Sentences with phrase «exhibitions challenge the viewer»

Taken together, the exhibition challenges viewers to go beyond preconceived and polarizing narratives to encourage discussion after viewing the images.

The exhibition challenges viewers» expectations of looking at art, crafting a juxtaposition of 20th century mastery with 21st century speculation.

The exhibition challenges viewers to go beyond the polarizing narratives and familiar images of the region found in mainstream media.

The exhibition challenges viewers to consider the impact of mass incarceration on vulnerable communities, as well as the entire country.

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.

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.