Sentences with phrase «body as viewer»

Not exact matches

All of which is seen through Laura's eyes as she provides a ground level view of what goes on around her for the viewer, as she becomes little more than a commodity to the criminals with her body (notice how it is described, by the way) used and abused, with little choice in her actions.

Only God Forgives is a film as ready to divide viewer from opinion as it is limb from body.

Stallone may be the ring leader of this new action surge, expressly targeting older viewers and the nostalgic fans who love them, but Bullet, which sees him play hitman Jimmy Bobo, seems tough to accept as anyone's cup of tea, unless you like seeing the 66 - year - old's veins bulge like body - snatcher tentacles, or dig quaint, retirement - age banter, like, «I take out the trash [and] remove the hard - to - get - at stains.»

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

An impressionistic barrage of sexually frustrated prisoners grasping for each other and at themselves, their musculature bathed in chiaroscuro light as they lovingly move their hands down their bodies while they're watched by drooling, baton - wielding guards, Un chant d'amour is an all - consuming work of art that aims to liberate the viewer through erotic fantasy.

One doesn't need to dig deep into his body of work to see that the late novelist and essayist David Foster Wallace had sincere ambivalence about mass media — his much - heralded 1,079 - page novel, Infinite Jest, features a science fiction conceit where a lethal videotape known as «The Entertainment» is so addictive, its viewers lose interest in anything other than endless repeat viewings of the film.

Of course, viewers will be curious as to how naked these famous actors get, but the truth is that for the graphic sex scenes von Trier used body doubles from the porn industry and digital magic.

As the lights dimmed, the orchestral music steadily increasing in volume, the Naughty Dog logo appeared, and attendees as all viewers all over the world no doubt felt the hairs rise on their bodies and then, finally, we saw iAs the lights dimmed, the orchestral music steadily increasing in volume, the Naughty Dog logo appeared, and attendees as all viewers all over the world no doubt felt the hairs rise on their bodies and then, finally, we saw ias all viewers all over the world no doubt felt the hairs rise on their bodies and then, finally, we saw it.

The face should always have more definition than the body as it is closer to the viewer's eye, and this can be exaggerated for effect in paintings.

With his 1986 Self - Portrait, Durham asks the viewer to see his body as a series of distorted parts, notably his dandelion - colored penis and his absence of a heart (feathers appear in its place).

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.

Through strengthening material vernaculars, there is a distinct presence of the body indicated within each of the artists» works that describes both a presence of artist and viewer, as well as the encounter of material as vessel for meaning.

Painter Emily Mason has followed her intuition into these lands for more than six decades, traveling through the looking glass to produce an original body of work that mesmerizes and excites its viewers as few American abstractionists have done before.

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.

California (Sacremento to be exact), native, Liz Larner presents a new body of work at Regen Projects in Los Angeles, but what is happily off - kilter about this bold, sculptural presentation, is that coupled with it viewers find a side gallery in which an earlier selection of notably smaller, object - based works acts as an unusual and telling counterpoint.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

While it differs from a modern conception of the spiritual, the exchange between the work and the viewers themselves takes shape as a rapid back - and - forth, push - and - pull of physical - mental sensations, resulting in a more connected and unified body - mind, or some other state of elevated consciousness.

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.

He is always bringing together sculpture and viewer as twin, physical bodies, while then turning one toward the surrounding space.

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 Walker states, «It is my hope that the interaction between these very divergent works and methods could return a viewer to the questions of modernism, architecture, urbanism and the resistant bodies who reshape it.»

Alone Together invites the viewer to reimagine the body as a dynamic centre for change and its potential to inspire and create art.

It is an exaggerated light reflection in shimmering yellow and reddish orange hues that reveals Martin's enthusiasm for size and proportions as related to the human body, captivating the viewer through its sculptural impression.

These heads, as well as her cowrie shell sculptures, entreat viewers to consider the body both literally and metaphorically.

They define the body, too, as an other to the viewer's own — unpredictably hard or soft, threatening, and ever so slightly out of reach.

Border Zones and Liminal Bodies This screening features short video art pieces by 12 U.S. and international artists that invite viewers to contemplate contemporary issues, such as migration and refugee crises, disability and the body in movement, feminicide in Ciudad Juárez, water insecurity, and other issues.

