Sentences with phrase «body of the viewer in»

He broke away from tradition and considered the mind and body of the viewer in many of his artworks, such as Mile of String, 1942 with long lengths of string stretched across the gallery.

Not exact matches

Unlike Serial, which explored how a suspect's race and religion might have been held against him, The Jinx riveted viewers by exploring the role of privilege and how Durst's high - priced legal defense team could manage to help him evade the most serious criminal charges against him even when, in one case, he'd actually admitted to having dismembered a person's body.

When singing partner Justin Timberlake, in what appeared to be a planned ending to the intermission, yanked off part of Jackson's top at the conclusion of the song Rock Your Body, tens of millions of viewers saw one more body part than NFL or CBS executives would have preferBody, tens of millions of viewers saw one more body part than NFL or CBS executives would have preferbody part than NFL or CBS executives would have preferred.

«I'm really not bothered if viewers see bits of my body that they might not see in real life.

It is a fair guess, however, that most viewers by far are here to behold the spectacle of authenticity promised in the touring exhibition's tagline: «The Anatomical Exhibition of Real Human Bodies.»

Designed to be modified for the viewer at any point in their health cycle, Healing Through Movement gives you sustainable development of lower body, upper body, and core muscles, culminating into a full body workout.

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.

In fact, it vocalizes just about everything viewers might be thinking — from the quantity and quality of spousal participation to a flagging body image to the individual pieces of parental responsibility.

I loved how there's a lack of subtitles and how much of the film in general is told visually, forcing the viewer to focus on facial expressions and body language to pick up on what's going on.

Unfortunately, that wholesome messaging doesn't leave much room for what Brewer does best — namely, music - backed scenes that, through lurid lighting, slick camera whips and glides, and the sounds of breathing and grunting mixed just above the music, put the viewer inside a body in total abandon to a song.

«Get Out» directed by Jordan Peele: For white viewers, this debut feature from «Key & Peele» star Jordan Peele offers a glimpse at how the other half lives; for everyone else, it's more of a documentary in body horror movie drag.

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.

Ratner also appears to be really pushing the overdone homoerotic joke between the two male characters, but whether they are rubbing suntan lotion on each other's bodies or spending the night together in a hotel bed, though what is comparably worse is the seemingly short and nimble runtime (just over 90 - minutes), which dragged by so slowly that a handful of viewers deemed it reasonable to fall asleep.

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.

So whereas in traditional media, viewers might see representations of women being used or exploited, gaming offers players the unique opportunity to use or exploit female bodies themselves.

Because there is no background or even body in many of the images, the viewer must wring all the information possible from small details like the sitter's hair and grooming habits.»

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).

Helen Frankenthaler's life and art produced a remarkable body of work that inspired an artistic movement and continues to inspire new generations of artists and viewers in her unique pursuit of truth and beauty.

His body language and the mysterious eye contact he makes with viewers are provocative, offering his interpretation of sexuality and the fluid nature of identity in contemporary contexts.

Myers's works surround the viewer, offering a dense and diagrammatic field in which to locate one's own body while observing her invented systems of fantastic phenomena.

The last work viewers will see in Phantom Bodies is Bill Viola's «Isolde's Ascension (The Shape of Light in Space After Death),» a nearly 11 - minute video played in a loop.

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.

In his manifesto, The Ergonic Messenger, Dugger explains how in Participation Art, the body or hand of the viewer is «used to give forceful impetus to the artwork by articulating or positioning the sculptural elements manually... relying on the power of the human hand to provide action or motion.&raquIn his manifesto, The Ergonic Messenger, Dugger explains how in Participation Art, the body or hand of the viewer is «used to give forceful impetus to the artwork by articulating or positioning the sculptural elements manually... relying on the power of the human hand to provide action or motion.&raquin Participation Art, the body or hand of the viewer is «used to give forceful impetus to the artwork by articulating or positioning the sculptural elements manually... relying on the power of the human hand to provide action or motion.»

