift in and out of sight as viewers walk around them.

Often prerecorded animations run on a loop as viewers walk within the work, ultimately diffusing the boundary between the exhibition space and the art.

As a former reality - TV star and an ex-model, Donald and Melania Trump seem likely to become perhaps the most image - dependent first couple in American history — a fact that lends Jackie a pang of nostalgia the director couldn't have intended, as the viewer walks out wondering how we got from there to here.

This projection of white light into the corner of a darkened room creates the illusion of a large three - dimensional floating cube that seems to rotate as the viewer walks through space.

Daniel Chadwick @ Dadiani Fine Art There may not be anything more than the aesthetic to these sculptures but they are superbly lit and shift and morph as the viewer walks around them.

As the viewer walks around the table, they become conscious of the delicacy of the glass standing on its edge, the rocks that could easily be moved, and of the manifold compositional possibilities of the work.

The pixilation becomes more pronounced as the viewer walks closer to the sculpture.

Not exact matches

Viewers then felt the tension rise markedly as Stone walked in, limping.

The movie specializes in subtle clues like that such as a little boy walking in a prison corridor before alerting the viewer to Julia being in a ward for mothers since she is pregnant.

The backstory is so complex and detailed that it's really only for hardcore fans; casual viewers will be as lost in this as if they walked into the eighth Harry Potter film without having seen the others.

The viewer subsequently can't help but walk out of the film with a much higher opinion of the notoriously incompetent commander - in - chief, as Bush is ultimately portrayed as a likeable good ol' boy whose presidency seems to stem primarily from his desire to please his father.

As much as I'd like to blame the trailers for misleading viewers, this is not an easy film to market, and as such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedAs much as I'd like to blame the trailers for misleading viewers, this is not an easy film to market, and as such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedas I'd like to blame the trailers for misleading viewers, this is not an easy film to market, and as such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedas such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedy.

Relying on a combination of archival footage, the prison letters of the doomed dead men walking (as read by impersonators Tony Shahloub and John Turturro), the reflections of sympathetic lefties like Professor Howard Zinn, and the folksinging of Arlo Guthrie, the movie does a decent job of convincing any open - minded viewer that Sacco and Vanzetti were indeed framed.

Viewers familiar with Dekalog may spot the appearance of the silent, watching young man (played by Artur Barcis) who appears in eight of the ten episodes, and a brief walk - on by Krystyna Janda and Alexander Bardini as the lead characters of Dekalog II.

Viewers aren't nearly as patient as the walking dead.

A good chunk of viewers walked away from Marvel's Avengers: Infinity War billing the film as a full - fledged Thanos movie, suggesting the Mad Titan was the true star of the Russo brothers» superhero team - up flick.

Since McAvoy's story will be the first featured, he's at a disadvantage because the great Chastain will be the last performer viewers will remember as they walk out of the screening.

As the movie walks a fine line between serious drama and satirical comedy, and between topicality and escapism, it beguiles the viewer with...

Gen is supposed to be a powerhouse character and one that Kiwi actor Cliff Curtis, familiar to Western moviegoers from such films as Live Free or Die Hard and Sunshine (and TV viewers from AMC's «Fear the Walking Dead»), should be more than capable of bringing to life with zeal.

LMD: It's interesting balance that Ayano - san has to walk because depending on the viewer, Moroboshi can be viewed as sympathetic or unsympathetic.

While playing a high - strung, drug - addled white trash girl might seem like a walk in the park for Murphy, she does a good job in keeping the viewer invested in Krista — an all the more remarkable feat seeing as how we know from the opening scene that she will not survive her own storyline.

As Croker walks through the garage where the Minis are being prepared, viewers hear that «Rozzer's having trouble with his differential», and the back of the red Mini Cooper is jacked up where Rozzer is working.

We are using the Twitch streamer itsMinxC as our case study and will walk you through how she has gained followers and viewers in a small period of time.

Revelation: Major Paintings by Jules Olitski at American University Museum walks the viewer through Olitski's creative evolution as an abstract artist, -LSB-.....]

