Exhibition goers
become voyeurs, surveilling the performative Internet experience encased below.
As viewers,
we become voyeurs peering into the unkempt and lonely corners of the city that Wolfson invites us to explore.
As she examines him through the lens of the camera,
we become the voyeurs of her own life.
Dolly is the communicator of a muddled collection of memories, and the viewer
becomes a voyeur, flicking through the pages of a diary.
Depicting unremarkable scenes of urbanised environments, the viewer
becomes a voyeur with access to a blurry fragment of an otherwise inaccessible world.
As we were watching the pain and humiliation suffered by the woman,
we became both voyeurs and victims; voyeurs as we could not stop watching and victims as we could not leave, trapped in the darkness of an unfamiliar garage.
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Now a gloomy and neglected structure, the house, taken over by a murder - re-enactment
voyeur website, is suddenly the setting for a new set of ghastly crimes, as one by one the actresses
become genuine prey to a terrifying copy - cat killer.
She knows that he is a
voyeur and
becomes enamored with his leading ladies.
Writer Paula Hawkins» bestseller is about a woman whose life falls apart and who
becomes a hard - drinking, train - riding
voyeur, spying on what she imagines to be the perfect lives lived by the two couples she regularly watches from her commuter train windows.
For those thrill seekers that are the ultimate
voyeur in the most desperate of times and post videos on YouTube, Vine and Twitter in hopes of
becoming a trending topic for their 15 minutes of fame»» this film is for you.
The performative nature of this work positions the artist as both a
voyeur and a participant, and the camera
becomes the recording device capturing the limits of bodily freedoms.
Instead of an immediate reaction (dialogue) between the viewer and the artwork, here the viewer, in a sense,
becomes witness or
voyeur to the relationship.
When women are both the looker and the looked at, the exhibition suggests, the distance between
voyeur and the object is conflated and «to - be-looked-at-ness» may simply
become «to - be-ness.»
«The Shape Shifters»: As the habitat takes form, the
voyeurs evolve to
become the nocturnal creatures they are meant to be.
As each character gradually reveals him - or herself in the form of a poetic monologue, observers
become thrust into the role of a
voyeur witnessing heartbreaking soliloquies to nothingness.
In CyberRoberta, it is Hershman Leeson's intent for viewers to «
become not only
voyeurs but also virtual cyborgs,» as the doll's pink cherubic face, framed by shiny blonde locks,
becomes «a mask for multiple expressions of identity capable only through global connectivity.»
The viewer
becomes an outside
voyeur, drawn in to untangle the artist's vision.
In Everyone I've Ever Slept With, Emin used the process of appliqué to inscribe the names of lovers, friends and family within a small tent, into which the viewer had to crawl inside,
becoming both
voyeur and confidante.
Like a
voyeur, the viewer's eye
becomes a hand, and from there all senses are participatory.
In Everyone I've Ever Slept With 1963 - 95 (1995, destroyed 2004), Emin used the process of appliqué to inscribe the names of lovers, friends, and family within a small tent, into which the viewer had to crawl inside,
becoming both
voyeur and confidante.