Running at the CHELSEA space from 23 April — 31 May 2014,
the exhibition challenges viewers to explore relationships between pairs, and reflects how people who are unfamiliar with theoretical physics may respond to such an unusual concept.
The exhibition challenges viewers to consider the impact of mass incarceration on vulnerable communities, as well as the entire country.
The exhibition challenges viewers to go beyond the polarizing narratives and familiar images of the region found in mainstream media.
The exhibition challenges viewers» expectations of looking at art, crafting a juxtaposition of 20th century mastery with 21st century speculation.
Taken together,
the exhibition challenges viewers to go beyond preconceived and polarizing narratives to encourage discussion after viewing the images.
Not exact matches
In the confusing serenity of the space, encircled by glossy white surfaces,
viewers are
challenged to distance their minds from the imagery of the other
exhibition galleries.
This
exhibition presents oversized, hyper - realistic portraits of people that
challenge the
viewer to consider the artist's rigorous technique.
, a group
exhibition curated by Beth Rudin DeWoody featuring works in various media by both well - known and emerging artists who work in the field of contemporary realism to visually or conceptually
challenge the
viewer.
The works in this
exhibition, spanning 1992 to the present, blur the divide between two and three - dimensional forms to
challenge the
viewer's understanding of the world in which they live.
This Annual Open Call
exhibition challenges artists to create works in a box that engage one
viewer at a time.
Hayward Gallery Invisible Art 12 June — 5 August 2012 A playful
exhibition with a serious
challenge to the
viewer.
Friday July 27 Tubman Mahan Gallery (6:30 pm to 8:30 pm) Russ McIntosh's Double Take solo first solo
exhibition at the gallery features digital images that
challenge the
viewer to look beyond the initial composition and see beyond the original composition.
The
exhibition stimulates the
viewer's conceptual involvement,
challenging their perception of contemporary reality.
Russ McIntosh's Double Take solo first solo
exhibition at the gallery features digital images that
challenge the
viewer to look beyond the initial composition and see beyond the original composition.
Ultimately, this
exhibition highlights the diversity of artistic practice within abstraction, while revealing intergenerational influences and allowing
viewers to explore and be
challenged by the depth and limits of abstraction.
The
exhibitions challenge our perspective and stir dialogue with our
viewers.
Several women artists who are left out of this
exhibition, such as Jenny Holzer or Adrian Piper, have
challenged the commodification of text by reclaiming it as representational in contemporary art, often portraying direct, confrontational statements to
viewers.
, Birmingham Museum and Art Gallery has brought together works from the Art Fund Collection of Middle Eastern Photography and pieces from the city's own holdings to create an
exhibition of works that
challenge viewers» preconceptions.
About Face, the current
exhibition at Spruill Gallery, presents alternative perspectives on war,
challenging viewers...
Viewers are invited to sit, observe, and draw from the model using the easels and materials provided, and the finished drawings are pinned to the gallery walls to become part of the
exhibition,
challenging conventional expectations of authorship.
In his piece, Formless Figure (2015) now on view in the main
exhibition room at Robert Wilson's Watermill Center, Arsham engages the
viewer by
challenging the very wall of the space to perform in a unique, mysterious way.
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.
«This
exhibition not only brings attention to the complexity and intricacy of the process of printmaking, but also
challenges viewers to look at traditional symbols of American culture with a critical eye.»
The artists have examined the concept of the
exhibition from diverse angles - the legacy of institutions which now sit uncomfortably with each other, the question of identity which oversteps fiercely guarded national borders with several
challenges thrown to the
viewer to ponder on what is deemed to be the «status quo».
The angry provocateur who helped to forge a new identity for German painting after the Second World War is still taking risks; the painter who saw works from his first solo
exhibition in 1963 confiscated by the authorities for their grotesque sexual imagery is still
challenging the
viewer.
Artists in this
exhibition invite spectators to take a closer look at films,
challenging viewers by playing with their perceptions and memories of characters and movies that have become a familiar part of their lives.
She is most interested in developing
exhibitions that engage non-traditional audiences while concomitantly
challenging viewers to re-think their perceptions about art, art - making and the role of the museum / gallery.
The artworks included in this
exhibition challenges and inspires
viewers to break the boundaries between social classes.
In their two - person
exhibition «Away From Keyboard» at Postmasters Gallery, New York - based artists Kristin Lucas and Joe McKay
challenge viewers» perceptions through a wide range of engrossing user interfaces and innovative technology.
A portion of the archive is included in the
exhibition with a purpose of confronting audiences with the human costs of public policies, connecting domestic and foreign policies and policing, and
challenging viewers to reevaluate the abstractions of political rhetoric in individual terms.
It also departs from the biennial's value system as rooted in the empire building world's fairs of the 19th and 20th centuries — many call London's Great
Exhibition of 1951 held in a dramatic crystal palace the «first» biennial — designed to give
viewers a deeply overwhelming «great mass and jumble of things» (commodities, mostly) as «a
challenge to make sense of... unimaginable diversity; to find or invert a «perspective» on the whole so that objects could be made to «stay and lie orderly.»
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.
A deft master at creating alternate realities and mistaken identities, Xu Zhen
challenges viewers to doubt the
exhibition's validity even though the artworks and ideas are presented as facts.
As an
exhibition it cares about its
viewers and aims to both pander to, and
challenge, its audience.
Most of the artists featured in this
exhibition explored issues of visual perception throughout their careers, using combinations of line, color interactions, and kinetics with diverse approaches and a variety of media to engage and
challenge viewers mentally and visually.
The CIR program aims to facilitate events and
exhibitions that activate the local community while encouraging artists and curators to
challenge themselves and
viewers.
In the group
exhibition «The Projective Drawing» at Austrian Cultural Forum New York (ACFNY), curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to
challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require
viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works on view.
In spite of the unique opportunity to create a platform for emerging artists, most of the works in the
exhibition are fairly unremarkable and do nothing to
challenge the
viewer.
Whether you're interested in contemporary sculpture and illustration or cutting - edge graphic design, this
exhibition will
challenge viewers with fresh perspectives and visual structures.
Although artists around the world are increasingly
challenging it as a format, the fundamental appeal of the retrospective
exhibition is that it offers
viewers the chance to see and assess in person a coherent representation of an artist's practice otherwise dispersed across time and space.
Exhibition Highlights / History of the Dwan Gallery During her more than eleven years as a gallerist, Virginia Dwan mounted 134 shows, introducing
viewers in Los Angeles and New York to the most
challenging art practices of the time.
The huge
exhibition moves from a diptych of Hans Namuth's film of Jackson Pollock at work, playing on a monitor next to Pollock's Number 1 (1949), through - among so many other things - Japanese Gutai painting performances from the»50s; photo - documentation of Valie Export's Genital Panic (1969), in which Export, in crotchless jeans and packing an Uzi, roamed the aisles of a porn cinema
challenging viewers to deal with the real thing (there's that «real» thing again); relics of Hermann Nitsch's bloody ritual drama, Asolo Raum (1971), to the most recent works, set pieces by Mike Kelley and Paul McCarthy.
Whereas Rowland's 2016
exhibition at Artists Space, «91020000», clearly established the benches as an artwork, Lawler again alters their museum context to
challenge the
viewer to consider both what it means to have a body that sees, and the space in which that body sees.
The
exhibition will take a fresh approach, replacing the traditional survey with a provocative set of juxtapositions that will
challenge the
viewer to make new connections and break the mould of old conceptions.
Featuring both whimsical and more traditional portrait pairings, this
exhibition will
challenge viewers to contemplate the power of portraiture through comparisons of iconography, pose, attire, props, medium, subject, and style.