Sentences with phrase «for viewer engagement»

The emphasis of this work is more on process and color interaction, but also begging for viewer engagement to complete the exercise.

Not exact matches

It has been noted already that religious television viewing increases significantly with age and that older viewers demonstrate an increased interest in serious content on television, especially news and public - affairs programming, as compensation for losses of more social sources of information and engagement.

We can only suppose that it exists in order to sell books and secure speaking engagement, attract viewers and readers to various media outlets, and attempt to rile up political bases for elections.

[I had an interest] in all the concepts regarding practice, materials, conceptual engagements and all the issues that relate to the actual work itself and then the issues related to how works create a contextual environment for the viewer when they're installed in an exhibition space.

I felt the large paintings had the possibility for intimate engagement, a surround experience for the viewer.

As the viewer becomes subsumed in Cain's world, the poetry of it is uncovered, allowing for a personal engagement with the artist's bodily and emotional involvement with her work.

Today is the occasion to bear in mind the American minimalist sculptor Richard Serra, (2/11/39 --RRB-, who is best known for his large - scale abstract steel sculptures, which emphasizes materiality and an engagement between the viewer, the site, and the work.

He embraces internet videos and blogs as media for widely accessible artistic engagement, receiving millions of visits from viewers worldwide.

Dawson approaches the studio environment as a test laboratory, creating work that considers the viewer is an intrinsic component of his work and that provides opportunity for engagement.

Phenomenology, for example, is there from the very beginning: those first geometric explorations of colour and form reveal the same engagement with the viewer's sensorial experiences of space and matter as the early «penetrables» — walk - in spaces constructed from monochrome painted boards — and the expanded participatory installations, which Oiticica continued making until the very end of his life.

Over the years, Richard Serra has become one of the most acclaimed living artists for his challenging and innovative work, which emphasizes materiality and an engagement between the viewer, the site, and the work.

Harsha's first engagement with these ideas resulted in the recent work Spot an innocent civilian, in which rows of standing halo - adorned figures appear as though they are part of an identification lineup, presumably for the viewer to appraise and determine the «innocent» of the title.

He primarily works with colored glass and mirrors, which allow for engagement between the work and the viewer.

In collaboration with artists, curators, scholars and viewers, we will draw on a range of experiences and approaches to develop new strategies for productive critical, social and aesthetic engagement.

For work that is entirely about empowering viewers to become aware of their own potentiality for reinterpreting material and political history the artist hopes to understand how such moves and gestures narrowly impact the viewer's engagement with the work itself; and, more broadly, the history and philosophy of science, military and popular influences on cultuFor work that is entirely about empowering viewers to become aware of their own potentiality for reinterpreting material and political history the artist hopes to understand how such moves and gestures narrowly impact the viewer's engagement with the work itself; and, more broadly, the history and philosophy of science, military and popular influences on cultufor reinterpreting material and political history the artist hopes to understand how such moves and gestures narrowly impact the viewer's engagement with the work itself; and, more broadly, the history and philosophy of science, military and popular influences on culture.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Many of Galindo's more recent works rely on direct engagement with viewers as a strategy for encouraging accountability and responsibility, a tactic employed by many of her predecessors.

The show should provide an opportunity for viewers to reflect on the stormy course of Ray's career, from his early engagement with a Conceptual but humorous performance art to uncanny, sexually desublimatory figurative sculpture.

Time based and fluid, interaction with the works change depending on the individual viewer's engagement, becoming less about fixed imagery than possibilities for experience.

He extends the vocabulary of geometric and hard edge abstraction through an engagement with sculptural forms and architecture to exploit time and duration in order to create an unfolding contemplative experience for the viewer.

VIT has an advantage over cryptocurrencies such as bitcoin because it serves as both as a medium of exchange and as a tool for capturing viewer engagement data in a single token, according to a white paper on the token's website.

For example, try writing your LinkedIn Profile with a more conversational tone and share some of your personality within your summary section to increase engagement among your profile viewers.