Sentences with phrase «frame as the viewer»

Not exact matches

Designing your site with a high - quality screen resolution will help your viewers to think of your site as premium, as does using high - quality images that take up their entire frames.

She has a director's ability to see the world through a lens, to see a narrative as a framed scene — to see it as viewers will see it.

Viewers may relate to the feeling of being trapped during this strained and tedious throwback, which the writer - director Mickey Keating has framed as a hat tip to the 1970s work of Sam Peckinpah and Peter Watkins, but which lands well south of John Waters in its try - anything - for - a-reaction pretensions.

Anderson likes to frame his films as tall tales, placing viewers at a gentle remove from reality to a plane of existence more fantastic and charmed than our own.

Bob Hoskins turns up as Old Fezziwig, pulling a CGI - assisted double - somersault, and causing the more nostalgia - prone viewer to ponder the fact that special effects seemed so much more special 20 or so years ago, when Hoskins worked his socks off for Zemeckis on Who Framed Roger Rabbit?

Relying on a combination of archival footage, the prison letters of the doomed dead men walking (as read by impersonators Tony Shahloub and John Turturro), the reflections of sympathetic lefties like Professor Howard Zinn, and the folksinging of Arlo Guthrie, the movie does a decent job of convincing any open - minded viewer that Sacco and Vanzetti were indeed framed.

What viewers get instead is an ersatz approximation of a violent power fantasy: Banning glowering uncontrollably as masked thugs of implied Middle Eastern origin lunge at him and are killed just out of frame, leading President Asher to yelp out some variation on «Jesus, Mike!

Weber (Annabelle & Bear) makes smart choices here, not least of which is to frame A Girl Like Her as a faux documentary, injecting a much - needed ironic distance between the action and the viewer.

Through shifting the «harder» material to the periphery of the frame, as viewers we decentre our reading of minority worlds as something «tragic.»

This framing device is inferred from statements Fitzgerald made in «The Crack - Up,» and «Gatsby» often refers to itself as a book, so even though it isn't officially part of the source, it's hardly a blasphemous indulgence; still, it's one more buffer between viewer and story in a movie that already has more than its share.

Director Jaco Van Dormael has infused Mr. Nobody with an unapologetically arty and downright pretentious sensibility that's reflected in virtually every frame, as the far - from - linear storyline tracks the important events in Mr. Nobody's life - yet it's the emphasis on events that may never have even happened that's sure to infuriate certain viewers (ie if you're not willing to go with the premise almost immediately, Mr. Nobody will undoubtedly come off as a long slog indeed).

Coogler favors action in the frame rather than frenetic editing, which adds to the sense of immersion as the viewer sees events in their entirety.

The brilliance of Amy is Kapadia's ability to hold up the various experiences that Winehouse went through in a nearly non-judgmental fashion, but also to pull the viewer into the frame as a contributor, in even the tiniest way, to the darker side of celebrity.

Given Pandigital's background, it's no surprise that the Novel also doubles as a photo frame / viewer.

The concept of a point of view, a perspective, an act of framing on account of the viewer is as evident in Camera as it is in the Window sculptures presented in the solo show at Frankfurt's Portikus in 1992 — a traveling exhibition with other stations in various places, among them the Renaissance Society in Chicago — with the evocatively shimmering and metaphorical title «Everyone needs at least one window.»

Instead of acting as a simple physical barrier, the frame — not unlike the first glossy black «mirror paintings» of Michelangelo Pistoletto, also commenced in the 1960s — reflects a shard of the viewer's own surroundings, creating a direct continuum with the external space they occupy.

As in many of the Untitled Film Stills, Sherman's use of familiar narrative tropes from Hollywood movies leads the viewer to complete the narrative as if filling in the next frame of a filAs in many of the Untitled Film Stills, Sherman's use of familiar narrative tropes from Hollywood movies leads the viewer to complete the narrative as if filling in the next frame of a filas if filling in the next frame of a film.