His investigation of the body in space, in relation to viewers responded to Minimalist sculpture and what became known as the charged space between the viewer and the object.

As a Reader, as a Viewer: the curators of Move Still will guide visitors through two distinct spatial and temporal perspectives of the exhibition: emphasizing the descriptive and interpretive relationships between the body, material apparatuses, and tasking embedded in the included workAs a Reader, as a Viewer: the curators of Move Still will guide visitors through two distinct spatial and temporal perspectives of the exhibition: emphasizing the descriptive and interpretive relationships between the body, material apparatuses, and tasking embedded in the included workas a Viewer: the curators of Move Still will guide visitors through two distinct spatial and temporal perspectives of the exhibition: emphasizing the descriptive and interpretive relationships between the body, material apparatuses, and tasking embedded in the included works.

Continually investigating the movement and politics of the body, Fabri's work incites viewers to locate themselves as «insider» or «outsider.»

Others, such as The Flower and the Jewel (2017), seem to celebrate or confront the viewer with the female body.

A permanent resident at a psychiatric institution since her return to Japan in 1973, Kusama has crafted an immense body of work as an extension of her disorder and as a balm for it, effectively enshrouding herself and her viewers in her own hallucinations.

As a stand in for the body, the phenomenology of Jaegers» pieces ask the viewer to be immediately aware of one's physical self.

Just as viewers» bodies were activated through changing perspective, Desmarais also animated the museum wall, often thought of as a simple white backdrop to the work itself.

The border acknowledges one's body, and acts as a repoussoir device, pushing the viewer into the landscape unfolding in the distance.

In Locke's large - scale photographs, an oblique, almost imperceptible form of self - portraiture playfully addresses what is both hidden and revealed as the viewer sorts through an elaborate array of objects that adorn the body of the artist in his studio.

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.

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.

Through such an examination, this monumental picture absorbs the viewer with its sweeping arches of poured pigments as rich hues of regal reds and purples emerge throughout the body of Dalet Sin with lively flecks of beaming yellows peeking out at the edges.

The precise relationship between artwork, gallery, and viewer, once known as scale, rarely obtains in those purported temples of Minimalism, the Guggenheim Bilbao and Dia: Beacon, where the orchestration of a giganticist aesthetic intended to dominate and impress, in distinct opposition to Minimalism's body - based phenomenology, has found its apotheosis.

As the title suggests, the viewer, the body that meditates the experience of the work, and social interaction come into focus.

The eclectic selection of Pistoletto's works includes his well - known series of Mirror Paintings, images printed on polished steel, which performs as a mirror and incorporates the viewer's reflection into the body of the «painting».

As Mieke Bal has written about Janssens's work: «They entrap the viewer, body and soul, in an experience so unsettling that something really shifts in one's physical being in the world.

As Lynda Benglis has said, «I am involved with bodily response so that the viewer has the feeling of being one with the material and that action, both visually and muscularly... in other words, you draw out the complete body through the work.»

Absent or present, the human figure is a constant element in his work, whether in the form of bodies in action, satirical caricatures, or animistic sculptures; as the residue of a private ritual; or as architectural space left uninhabited for the viewer to occupy.

In images when the body does not appear, objects such as dead flowers, a mirror, two clocks, soiled underwear, or a string of lights serve as a series of memento mori, reminding the viewer of the abject frailty and transience of life lived during the plague years of the AIDS crisis.

And although this show focuses on a body of work produced in the 1960s, it undeniably stimulates the viewer and touches their heart as much as it did some half a century ago.

He addresses themes such as love and loss, legitimacy and difference, inviting viewers to participate in establishing meaning in his works, and to consider whose bodies matter.

She appears passive in her looking even as the voluptuousness of her body — constructed out of animal prints, paint, glitter, and other nude bodies — draws the viewer's focus.

As with his iconic portraits of heads, Close's photographs of the body are handled in an almost mug shot style, and yet he opens a window for the viewer to the life experience of the subject.

To be inside of it requires allowing a joyful kind of envelopment that asks a viewer or a listener to celebrate a body as it works, as it risks, as it instigates movement while both aware and unaware of you.