James Kalm has reported on the work of den Breejen for several years and brings viewers this walking interview with the artist as a recap of his latest body of work.

The work is intended to act as a catalyst: by walking in, through and around it, the viewer's awareness of his / her own body is intensified.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

The work's most salient connection to geography lies in the viewer's ability to walk by, around, and above Grosse's undulating fields of color as they unfold over time and space.

The paintings of the two artists were arranged on the walls so that the viewer could see the work of one painter with that of the other close by, moving chronologically through time so that, in walking through the exhibition, the viewer could see how each artist developed over time, both on his own, as well as in relation to the other.

Much like her paintings in the past two iterations of NDA, the artist's new series of geometric abstraction becomes even more architectural as she continues her study of visually defining «place», giving the viewer a sense of being able to walk into and inhabit the pictorial «space».

Phenomenology, for example, is there from the very beginning: those first geometric explorations of colour and form reveal the same engagement with the viewer's sensorial experiences of space and matter as the early «penetrables» — walk - in spaces constructed from monochrome painted boards — and the expanded participatory installations, which Oiticica continued making until the very end of his life.

His exuberant sculptures of the period unfold within the personal space of the viewer, shifting dramatically in appearance as s / he walks around them, although they mark a departure from the figure as subject, a sense of liberation from the concentrated weight, scale, and ordered naturalism of the body endures.

Created as hybrids and varying in size, from that of a bus shelter to a fashion runway, the pavilions operate as quasi-functional spaces that are activated by the presence of the viewer, as visitors are encouraged to walk through the sculpture and encounter reflections of themselves, others and the space around them.

The exhibition came together organically, and I hope it will unfold in a similar way for viewers as they spend time looking and walking around the objects.

Because what I did miss here, as I do at all of the closely curated fairs, is the direct communion between artist and viewer best expressed as «simple gesture» — the artwork equivalent of that offered by Henri Rousseau, who invited a few artists to his studio, and laid out one of his paintings on the floor for them to walk on because he had no carpet.

Another video, installed as an immersive three - channel environment on the CAC's third floor, presents narrated slices of documentary footage as Black Panther David Hilliard walks the viewer through Oakland, California — the building where the party ran its breakfast program, a house marked by bullet holes where Huey Newton was shot, the moment when Hilliard first met Malcolm X.

Viewers are not allowed any of the usual aloofness in their relationship to the artwork, as they literally walk through an airbrushed terrain.

This is precisely what viewers are compelled to do: to enact a kind of performance of their own as they walk all the way around the gallery wall to fully grasp the work.

Its placement on the gallery wall conditions viewers to regard the humble material that they usually walk on as an abstract painting.

These elements in the drawings offer clues on how to read the painting, which also bears the words «in» to the left and «out» to the right, inviting the viewer to walk along the canvas from left to right and perceive it over time, as one would a piece of music.

In walking around the exhibition, one could say it is almost as if the viewer experiences time standing still, since each of the photographed clocks capture the same moment.

In addition, the viewers need to make temporal movements such as walking past and circulating in order to switch angles of view; they collect information from the work and constantly refresh and enrich the experience they gained from viewing.

The exhibition functions in two halves: the ground floor mirrors this perceived utopian realm — a paradise that is reminiscent of heaven itself, while the upper floor is a representation of the grotesque reality of the corrupt and the fallen, as if the viewer is walking into hell.

Over the past twenty years Op de Beeck realized numerous monumental â $ ˜sensorialâ $ ™ installations, in which he evoked what he describes as â $ ˜visual fictionsâ $ ™: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection.

I had been thinking about doing an installation of all double - sided work hung from the ceiling precisely so the viewer would become a part of the work and the boundaries of the paintings would blur as one walked through the space.

Impositions upon the body also exist for viewers to the exhibition as they walk around the space and encounter artworks that have their own autonomous movements (Eva Fabregas's floor - based works, Self - Organising System, and Alan Butler's Orphan Transposition series of spinning laser - etched acrylic panels, featuring out - of - copyright images of Yosemite National Park, freely circulating online).

The negative space created by the increased sky can add to the perspective and allow the viewer to feel as if they can walk right into the scene.