As in many of the Untitled Film Stills, because the image evokes the familiar narrative tropes of Hollywood, the viewer is encouraged to fill in the next frame and imaginatively complete the narrative.

Even when they featured the work of a single artist — mimicking the one - person shows viewers are used to seeing in galleries, as in the Frame section of Frieze, devoted to new galleries presenting individual artists — the hangings were thrown together in a way that never would have been countenanced in a gallery.

She then laid out the video frame by frame, just as she did with the eagle video in Almost Like Rebar No. 2 and the video of a girl in a grass field in Almost Like Rebar No. 4, which enables the viewer to scrutinize every transitory moment otherwise unnoticed in a continuous motion picture.

Due to the close cropping and angled framing, the viewer can perceive the wings as sculptural objects divorced from their grand and dynamic referent.

A simple scene of a woman ironing takes on layers of meaning: the viewer finds that a mirror doubles as a map of the world; a strategically placed framed painting of a mountain appears within the painting; antique vases contrast with domestic, electric appliances.

Eerily, the scene is framed by a silhouette of foliage — positioning the viewer as a voyeur lurking in a bush.

The entire room is given a blue tint by an illuminated ceiling, as projected slow - motion loops of six men and six women, alone in their frames, perform an unresolved gesture without acknowledging the viewer, like opening an apartment door, or floating (or sinking) in water.

From this darkened and nearly empty space, almost as if the viewer were in the small cube on the shelf, one again sees the video framed within the open doorway between the two spaces.

The array of enameled picture frames and clocks, gold cigarette cases and cane tops, hardstone animals and flowers in rock crystal vases, and ruby encrusted brooches and boxes continue to fascinate viewers as they did when first displayed in the windows of Fabergé's stores in St Petersburg, Moscow and London.

These tubes disrupt the notion of tableau in art and disorient the viewer: Should the works be framed mentally as paintings, sculptures, faces, or all three at once?

In CyberRoberta, it is Hershman Leeson's intent for viewers to «become not only voyeurs but also virtual cyborgs,» as the doll's pink cherubic face, framed by shiny blonde locks, becomes «a mask for multiple expressions of identity capable only through global connectivity.»

Unlike more recent attempts to frame the personal collecting habits of an artist as a manic embodiment of commodity fetishism in the era of high capitalism, this exhibition asks viewers to reflect upon the correspondences between artist and acquisition and the complicated relationship that contemporary art exposes between taste, influence, and popular culture.

These hundreds of objects that looked like framed, matted, fields of painted blackness, worked as neutral, «generic signs» that might inspire the viewer to think about the social expectations that constructed the «idea» of a painting,» more than the actual painting itself.

Whilst in Rest Pablo Lobato conjures a new gaze through an innovative cut for the image, in Castell the artist once again explores the idea of cut as a poetic solution, creating an unusual framing that displaces and provokes the viewer.

[9] Works of art began to emerge from the walls of the museum and galleries (Daniel Buren, Within and Beyond the Frame, John Weber Gallery, New York, 1973), were created specifically for the museum and galleries (Michael Asher, untitled installation at Claire Copley Gallery, Los Angeles, 1974, Hans Haacke, Condensation Cube, 1963 — 65, Mierle Laderman Ukeles, Hartford Wash: Washing Tracks, Maintenance Outside, Wadsworth Atheneum, Hartford, 1973), thus criticizing the museum as an institution that sets the rules for artists and viewers.

Takeshi Murata, Monster Movie, 2005 3:55 min, color, sound The Yeti-esque monster of Takeshi Murata's Monster Movie lunges toward the viewer as Murata digitally pushes it back, melting the monster frame by frame into a halucinatory spatial warp.

Rather than being displayed in a straightforward and unambiguous way in a gallery or museum setting, they are often separated from viewers by a framing device, such as a vitrine, a box, or other clear zone of demarcation.

