Sentences with phrase «greatest art viewer»

Not exact matches

Netflix may have mastered the art of hooking new viewers, but its user behavior suggests that the streaming platform isn't so great at maintaining them.

And after two - plus hours of it, viewers may feel they've suffered enough to spark their own great art.

Moments that might strike childless viewers as schmaltzy — like the audience's last glimpse of Richard Kind's Bing Bong, a character who seems to have grated on David but whom I regard as one of the great fictional creations of the year — provided my 9 - year - old and me with our first - ever experience of weeping together over a work of art.

In the years since her death, viewers young and old have experienced the kind of thrill I feel, still, whenever I look at Neel's work, which, like all great art, reveals itself all at once while remaining mysterious.

The program takes a fresh approach to immersive installation and embraces innovative ideas, provocative content and interactive projects, engaging first time viewers and art critics alike, while fostering a greater awareness of the important messages found in contemporary art.

Like all great art, Bartlett's art continues to tell her story while simultaneously evoking the viewer's own story.

Whenever Hammons art is included in an exhibition, as the flag recently was at MoMA P.S. 1 during «Greater New York,» viewers are offered an opportunity to renegotiate what can be art.

Hilton Als, a theater critic at The New Yorker, who curated the Alice Neel exhibition in Chelsea, writes, «In the years since her death, viewers young and old have experienced the kind of thrill I feel, still, whenever I look at Neel's work, which, like all great art, reveals itself all at once while remaining mysterious.»

The viewer can indeed understand the logic of Eliasson's works here, and the art indeed engages on an intellectual level — but the installation somehow lacks the awe of the great British master, that in many ways Eliasson captured with his weather project — but after all; they are experiments.

All of her work attempts one thing - to hold the attention of the viewer: «And that's the greatest question we have to face within art right now, we are barraged with so much.»

Though we mourn the loss of a great artist, we celebrate with much joy his impact on art and culture at large, knowing that his work will continue to touch, inspire, and challenge all viewers who come across it.

Whether this shift is prompted more by an art - historical interest in enriching the archive or a market - driven desire for a new source of product is a discussion for another time — either way, the result is a new appreciation for semi-forgotten greats that pushes them back into the contemporary discussion, a boon for engaged art viewers on the search for buried treasure.

Featuring rare works by Pablo Picasso, Andy Warhol, and Roy Lichtenstein in addition to pieces by contemporaries Thalen & Thalen, Gino Miles, Chris Bracey and David Spiller, Silver, Gold, and Bold invites viewers to explore a history of modern art through the eyes of some of the generation's greatests — from decades past to present — all of whom re-contextualized their respective mediums in profoundly personal ways.

There is an implicit populism to the exhibition, a trumpeting of each artist's outsider status, or at least a sense of frustration with the art world's perceived exclusivity, but a great deal of the work hinges on the viewer's ability to pick up on insider - only references, exacerbated by the exhibition's lack of sufficient explanatory texts for conceptual projects.

Each of these artists explores various environments and materials in their work, which causes the viewer to examine their own understanding of the complex roles that nature, materials, and our greater world play in art.

Her art - making practice is not meant to be representational, yet the finished artwork, frequently with suggestive titles, is often referential but in different ways to different viewers — a hallmark of great abstraction.

Surprisingly a great deal of the work is Pop Art which unstably cushions itself within the established spiritual silence constructed specifically for the benefit of the viewers as they perpetually gaze into the uncontested works of genius.

This is a rare chance to interact with the works of one of the greats of contemporary art — it's a beautifully curated and presented show that is accessible on many levels for a range of viewers and I urge you to take the time to see this fascinating show.

In 2008, Hancock parlayed into the world of dance with Cult of Color: Call to Color, a collaboration with composer Graham Reynolds and choreographer Stephen Mills for Ballet Austin, which received great critical acclaim, with Eleanor Heartney calling it «an exuberant mix» that «swept the viewer along in a satisfying blend of sound, imagery and movement» in an article for Art in America.

Rauch's paintings suggest a narrative intent but, as art historian Charlotte Mullins explains, closer scrutiny immediately presents the viewer with enigmas: «Architectural elements peter out; men in uniform from throughout history intimidate men and women from other centuries; great struggles occur but their reason is never apparent; styles change at a whim.»

Newman sought a new kind of purity in painting, and aimed for a direct and unequivocal experience of art that made greater demands on the viewer's attention and imagination than anything that had come before.

I think allowing a little peek of colorful cookware or your own good taste in art to intrude, is all the photos needed to convince the viewers;) It's great!