Sentences with phrase «image the viewer sees»

BL: Jennifer Manzella's prints of abandoned industrial building facades along the Delaware and Hudson Rivers are the first images viewers see when they walk into the show.

Professional voice talent explains each image the viewer sees.

Not exact matches

Both strategies serve to give the viewer distance on the image, to remind the viewer that the image is to be seen as image, not as reality.

Forty million television viewers will see Osama bin Laden's image superimposed over the President and hear the following speech.

I actually like how the show shocks the stereotypical image in America of Muslims and perhaps will open the viewers» eyes to see that Muslims are not all the same.

«So it was with a mix of surprise and disappointment to see your new video that seeks to capture the attention of the viewer with graphic images of Ground Zero that day.»

These signs were either radial velocity variations (1 star), Hα line profile variability (2 stars), double - lined profiles (9 stars) or visual binarity seen in the slit viewer images (4 stars).

Viewers expecting more focused dramatics may think Days of Heaven remote and muted, but those viewers sensitive to its expressive images will see a much bigger story unfViewers expecting more focused dramatics may think Days of Heaven remote and muted, but those viewers sensitive to its expressive images will see a much bigger story unfviewers sensitive to its expressive images will see a much bigger story unfolding.

As you can see in the video above, which runs the viewer through the visual effects process, there were many steps in conceptualizing and constructing the image of the elephant that you see onscreen.

HeinOnline provides exact full - page images of documents in the PDF format, allowing viewers to see all charts, graphs, tables, pictures, handwritten notes, photographs, and footnotes exactly as they originally appeared in print.

I'd like to see Crunchyroll change how they do the two page mode so that instead of the manga viewer grabbing two pages and putting them together for a single display, it instead goes to a new image file which has to the pages put together properly for two page panel spreads.

does that statement imply that when a viewer sees a particular images that they are instantly compelled to purchase it?

In the image of the road below, you can see how we've adjusted the viewer's vantage point using different horizon lines:

Although casual viewers may not notice it at first, nearly every figure in Drexler's paintings consists of a photographic reproduction glued on to the canvas and then overpainted so that what we see is not the reproduction but Drexler's version of the image.

When the viewer changes his position towards the object these images dissolve into many individual parts and reassemble only when seen from the right angle.

This method results in a gleaming, reflective surface, which allows the viewers to see their own reflections and also guards the intimate image from view.

Seen together, this selection of videos highlights the ways in which her works investigate the intimate relationship between on - screen images and the physical and psychological response of the viewer — a relationship that has become increasingly direct in recent years due to the proliferation of electronic devices and the ubiquitous dissemination of visual and verbal information in our surroundings.

Friday July 27 Tubman Mahan Gallery (6:30 pm to 8:30 pm) Russ McIntosh's Double Take solo first solo exhibition at the gallery features digital images that challenge the viewer to look beyond the initial composition and see beyond the original composition.

The living room environment is familiar and humdrum, while the lapping flames and carefully lit installation encourage the viewer to see images in the shadows and the flickers of the screen.

Allowing the viewer to see the works through visual cues and historical connections, looking at the image within the photograph as well as relationships between photographs, this exhibition seeks to engender new «ways of looking.»

This method results in a gleaming reflective surface which both allows the viewers to see their own reflections and also guards the intimate image from view.

But viewers and art professionals protested what they saw as the appropriation of the image of an African - American man slain by whites by a white artist.

When seen from afar, these dots blend before the viewer creating a clearer, wider image.

Russ McIntosh's Double Take solo first solo exhibition at the gallery features digital images that challenge the viewer to look beyond the initial composition and see beyond the original composition.

Shadow Projection is a closed circuit video installation in which the viewer sees himself / herself being projected on a screen and becomes a participant in determining the shape of the projected image, altering it at will.

Lighted from behind, images seen through the grooved surfaces of these lightboxes change as the viewer moves past them.

It asks the viewer to differentiate between the scrim of personal experience through which one often sees the world and the true image on the wall.

It is this discovery that I hope each viewer can make too from my painting, seeing the image as more than just everyday subject matter.

These photographers document the present situation around the bases; through these images the viewer is able to see the causality of history at work — implicitly and irrevocably.

And if the viewer lingers, he or she will see that images in the video refer directly to the floor piece in the vault, while the «sunken» miniature book subtly recalls some of the images, spread by the media in the aftermath of March 2011, of so many personal objects and living beings dragged down into the waters of the ocean.

Claiming imagery typically referenced through our daily interaction with media sources, Kahrs builds on the diversity of photographic images infused with the seductive palette of artists such as Richter and Tuymans, but invests them with a grotesque, bodily relationship to the viewer seen in the work of Jenny Saville.

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.

In addition, some black - and - white Op Art pieces cause viewers to see after - images — colored shapes created by our brain based on signals the eyes send, but do not in fact perceive.

My goal is to create images of waves and water that will surprise a viewer with what is there but not necessarily seen and to stir us to appreciate and protect this beautiful resource.

With subtle materials (twigs, leaves, mirrors, and wisps of metal) and a lightness of touch, Raetz creates anamorphic objects and images that play with perception, making his viewers question what they see and how they look at the world.

A particular depiction of form can generate the way the viewer sees the image, and it strikes me that somehow everything about that seems to pertain to, or evokes references to, perception and psychology.

The artist's Day Dreaming See series, begun in 2012, evokes the illusory and associative nature of dreams and memory, and invites viewers to construct their own unique meanings inspired by the images and sensations experienced therein.

Similarly, his early assemblage paintings, which included functioning objects and gadgets, present shifting images that advance and retreat depending on the viewer's relative position, like stage sets that can be seen but not entered.

For example, the film «Wounds and Absent Objects», a homage to Kapoor's hero, American abstract expressionist Barnett Newman (1905 - 70), suggests a deep journey from colour to darkness; on the screen, viewers see a single - coloured image, very much like one of Newman's painting, that shifts from brighter to darker shades.

Robert Rauschenberg's anarchistic blending of imagery leads viewers to consider not only the specific meaning of his particular images, but also the way that images are combined or seen juxtaposed within various contexts.

In them, the viewer is invited to look directly into the lens of the device to see the images.

Given the current social context, in which everyone constantly sees and shares images of themselves on different networks, Carvalhosa's installation triggers a strange feeling within the viewer, who instantly pauses and enters something of a «non-place,» where the lack of narrative can be disconcerting.

The artist allows the viewer to spend time with the image, enabling a closer examination and consideration of a view that would normally only be seen in their films for a few seconds.

The works do not prescribe a certain reading: Murray wanted viewers to see what they saw, it was okay if they didn't see images or if they saw something different than the imagery she intended.

«Viewers and collectors will have a wonderful opportunity to see how Christopher has further developed his ideas about barriers and place, with new images shot outdoors and in some familiar and unfamiliar landscapes.

The large size of the photographs (each is printed at roughly 26 by 20 inches) allows viewers to see the images as much more than a family photo album — although that is clearly what they are.

As Richard Prince put it, his re-photographed advertisements «turn the lie back on itself» by relying on viewers to understand that they had seen the same images a million times over, and that these images were a fiction.

Gillian said: «I want the viewer to look at my image and see themselves.

Liebman remarks: «Every decision I make I want there to be a formal reason and another level of meaning, so it works on multiple layers... When I see the paintings, I can't help but see them in reference to the original image, but the viewer doesn't necessarily have that.

Viewers who saw Johnson's «Cosmic Slop» paintings at MoMA this year can expect more dark, abstract images, this time done in the form of portraits that make use of black soap and wax.