The viewer must look past the surfaces and read between the frames, just as Weems herself has done with this complex history.

The exhibition design functions around a graceful distribution of the works, as well as the subtle but consistent use of variety in color and material in their mounting and framing, set against modular mid-century-esque structures that invite the viewer to linger, but never deny her a panoramic view of the works in collectivity.

Like the collage artist who takes objects from the world, combines them with paint, and sets them inside a frame in order to show the viewer that «the tiniest authentic fragment of daily life says more than a painting,» Genzken uses the gallery space itself as a kind of frame, setting objects within and then adding her own version of a paint stroke.

Framed and accented by their own structural elements, these painting - installations unfold and re-structure themselves as the viewer's perspective crosses the space.

With her highly acclaimed series Two Planets (2008) and Village and Elsewhere (2011)-- shown as part of her first New York solo exhibition in New York (Tyler Rollins Fine Art, 2012)-- Araya focused on art itself and the way the viewer interacts with a work of art, placing framed reproductions of iconic Western paintings in rural villages, markets, and Buddhist temples in Thailand, where she helmed groups of farmers discussing the artworks.

Title: Menhir Stacking Artist: Hans Van de Bovenkamp (Sagaponack, NY) Framed signed drawing of Van de Bovenkamp sculpture 26» h x 20» w, framed Value: $ 1,800 Starting Bid: $ 1,000 Renowned for his monumental sculpture created primarily for open - air public locales, Hans Van de Bovenkamp has been described as an artist - mystic whose work — with its signature power, lyricism, and grand proportions - heightens the viewer's sense of imagination and discFramed signed drawing of Van de Bovenkamp sculpture 26» h x 20» w, framed Value: $ 1,800 Starting Bid: $ 1,000 Renowned for his monumental sculpture created primarily for open - air public locales, Hans Van de Bovenkamp has been described as an artist - mystic whose work — with its signature power, lyricism, and grand proportions - heightens the viewer's sense of imagination and discframed Value: $ 1,800 Starting Bid: $ 1,000 Renowned for his monumental sculpture created primarily for open - air public locales, Hans Van de Bovenkamp has been described as an artist - mystic whose work — with its signature power, lyricism, and grand proportions - heightens the viewer's sense of imagination and discovery.

Labyrinthine, whirling lines surround the viewer on all sides as Zitko's pictures explode their frames, oftentimes overwriting the structure of a room until it appears to disintegrate.

The voice - over hereby functioning as the referential frame, wherein the diary - like poems structure the exhibition space, addressing the viewer and embedding him and her into the narrative.

She uses choreography as a tool to create movement sequences that re-interpret our everyday physical gestures, reflexes, and rituals, and direct the viewer into the frame of the composition.

This programme has been constructed in the awareness that style is less a question of stylistics than ethics, i.e. a way of keeping its subject at a distance, of including the out - of - frame as a dynamic produced by the viewer, of thinking not only about the production of images, but also about their distribution, and how they cohabit with other sources of images.

The show begins with a small room of found, framed works, each reversed in its frame and hung on the wall, so as to only display its posterior side to viewers.

Grosse's works are highly performative; as viewers move through them, tracing the artist's gestures, their own actions are in turn framed by the color - saturated backdrop.

«It is a total environment that acts as a broadcasting tower for the issues of our time — the ethical and aesthetic questions that frame this moment, those of human, environmental, and social entropy — and does so in a way that is immersive, making the viewer a fully participatory protagonist of the work.»

The title of the exhibition refers to the window as a framing device, a boundary between a space which is occupied by a viewer from a space which is viewed, and the Windows operating system, first released nearly thirty years ago around the same time when these artists were born.

The curvilinear geometries between the roots frame the view creating landscapes in the negative spaces that ebb and flow as the viewer moves around and under the piece.

It pieces together different frames into an overall 360 - degree image, which can then be shared as stills or uploaded to Google Maps for use with the Street View viewer.