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 affect
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 affect
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 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 measu
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 measu
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 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.