Sentences with phrase «challenge the viewer into»

In different ways, then, each of the artists in this show is concerned with signature residue: their works challenge the viewer into believing in the artistic aura of their gestures, however minimal.

Not exact matches

One setback has been logistical: It is still a challenge to get virtual reality viewers into consumers» hands.

I suggest that by refusing to demonise the incumbent, Syllenhaal isn't just challenging our beliefs around politics but also the traditional structure of a Hollywood screenplay, which usually coerces viewers into an emotional response by ramping up the evil of the villain.

Challenging but not inscrutable, it rewards an engaged viewer but could easily be overlooked if tossed into the theatrical marketplace without the right positioning.

And while this subject matter can be challenging, it's alluring at the same time and draws the viewer into the film.

The performances are strong, especially that of star Claire Foy, but Jonathan Bernstein and James Greer's screenplay doesn't develop into much more than a fairly standard psychological horror in which the viewer's perception of reality is constantly being challenged.

Through their stories, viewers gain insight into situations and challenges faced by immigrant students and their families.

«We're setting up a $ 100 million challenge grant so that Mayor Booker and Governor Christie can have the flexibility they need to turn Newark into a symbol of educational excellence for the whole nation,» Zuckerberg told viewers.

Mahadev's series of winning images not only provides a window into the lives of the women and children working in a brick factory, but poses an interesting challenge for the viewer to look beyond the attractive imagery.

He enjoys and appreciates the invention, challenge, and discovery of making art in the hopes that this translates into a similar experience for his viewer.

Kline's small - scale rendition of a moving train draws the viewer into the painter's challenge as he tries to capture the essence of an object that defies, by its transformational movement, any such representation.

They strove to challenge and transgress the traditional dictums of art making, to transport art into new spaces, to create an experience for the viewer, and to dissolve boundaries between nature, art and technology, all with an optimistic enthusiasm and unrestricted aesthetic.

While attempting to incorporate text into his sculptures of the period, he was challenged to find a cohesive way of incorporating his voice into his commanding structures, and although he created numerous neon light works and installations, his sculpture evolved in a more conceptual direction, withholding information and requiring a complex response from the viewer by creating «uncomfortable spaces and shapes».

As a result, this technique challenges the viewer to discern if the painting is behind, in front, or absorbed into the surface.

The challenge was learning how to enable multiple entry points into my work for different viewers about the same body of work and subject matter over a decade.

Throughout it all, Hecker allows her viewer a window into her own aesthetic experiences while the persistent passage of time is challenged in the memorialization of her subjects.

Berlin - based Austrian artist Gerwald Rockenschaub's unique take on minimalism has resulted in a complex sculptural oeuvre that challenges the so - called white cube and calls the relationship between the artwork, viewer, and exhibition space into question.

By moving the sculptures off of the base and into the viewer's own physical and emotional space, Sonnier has also addressed a challenge that has concerned sculpture for most of the twentieth - century and beyond.

Drawing on the language of social media, hyper - globalization and dissonant collage they will present work which will challenge viewers» expectations and offer a peak into what the next generation of young African and diaspora artists are up to.

At the Art Institute of Chicago, whose contemporary - art collection recently expanded into a spacious new wing, curators have begun using the security staff, museum educators, and visitor - services employees to provide interpretive help to viewers encountering such challenging works as Robert Gober's 800 - square - foot installation Untitled (1989 — 96).

Nevertheless provocative and debate - stirring, documenting the likes of the New York S & M scene, Saints and Sinners allows the viewers to dig into the works and determine the connections between the snap pairs of pictures Sean Kelly match up, sometimes obviously and at other times with more of a challenging ambiguity.

The only series on television in the United States to focus exclusively on contemporary visual art and artists, Art in the Twenty - First Century is a Peabody Award - winning, biennial program that allows viewers to observe artists at work, watch as they transform inspiration into art, and hear how they struggle with both the physical and visual challenges of achieving their visions.

In Hicham Berrada's latest solo exhibition «Caverne», the Moroccan artist challenges viewers» senses by transforming a typical «white cube» gallery into a darkly mysterious garden of art.

Rather than solely addressing the figure in painting, Mothernism challenges Greenbergian ideals of «flatness» by inviting the viewer into her painting - as - installation, a figure / ground relationship so upended as to become participatory, or relational.

Shot over the course of two years, each artist — in varied stages of their careers — encounter challenges and triumphs and give the viewer an inside glimpse into what it's like for women artists to find their ways in the big city.

Each construction warps and challenges the viewer's sense of scale, gravity, and information as common objects — newspapers, furniture, rocks — mutate from into a foreign state.

By mounting successive challenges to the hegemonic boundaries of our imagination, Eilers provokes his viewers into directly interacting with his highly unique works.

Through pieces of his satirical art, the artist is challenging the longstanding differences between urban art and fine art, drawing the viewers into his bizarre world of irony.

Influenced by René Magritte «s eight methods, Tansey wanted to find a way to incorporate certain contradictions into his works that would challenge the viewer all the while avoiding simple visual methods.

Inquiry's End features one of the artist's most challenging works to date: a ninety - one part wall installation titled A Pattern or Practice (2015) that uses inkless embossing to punch portions of the US Department of Justice report on the Ferguson Police Department into blank white sheets of paper, making the findings all but inscrutable to the viewer.

Experimenting with modulations of form, color, and plane, Clark's early abstract works challenged the canvas» edge and extended the visual field of painting into the physical realm of the viewer.

Evoking a sense of transformation, they challenge the viewer to enter into the space beyond.

The only series on television in the U.S. to focus exclusively on contemporary visual art and artists, Art in the Twenty - First Century is a Peabody Award - winning biennial program that allows viewers to observe the artists at work, watch as they transform inspiration into art, and hear how they struggle with both the physical and visual challenges of achieving their visions.

Relying also on the images that surround us, John Baldessari encourages the viewer's attention to minor details, absence, and the space between things, and through his manipulation of the image, and the painting over the faces with primary colors, and the obscuring of the portions of the scenes, challenges and creates philosophical inquiries into art and knowledge.

Situating the partially buried limousine in a vacant plot of prime real estate which will soon be transformed into a high rise hotel, the intervention contributes to expectations of success and failure and challenges viewers to consider their context and surroundings.

Since encountering Bridget Riley's work at Tate in the late 1960s, I have tried to understand it — as a way of helping me to construct something which seduces a viewer into a conversation, then challenges, questions and encourages action.

The film is the latest entry in Prager's oeuvre of cinematic and photographic investigations into subjects that tantalize and challenge the viewer.

Each work singularly explores an object's capacity for meaning by challenging and pushing viewers into select narrative frameworks.

The series is based on Kathleen Barber's novel of the same name, which gives a glimpse into the obsession with true crime podcasts and «challenges its viewers to consider the consequences when the pursuit of justice is placed on a public stage.»