Opening: «Pia Camil: A Pot for a Latch» at the New Museum Following her successful presentation of «inhabitable paintings» in the form of wearable clothing that was given to visitors to Frieze New York last spring, Mexican artist Pia Camil returns to the city for a museum solo show with new projects that
invite viewer participation.
His large - scale sculptural installations combine architectural elements and sound and often
invite viewer participation.
Not exact matches
Adam Pendleton, a New York - based installation artist, takes a cue from the writer Reinaldo Arenas in an audio installation that
invites written
participation from the
viewer.
These artists all engage with the dynamic, participatory aesthetic of the digital baroque, creating artworks sited in the fold between the physical and the cyber that
invite — and sometimes even demand —
viewer -
participation to be fully - realized.
The allusion to audience
participation hints at the signature characteristic of Lee's practice, which includes interactive installations in which the artist
invites viewers to be co-creators in his often playful projects.
She employs a surfeit of images, incorporates text, and uses feverish editing to alter the normal flow of the narrative, while the presence of her own voice and the direct
participation of the
viewer — who is pulled into the thick of it and often
invited to perform actions — eliminate the conventional distance between cinematic fiction and its audience.
CURRENT artist Rirkrit Tiravanija
invites visitors to a Thai curry cooking performance, and to interact with contemporary art in a more social way, thereby enticing each
viewer to participate in the completion of the total artwork through immediate
participation.
Although careful to align herself as an artist rather than an activist, Galindo's actions
invite viewers — through observation and, at times,
participation — to consider, to remember, and to take responsibility.
The gestural movements and dynamic forms also
invite the
viewer's touch and active
participation.
Holding and FitzGerald selected works that share a commitment to visual storytelling through paint, «sincere» works that restrict themselves to two or three compositional moves and
invite viewers into
participation.