Sentences with phrase «by art viewer»

Miranda featured by Art Viewer.

Not exact matches

Examining absurd theories around Mad Men and True Detective, Julia Yost characterizes this phenomenon as a shift from the aesthetic to the forensic: «Everything on screen and soundtrack is a clue, and the viewer's challenge is to suss out the secrets encoded by the creators» choices in writing, casting, wardrobe, and art direction.

A work of art does not exist totally of itself but is completed by the viewer.

Everything on screen and soundtrack is a clue, and the viewer's challenge is to suss out the secrets encoded by the creators» choices in writing, casting, wardrobe, and art direction.

«By using special state - of - the - art cameras that use dual synchronized lenses, and two individual image sensors to produce a separate stream of video for the viewers» left and right eyes, they capture your wedding in the same way your eyes do,» says Creative Director Igor Dmitry.

He reconstructs an iconic piece by placing a metallic reflective ball in front, to give art viewers a brand new perspective to a classic piece of work.

Multi-layered and beautifully - filmed by Oscar winner Danny Boyle, prescription Trance lets viewers into the world of art and hypnosis in a tale that deserves to be talked about long after the credits roll.

By making a film which will probably disappoint most viewers looking for your typically fun George Clooney (The Perfect Storm, O Brother Where Art Thou) flick, he has finally given the subject matter the integrity it richly deserves, and one which will endure for many years to come.

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.

by Walter Chaw Stop on any single frame of Alfonso Cuarón's remarkable war idyll Children of Men — a film that's rarely in repose, sometimes seeming composed of one long, frantic shot — and I suspect the sharp - eyed, educated viewer would be able to cull a reference to modern art, most likely one about men reduced to their base animal nature.

As we observe Kate and Alex getting to know each by sharing their deepest feelings about love, work, and life, the film reminds the viewer of the lost art of taking the time to know and understand another individual.

It was disheartening — no, it was completely fucked - up — that the festival competition jury awarded no prize to Toni Erdmann, which was by far the most popular film in the competition and which did the near - impossible by uniting entertainment - oriented and art - oriented viewers.

The example of viewing art in Florence surrounded by the buildings and environment that the art was created gives the viewer a totally different dimension than if the art was viewed from a book or just any museum.

Content includes original art from producing companies (like Koei) and fan art by many site viewers.

From retrospec - tives of art legends to debuts by tomorrow's shining stars, these shows challenge viewers and excite artists, critics and collectors alike.

In 1998, he published his book Relational Aesthetics, which theorized a new style of art — pioneered by such figures as Pierre Huyghe and Dominique Gonzalez - Foerster — that placed an increased emphasis on viewer participation and the interaction between humans surrounding works.

Ross's hyper - detailed photographs of hurricane waves and mountains are included along with a new «invisible art» project featuring animated virtual elements only accessible by means of the viewer's smartphone.

A staple in art historical discussions of institutional critique, Lawler's photographs challenge the viewer to think about the context in which works of art are displayed, and subsequently the overlooked aesthetic choices made by the places in which they are viewed, sold, and stored.

The opportunity to see 86 paintings by Claude Monet at the Museum of Fine Arts, Boston in its exhibition: Monet In The 20th Century, September 20th to December 27th 1998, shouldn't be missed by any serious viewer of important contemporary painting.

The artist's seemingly distinct activities — the severe black abstractions, the prolific and caustic social and political graphic work, and the color slides of historical monuments, temples, and buildings that showed his equally prolific world travels and keen sense of photographic record keeping — were received in coexistence by jubilant viewers, especially young artists and art students (during the artist's lifetime it would have been career suicide to show all simultaneously practiced sides together).

The unfinished has been taken in entirely new directions by modern and contemporary artists, among them Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who alternately blurred the distinction between making and unmaking, extended the boundaries of art into both space and time, and recruited viewers to complete the objects they had begun.

Inspired by European artists such as Mondrian and Kandinsky, their bold experiments with space, movement and colour radically transformed the relationship between art and viewer.

The viewer's response is the real art, Martin once said, anticipating current trends by half a century.

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.»

