Sentences with phrase «invites viewers»

An outdoor intervention extends the dialogue into the public space, a strategy in which the artist invites viewers to integrate an experience with color into their daily routines.

Maria Lassnig's current survey at MoMA PS1 invites viewers to contemplate context, whether by intention or not.

A playful exploration of selfie culture and an intervention into the space of the art fair, where women have traditionally been muses for male artists, «Hello Selfie Miami» invites viewers to consider their roles as spectators and as fair goers.

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.

Gigantism Terrarium Jungle Biodome Color Fish Tank Jurassic Papayas Windex Parrots Bananas Fruit Watermelon Toothbrush Gummies Concrete Ecosphere Biodome Katherine Bernhardt, 2017 The multi-layered show invites viewers to experience Bernhardt's installation as a terrarium - from the exterior, or immerse oneself in her prodigious concrete jungle - from the interior.

A largely conceptual artist working in a range of scale, her work invites viewers to explore questions about their own history and examine themes of memory, belonging, dislocation and impermanence.

At 18th Street's main gallery, Dizon will weave the video that she has shot together with archival footage, text from philosophical, political, and literary sources, and sounds composed from field recordings, scores, and voice, into an intricate work that invites viewers to reflect upon diasporic subjectivity, postcolonial history, and the effects of global capitalism in the Philippines.

The painting invites its viewers on a pictorial quest, scanning for clues around the perimeter of this amorphous form and searching throughout the rich gradients for hints of the unique chromatic ingredients which have melded together to produce the majestic veil.

Sarah West invites viewers to explore and navigate the compositions of her work in Vanishing Points.

The Steps Table invites viewers to experiment with one's own body in relation to furniture, exploring the limits of what kind of objects can be meaningfully understood as a table, and questioning commonly accepted concept of such furniture.

Pescador also invites viewers to share their written and audio experiences of living in Los Angeles County and how they see their own neighborhood changing throughout the time they have lived there.

With nine works in the exhibition, Greenbaum invites viewers to contemplate the forms of these objects and the roles they play in consumer society.

The show explores the nature of symbiosis through the combination of sound and sight and invites viewers to question their own personal interdependent relationships.

Each artist in the exhibition offers a vision of the world she has witnessed, and each image invites viewers to confront their own preconceptions.

Focusing on works in the University Gallery's permanent collection, this exhibition invites viewers to consider the intimate relationship between the object to be looked at and those doing the looking.

The architectural nature of this series invites viewers to bring their own role onto Hoseini's stage.

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.

Nonetheless, walking through the space is delightful and, in line with the other installations, invites viewers to feel their own embodied presence.

Although her work results from deep observations of the history of painting — from Velasquez, Rembrandt, Caravaggio and Cezanne among others — her personal vision transcends classical notions of genre and narrative as she invites viewers into a delicious domain of confident brush strokes with a new aesthetic.

This exhibition invites viewers to trace Thiebaud's emergence as a mature artist with a singular style.

Challenging the limits of perception, the work invites viewers to experience each other and the space in numerous, shifting, fractal reflections.

The work is as experiential as it is thought provoking; the resulting experiment invites viewers to question their own perception of place and self.

2 Gallaccio invites viewers to stand, sit, play, or lie on the tree stump's colorful inlaid surface, a lived aspect that reinforces the work's commentary on the complex interaction between geologic time and human interventions in nature.

Leslie Hewitt's work invites viewers to experience a unique space between photography and sculpture.

Drawing on extracts from apocalyptic works by Octavia Butler and Mary Shelley, the film employs a science fiction device which invites viewers to imagine the excavation and dissection of modern life from a future point in time.

The exhibition invites viewers to reflect upon Barnes's collecting practice, particularly in terms of its connections to colonialism.

The contemplative quality of The Critical Edge series invites the viewers to both a spiritual and intellectual journey, transcending the realm of the known and ordinary.

«So - Called» invites viewers to contemplate the presence of stories both told and untold and reconsider how we interpret signs and symbols in and out of context.

It's sky blue surfaces, accented with cobalt, orange - yellow, green, pink, and red, function as an integral sculptural element that invites viewers to imagine the sculpture as a dancer wrapped in color.

As the artist's speculations mine the gender dynamic of female cyborgs, she invites viewers to take leaps of imagination when considering the believability, cognition, and emotional potential of cyborgs, while exploring how they reflect our identities, anxieties, and aspirations.

The Pennsylvania Academy of the Fine Arts offers a comprehensive retrospective of the career of Norman Lewis, the first such exhibition to be devoted to this African - American Modernist painter and one that invites viewers to consider Mr. Lewis's place in the history of the country's art.

This work is now one of the most well - known examples of recent Singaporean art and invites viewers to interact with one another, opening up multiple possibilities for broader dialogue.

With an invitation card sent out alongside the exhibition announcement card, the artist invites viewers to visit a pair of rowel spurs (iron, c. 1650) in the Arms and Armor wing of the museum (Gallery 376, 1st Floor).

Just as the material conditions of the studio in this way become inseparable from the finished artwork, Murillo invites viewers to approach their physical engagement with the gallery space as part of the viewing process.

Garcia - Nerey invites viewers to construct themselves within his work while Wright explores different realities existing at the same time.

Through research and archives, this presentation maps out the deep diversity of the area and invites viewers to reexamine the chronicles of our local lore.

Exhibited publicly here for the first time, the artist invites viewers to engage with this layered, industrious work up close and in intimately personal ways.

As if in a reportage, it invites the viewers to immerse themselves in the bustling activities of Onomatopoeia (the term for a word sounding like the sound it describes), the capital of this world, where objectivity is believed to indicate imbecility.

Power Objects: The Future Has a Primitive Heart, which runs through May 15 at the Urban Institute for Contemporary Arts (UICA), invites viewers to explore such connections between the material and ethereal.

At 18th Street's main gallery, Dizon will weave video that she has shot together with archival footage, text from philosophical, political, and literary sources, and sounds composed from field recordings, scores, and voice, into an intricate work that invites viewers to reflect upon diasporic subjectivity, postcolonial history, and the effects of global capitalism in the Philippines.

6 Johannes Vogt's themed booth invites viewers to examine aspects of feminist philosophy, with a particular stand out from artist Monika Bravo, who's wall piece Bild - Objekt layers materials to create solid forms.

At this year's 50th Annual Springs Invitational at Ashawagh Hall, Zacharias's Hat, a 40 x 46 inch abstract painting, invites viewers to take in its clues and «fill in for themselves with their own imagination» the painting's story.

Exquisitely crafted, frequently witty, and always thought - provoking, Prosek's work invites viewers to engage with realms that science can not quantify or solve — those spaces in between fact and folklore, science and myth, real and imagined.

Stripped to their most essential structure of standing, resting or hanging in suspension, the works together create a landscape that invites viewers to construct a meaningful whole out of discreet, fragmentary parts.

By delivering these snippets of a story, Pretzer invites viewers to complete the narrative themselves.

Rauschenberg's A Quake in Paradise (Labyrinth) from 1994 invites viewers to move through — and become a part of — a maze - like installation of panels printed with the artist's signature layers of mechanically reproduced imagery.

The artists in Word Dance have all developed a distinctly individual language for drawing that invites viewers into their private world.

One of artist James Turrell's celebrated Skyspaces, Meeting is a site - specific installation that invites viewers to gaze upwards toward an unobstructed view of the sky.

The show invites viewers to suspend disbelief and enter the night, where anything is possible.

Comprised of clusters of inflated balloons sandwiched between a wooden latticework, the piece invites viewers to walk on its air - filled structure.