Sentences with phrase «forces gallery viewers»

The position of the tree renders it ineffective for lynching and the mirror forces gallery viewers to see themselves together as a community.

Not exact matches

The work, which won Creed the Turner Prize in 2001, forces the viewer to ponder the gallery space itself — a visual counterpart to John Cage's silent compositions, perhaps.

-- 13.09.2015 5th floor, Gallery of Contemporary Art The internationally renowned R. Pettibon (US) and M. Mäetamm (Estonia) force the viewer to face the hard realities of life.

This time the rooms of the gallery, in fact, its entire architecture will distort the viewer's perception, making internal appear external, forcing the public to focus on something that is frequently overlooked.

Tuttle also manipulates the space in which his objects exist, placing them unnaturally high or oddly low on a wall — forcing viewers to reconsider and renegotiate the white - cube gallery space in relation to their own bodies.

Nick Cave Soundsuit at Jack Shainman Gallery (B21) Nick Cave began making his signature knitted mannequins in response to the 1991 Rodney King beating, noting his hope to obscure the body from race, class or gender and thus forcing the viewer to look without judgment.

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.

The 15 video works were installed at varying heights in the gallery, forcing viewers into a series of contorted positions in order to view images from the insecure outskirts of the city: dangling off the edges of piers and bay areas, across rattling bridges between Queens and Manhattan, and abandoned psychiatric hospitals on Long Island.

The Malaysian - born, London - based artist uses the overly precious setting of the gallery space to pull objects — cooking utensils, kitchen fittings, plastic tubs, sheets of jute, etc — out of their utilitarian context in such a way as to force viewers to think about them as discrete objects, or things in and of themselves, while in the process challenging the assumptions we make about their functionality and attendant concerns such as, for example, the social status of the person who might own such an object, its role in their lives and that relation in respect to one's own style of living.

Constructed with hand - upholstered cushions in luxurious fabrics, referencing 19th century aesthetic style and craftsmanship of decorative objects the installation fills the gallery space forcing viewers to explore and touch their crowded expanses and cavernous corners, creating a small maze not unlike the Essex Street market itself.

By cladding the floor and walls in coloured tiles, he transformed the white - cube space, forcing the viewer to consider whether it was still a gallery space.

Tuttle also manipulates the space in which his objects exist, forcing viewers to reconsider and renegotiate the white - cube gallery space in relation to their own bodies.

James Turrell's Skyscapes, rectangular cuts into the ceilings of spaces that frame a patch of the sky moving above, encourage viewers to meditate on the beauty of the heavens and use light from to provide insight into changing natural forces, while Ólafur Elíasson uses blue to probe the phenomenological effects of the sky, for instance enveloping entire gallery spaces in blue.

In Cosmos (2015), a large - scale triptych mounted to the gallery ceiling, Irish interrupts the typical movement of viewers through the space and forces their gaze upwards.

In the gallery, the placement of the monitors in the space is such that, in order to watch the work, viewers are forced into a series of physically awkward and bizarre positions, in a sense taking on the role of performers themselves.

The artist has developed a site specific installation for Athar — meaning Impact in Arabic -, which turns the gallery into a new immersive space where different contrast of forces are at play between the material, space, time and the viewer inner perception.

Aptly, a dual showing of their photo - based work — at the young upstart gallery Lehmann Maupin (39 Greene St.) and the veteran Sonnabend (420 W. Broadway), their New York dealer since the late 60's — is a tour de force of what they do best: shock and seduce the viewer.

Jackie Winsor's monumental Bound Trees are made from 20 - foot birch trees tied together with hemp - perfectly positioned in the open air courtyard as a tour de force as viewers pass, entering the back galleries and returning to the entrance.