Villar Rojas's installation at the Serpentine Sackler therefore provides the perfect chronological extension to Merz's conception of the non-heroic in art by prioritising the site and the viewer, while still making reference to two of the older artist's key concerns: the figuration - abstraction binary and the focus on «raw» materials.

Furthermore, a work of art, as Marcel Duchamp reminded us, is always completed by the viewer.

NB: I can not really talk about the reception of my own work, but I can say that as a viewer and recipient of art in different contexts that when, for example, I see a work by Cady Noland at the Art Institute of Chicago or in the Museum Ludwig Cologne, or somewhere else in the world, the initial impetus of the work stays with me the same whilst my view on the surrounding realities can be affectart in different contexts that when, for example, I see a work by Cady Noland at the Art Institute of Chicago or in the Museum Ludwig Cologne, or somewhere else in the world, the initial impetus of the work stays with me the same whilst my view on the surrounding realities can be affectArt Institute of Chicago or in the Museum Ludwig Cologne, or somewhere else in the world, the initial impetus of the work stays with me the same whilst my view on the surrounding realities can be affected.

As late as 1989 Celant had accepted a number of artists (Cucchi, Clemente, Kiefer) but still regarded the new painting as nationalistic and apolitical and characterised instead by a personal vision in the guise of «beautiful painting» that would seduce the viewer into believing it was a superior or «real» form of art.

In this lively performance inspired by actual interviews, Buntport Theater Company will riff on Still's storied approach, shaping viewer responses into a performance that blurs the line between the art and the viewer.

«Le Parc set out to «demystify art» by removing barriers between the artwork and viewer,» says PAMM Director Franklin Sirmans.

MIDTOWN & UPTOWN & HARLEM The Summer Show / DM Contemporary / 39 East 29 # 2B / thru 9/19 By the Book; Anthony McCall / Kelly / 475 Tenth Avenue @ 36 / thru 7/31 Gina Beavers; Brock Enright / Dieu Donne / 315 W 36 / thru 7/18 Bring in the Reality / No Longer Empty @ Cummings Foundation / 475 Tenth Ave. @ 36 / thru 9/11 Spencer Finch thru 8/23; Emmet Gowin thru 9/20; Etc. / Morgan Library / 225 Madison @ 36 Susan Bee / NYPL Mid-Manhattan / 455 Fifth Ave. — floor 3 / thru 8/20 Animal Impact / Fountain / 702 Ninth Ave. @ 48 / thru 8/12 Display of the Centuries: Frederick Kiesler and Contemporary Art / Austrian Cultural Forum / 11 E 52 / thru 7/27 Aperture Photographs / 1285 6th Avenue @ 52 / thru 9/18 Opening 6/29 Yoko Ono thru 9/7; Zoe Leonard thru 8/30; Jacob Lawrence thru 9/7; Etc. / MoMA / 11 W 53 Dorothy Robinson / 527 Madison (enter 54) / thru 9/11 Summerset / Findlay / 724 Fifth Ave. @ 57 — floor 8 / thru 8/23 John Ashbery; Guy Maddin; Richard Baker / de Nagy / 724 Fifth Ave. @ 57 — floor 12 / thru 7/31 Peter Reginato / Adelson / 730 Fifth Ave. — floor 7 / thru 8/21 Tara Donovan / Pace / 32 E 57 / thru 8/21 (extended) Joan Witek / McCoy / 41 E 57 / thru 7/31 Past & Present / Naumann — floor 3 / 24 W 57 / thru 7/17 Niele Toroni / Goodman / 24 W 57 — floor 3 / thru 7/30 Summer: S.LeWitt; J.McCracken; M.Nordman; G.Richter; F.Sandback; A.Truitt; L.Weiner / Goodman / 24 W 57 — floor 4 / thru 7/24 Jay Batlle / Ierimonti / 24 W 57 — floor 5 / thru 9/15 What's New is New Again: Dan Flavin; Louise Lawler; Sherrie Levine / Jancou / 24 W 57 — floor 6 / thru 7/11 Viewer Discretion....

