Sentences with phrase «first images viewers»

BL: Jennifer Manzella's prints of abandoned industrial building facades along the Delaware and Hudson Rivers are the first images viewers see when they walk into the show.

Not exact matches

Since the History Channel show, Pawn Stars, first started capturing viewers» attention in 2009, the seedy image of pawnbrokers has gotten a well - needed buffing.

As a former reality - TV star and an ex-model, Donald and Melania Trump seem likely to become perhaps the most image - dependent first couple in American history — a fact that lends Jackie a pang of nostalgia the director couldn't have intended, as the viewer walks out wondering how we got from there to here.

Twarz's very first images — close - ups of blank faces in the cold — initially give the viewer the impression that we will be in for a serious drama.

Likewise, the meticulous sound design that permeates Weerasethakul's cinema envelops the viewer from the opening moments, as the rumbling of machinery does battle with the soft susurrus of nature before the film's first image arrives.

His first shorts Heroes Are Immortal (90) and Straight Ahead Until Morning (94), both set in small towns by night, show his interest in juxtaposing image and text, assaulting the viewer with torrents of speech: the first a dialogue between two young men (one played by Guiraudie) who wait night after night for a third to arrive, the other the monologue of a watchman caught up in the repetitive, futile pursuit of a wall painter.

Although casual viewers may not notice it at first, nearly every figure in Drexler's paintings consists of a photographic reproduction glued on to the canvas and then overpainted so that what we see is not the reproduction but Drexler's version of the image.

The larger than life - size portraits appear to be featureless black and white silhouettes upon first glance, but as the viewer becomes more intimate with the image, each woman's individuality unfolds in the rich textures and skin tones barely visible.

In his newest and most evocative work — exhibited first at the Deutsche Guggenheim Berlin and in this accompanying catalogue — an ordered sequence of allegorical fresco - like images immerse the viewer in a total aesthetic, sensory and philosophical experience.

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.

My goal as an artist is to create powerful images that invite the viewer to move away from certainty and experience something new... even years after the first encounter.

I worked on images and the first image shows clearly the hologram effect available to the eye of the viewer.

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.

Laval's images transport viewers into naïve atmospheres that capture the feeling as well as the substance of everyday life in the twenty - first century.

Within the first few pages of the season 5 Educators» Guide, readers are asked to think about the power and influence of juxtaposing images in order to give the viewer...

That is how the image that seems merely to be covered all over in dots at first sight results in a complicated yet simple composition in which the viewer is left to gaze in all directions.

Beginning with the portraits that first brought Dijkstra's work to international awareness, of bathing suit — clad teenagers at the beach, and culminating with a series of images of children and teenagers posing in a park, viewers encounter subjects who are alternately self - conscious, exhilarated, stoic, or wary but always cognizant of projecting an identity for the camera.

As this Long Island - native's first solo showing at the downtown Los Angeles gallery, the seemingly commonplace images seen here feature an ominous energy, forcing the viewer to play detective and piece together Lifson's cryptic narratives.

Inspired partly by the French critical theorist Roland Barthes, who viewed mass cultural images as signs freighted with latent meaning to be deciphered, she first gained attention for a series of artworks starkly displaying newspaper snippets (headlines, photographs), forcing viewers to examine the way they responded to media's authoritative voice.

This presentation of historical work — a first at the CAG — is intended to challenge the viewer's understanding of what a contemporary art space should show, building a bridge between image making techniques and endeavors of different eras.

But the artist's reckoning with powerful images that often blind viewers to critical insight is more radical than it at first appears.

Encouraged by his insistence that he has never been an abstract painter, and by certain suggestive colours and forms - an arrow, say, or an overcast grey - the viewer would begin to discern all kinds of figurative images, even scenarios, where none was available at first.

At the Venice Biennale this year, Lozano - Hemmer filled the Mexican Pavilion - the first time Mexico was represented in Venice - with dynamic sculptures that were responsive to the viewer's presence - image, location, and motion.

Thomas» striking billboard confronts the viewer head on as the first image the visitor sees upon entering the park, stimulating a dialogue on the relationship between land, labor, American history, and culture.

The concept of the moving image hits the viewer full on from the very first gallery: an impressive selection of some of Bridget Riley's most hypnotic monochrome prints from the 1960s is wonderfully paired with the striking sculptural work of Liliane Lijn, including her revolving light Koans.

I often frame representational images in extreme close - up, so that it is not at first clear to the viewer what s / he is looking at, only revealing wider shots that show the full scene later - see Dad's Stick from 2012.

The title for these works came from the first zine, which contains an alarming juxtaposition of the image of a deaf boy killed by an attack that he could not hear alongside the handwritten words just another asshole, [2] a coupling which drops both cynical subjectivity and objectivity in the viewer's lap.