Sentences with phrase «image the viewer encounters»

In one image the viewer encounters the plight of peasants who occupy the soy fields in order to prevent fumigations, alerting with a firecracker, yet under threat from the fumigations protected by the police.

Not exact matches

In a conversation with Cuban Art News publisher Howard Farber, he spoke about his art, his influences, and what he'd like viewers to take away from their encounter with his images.

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.

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.

Gazing upon a small image of 87 x 68 mm against the white background, viewers encounter time and space that extends without limit, perhaps also serving as a moment of «rediscovery» for us.

This working orientation is significant not only because of Rauschenberg's storied association with the flatbed picture plane11 — the radical, ninety - degree shift relative to human posture that redefined the encounter between image and viewer in the postwar era — but also because of a subsequent intervention that would give Untitled [glossy black painting] the appearance of a vertically made composition.

I am interested in the relationship between images and connections that the viewer creates when encountering them, connections that I can not control.»

Impositions upon the body also exist for viewers to the exhibition as they walk around the space and encounter artworks that have their own autonomous movements (Eva Fabregas's floor - based works, Self - Organising System, and Alan Butler's Orphan Transposition series of spinning laser - etched acrylic panels, featuring out - of - copyright images of Yosemite National Park, freely circulating online).

Starved for content by the final gallery, some viewers will be thrilled to encounter three untitled works, each imprinted with the photographic image of a toy rabbit astride a stuffed goat.

Its cultural and commercial value relies on the willingness of viewers to believe in things that can't always be immediately perceived or fully understood — to allow for the possibility that the objects and images they encounter in the gallery might have access to meaning and even power.

According to curator Lizzie Carey - Thomas, it is a process of slowing down the act of looking and the viewer's moment of perception, so that «the eye oscillates between the detail and the recognition of the form; she draws us into an encounter with the image.»

It is this bodily response to an idea or an image that she wants the viewer to experience when encountering her work and its use of unexpected materials, scale and humour.

Taking up the largest wall in the gallery space, the viewer is met with floor - to - ceiling luminous images, in Burdis's signature sexually deviant style, of fleshy, lumpy characters conjured up from the artist's daily observations and encounters.

In this earlier moment, artists as diverse as Dan Graham, Peter Campus, Bruce Nauman, and Joan Jonas established feedback loops of live cameras and monitors into which viewers could wander: Sometimes their images were replayed to themselves in altered form, as in Campus's works, and sometimes spectators encountered their displaced projections on a short delay or in kinesthetically disorienting environments, as in installations by Nauman and Graham.