Curated specifically in response to recent events, «Parrish Perspectives» exhibitions offers the chance to reconsider art, artists, and the creative process in a new way by including current times as a factor for viewers.

, which exhibited big name art by such as Joan Miró and Kazimir Malevich that a naive viewer might still think his child could make, I witnessed a bidding war for a Picasso.

On view from February 2, 2017 — March 31, 2017, the group exhibition curated by Charlotta Kotik examines the dichotomy of power between the art object and viewer.

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.

Her art is a sharing of her own and other people's stories, and by viewers bringing their own stories to an exhibition, she hopes the conversation can begin.

The animating conceit of Telepathic Improvisation, a film by Pauline Boudry / Renate Lorenz and the centerpiece of their first U.S. solo museum exhibition of the same title at the Contemporary Arts Museum Houston, on view through Jan. 7, is that viewers are invited to «participate» retroactively in the making of the film.

Sim Smith Gallery works closely with collaborators to inspire multidisciplinary projects aiming to engage new audiences for the work and changing the viewer experience through exhibition design, curation and by taking art outside of the traditional gallery setting.

The eleven artists in Politicizing Space critique and subvert these purportedly aesthetic and artistic gestures by reinterpreting the symbolic mechanisms of control and asking the age - old question about the balance of power between art object and viewer.

She infused her art with these experiences through a labor intensive process — applying many layers of paint by hand to each piece and sanding the surfaces to a fine finish — and the bands of rich color that cover her sculptures, liberated from the traditional two - dimensional plane of painting, prompt viewers to make their own associations with her work.

Indeed, with her adeptness at luring viewers with captivating (and seemingly innocuous) hand - painted illustrations, humorous texts, and sheer scale and then surprising them with content that is remarkably honest — by turns subversively friendly or bitingly critical and addressing such fraught subjects as power dynamics, social marginalization, and even the machinations of the art world — she has smartly aligned herself with the enduring and boundary - pushing strategies of satire, parody, and caricature.

Intervention could also relate to the performance elements of conceptual art — and their blurring of public / private space and viewer / participant — which in turn related to the early «Happenings» (Allan Kaprow coined the term «Happenings» which he first staged in 1959) and early Black Mountain performances by Rauschenberg, Cage, and Merce Cunningham.

Inverse asks viewers to re-examine the boundaries we erect between art and nature by altering and recontextualizing the natural objects that coexist with the sculptures at Lynden.

Launched in Miami in 2010 as an art fair alternative by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer.

The viewer will be guided through the «program» by «The Host,» an avatar developed with Chus Martínez (director of the Institute of Art at the FHNW Academy of Art and Design in Basel), Culturesport, and Ian Isiah.

Just like Pop - Art icon Andy Warhol's final cycle of art works, which was also titled «Last Supper», this show — curated by Reyle and Uutinen themselves — is not only dedicated to superficiality, illusion and temptation; attracting and repelling the viewer in equal measuArt icon Andy Warhol's final cycle of art works, which was also titled «Last Supper», this show — curated by Reyle and Uutinen themselves — is not only dedicated to superficiality, illusion and temptation; attracting and repelling the viewer in equal measuart works, which was also titled «Last Supper», this show — curated by Reyle and Uutinen themselves — is not only dedicated to superficiality, illusion and temptation; attracting and repelling the viewer in equal measure.

In Fair Warning, Lund (b. 1984) encourages viewers to participate in an interactive online questionnaire by responding to a series of over 300 questions ranging from colour preferences, politics and emotions to trends in the art world.

For a 2011 project commissioned by the British public art association Artangel, Gander created «Locked Room Scenario,» a group show of inaccessible, partly visible artworks by fictional artists that forced viewers to adopt what the artist describes as a «detective's mentality» in attempting to piece together the fragmentary information they encountered.

Art for every body on display at Color of Energy gallery By Brittany Erwin Photo: Parrish's untitled nude figure calls viewers to confront the female form Is the ideal female body tall and long - limbed?

«Collages by Tim Spelios reorder the history of art and its context and Ryan Steadman's ersatz book forms provide a beguiling and painterly façade in which the viewer really can tell a book by its cover.