In Acoustics (Eaton Canyon), 2013, the viewer sees the artist clapping his hand over a running body of water.

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.

Throughout, the human body is eerily absent from the installation, replaced by stand - ins who attempt to lull the viewer into a false sense of security in the hands of technology.

The exhibition consists important bodies of new «Strip», «Flow» and «Doppelgrau» paintings, the show will also include a large glass sculpture and a selection of key earlier pieces that help the viewer to understand his course in the art world.

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.

The entire show consists of six different chapters, each showing different relation between the body and the space, from a large 8x2 meter charcoal studies depicting football hooligans fighting, four paintings of the skaters in a modern art museum breaking a series of paintings by Ellsworth Kelly, six black paintings representing the infinite space beyond the surface of the abstract paintings, a cast resin sculpture and a drawing of Colonel Kurtz from Apocalypse Now, all the way to the interactive app that allows viewers to interact with the works on view.

Each piece in these various bodies of works is designed to guide the viewer to a different experience inspired by how various cultures make sense of our existence.

I Am the Mouth II (2014) features a pair of disembodied lips that is half - submerged in water and whispers seductively about the mechanisms by which words, in the form of sound waves, make their way through various materials including the viewer's own body.

The human body becomes a canvas for projections of flowers which are in a process of continuous change — growing, decaying and scattering in direct response to the viewers» movements.

The body of work effectively raised questions about racism in Brazil, leaving them up to the viewer to resolve.

Her work is informed by her daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that challenge the viewer to contend with the disorganized body in a state of excess.

Durgin's body of work creates a mutable and highly charged space in which the viewer is challenged to define what is real and what is beautiful.

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.

Neel's famous naked self - portrait (1980) depicts the artist in old age, perched on a blue and white striped sofa surrounded by blocks of vital color — green, yellow, blue — calm and fearless in herself, staring at the viewer through slightly skewed glasses (her only attire), mouth firmly downturned and cheeks ruddy above the deliquescence of her aged body, a sinking galleon of pale flesh.

This runs counter to the recent proliferation in the media of disturbing images documenting police violence against black bodies, which are thought to have a triggering effect on their viewers.

The Revolution Will Be Painted: Deux is a new body of work by Anne Sherwood Pundyk that uses color to draw in the viewer.

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.

The bodies of the work, painter and viewer are implicated in a choreography that intensifies the tactile condition of seeing and feeling.

In Retroactive II (1963)-- a painting illustrated in the catalog but not on the wall at MoMA — some white paint outlines a pointing - hand gesture in a picture of the recently assassinated President John F. Kennedy, separating it from the rest of his body and turning it into an emblematic indication of the painting's power to interpellate its vieweIn Retroactive II (1963)-- a painting illustrated in the catalog but not on the wall at MoMA — some white paint outlines a pointing - hand gesture in a picture of the recently assassinated President John F. Kennedy, separating it from the rest of his body and turning it into an emblematic indication of the painting's power to interpellate its viewein the catalog but not on the wall at MoMA — some white paint outlines a pointing - hand gesture in a picture of the recently assassinated President John F. Kennedy, separating it from the rest of his body and turning it into an emblematic indication of the painting's power to interpellate its viewein a picture of the recently assassinated President John F. Kennedy, separating it from the rest of his body and turning it into an emblematic indication of the painting's power to interpellate its viewer.

For his first gallery exhibition in New York since 2012, Neto will present a new body of finger - crocheted immersive sculptures, installations and wall works that fill both floors of the gallery's space, inviting the viewer into an all - encompassing sensorial experience.

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.

In works like Darkytown Rebellion (2000), the artist uses overhead projectors to throw colored light onto the ceiling, walls, and floor of the exhibition space; the lights cast a shadow of the viewer's body onto the walls, where it mingles with Walker's black - paper figures and landscapes.

He protested the swift reification of these artists by taking the object (expensive - to - produce sculpture) out of the equation, shifting the focus instead on his body in relation to the viewer or participant's body.

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 works.