Sentences with phrase «large over the viewer»

His photos on the BOS site promise videos that focus on the absurdity of boring rituals, but we're most interested in a giant architectural maquette: a skyscraper, which is large enough to loom large over the viewer.

Not exact matches

The global audience for e-sports is expected to reach nearly 400 million this year (larger than the population of the U.S.), split between enthusiasts and casual viewers, and is expected to grow by 50 percent over the next three years, according to data Dojo Madness cited from the research firm Newzoo.

Host Yul Kwon, a former telecommunications attorney and winner of the Survivor 2006 season, guides viewers on a sweeping tour of the nation that has them flying over California's largest reservoir (at left), descending into a coal mine in Wyoming, and perching atop a wind turbine in Washington State.

Young viewers may be distressed as well by Theodore's fear of large birds and his worry over the state of the siblings» relationship.

The larger - than - life, almost insanely upbeat finale ensures that Trolls ends on a positive note, at least, although it's ultimately difficult to imagine older viewers finding much here to get truly worked up over.

Children's characters appear sexualised, Freddy Krueger reigns large over an American flag, In SKIP A.D.» Frost welcomes the viewer into his disturbing American Dream.

Opening: Stefan Tcherepnin at Real Fine Arts Stefan Tcherepnin's last show at Real Fine Arts, in 2014, included large stuffed monster - like sculptures that were originally made for use in an abstract film and towered over viewers there to commune with them.

Upon entering the gallery, viewers are initially confronted with large abstract canvases, «all - over» patterns similar to those of Jackson Pollock or Cy Twombly.

Over the years, the works of architects, photographers, painters, builders and faculty and students of the school have been exhibited, drawing viewers from schools of architecture and the wider professional communities as well as the public at large.

It makes no difference whether we are face - to - face with one of his large format images, in which he allows the pigments dissolved in epoxy resin to run slowly down the picture carriers in satiated, glistening vertical stripes; or whether we study those works in which small drilled craters disclose many apparently archeological layers of paint, or find ourselves in one of his site - specific, all - over paintings that cover the walls, floors and ceilings, their iridescent stripes of color subduing entire architectures and permanently altering the viewer's perception.

In viewing one of Moseholm's works, whether it be a large monochromatic painting of an image reminiscent of Hitchcock's «The Trouble with Harry» or the reflection of a woman's face floating over a polychromatic, nocturnal megalopolis as in the «Rosebud ll,» the viewer has the feeling of being directly exposed to a fundamental understanding of the logic in the media age.

Projected onto a large screen in an unfinished church, the repetitive blasts and mushroom clouds over the boat - covered waters play to both the viewer's nervous strain and sense of wonder, underlining humankind's ability to both destroy and create.

The large size of his canvases requires a viewer to consider the relationships and rhythms of color over time, more like a musical composition than the pop art images that emerged at the same time.

Large scale shadows fill the gallery walls and the viewer, who was initially towering over the fragile paper cities, is now surrounded by layers of giant shadow.

Through a series of strategic partnerships across the United States The FENCE has grown into the largest outdoor photography exhibition series in the world, reaching over 4 million viewers across seven cities a year!

Whether large or small, the works invite the viewer to look closely and to linger over them, to be absorbed by the full range of their subtle synthesis of structure, light and disintegration.

Roger Hiorns» current solo exhibition at Luhring Augustine — the British artist's first in New York City — presents viewers with two inscrutable situations: In one, a quantity of gray powder has been deposited, apparently by hand, over a large, rectangular area occupying the better part of the main gallery; in another, a nude male model loiters about a massive, faceted stone object and a low table, the surface of which is a flat - screen TV monitor displaying video content by the Wall Street Journal.

Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large - scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls and furniture covered in multicolored stickers put there by viewers over the course of the exhibition.

In the decades since, Salcedo has gone on to create larger installations — such as Noviembre 6 y 7 (2002), a work commemorating the seizing of the Supreme Court in Bogotá, installed in the city's Palace of Justice — taking over galleries and unusual spaces to create politically and psychologically charged environments that provide an immersive experience for viewers.

In 2011, in collaboration with the director and artist Harmony Korine, she exhibited Shadow Fux at the Swiss Institute in New York where she collaged, painted, and drew over large - scale faces of film stills from Korine's Trash Humpers, to create otherworldly beings that the viewer can feel in their presence.

In the early 1960s, Bishop developed the vocabulary of color and form that would characterize his paintings on canvas for over twenty years: a reduced but rich palette, the employment of subtle architectonic abstractions, and a consistently large, square format that reinforces the viewer's sense of scale and space.

The Ottawa partner at Osler Hoskin & Harcourt LLP co-hosted the event, which drew an unseasonably large audience of well over 300 viewers from across the continent, mostly corporate counsel hungry for information on compliance with the new legislation.

Eagle eyed viewers have already commented on our videos about the larger lens over Moto Z.

Just like Bitcoin, the esports industry has experienced a huge spike in popularity over the past year — the largest tournament this year saw 57 million unique viewers tuning in to watch the championship.

Today his company ICIWorld.net is one of the largest in the world, with literally tens of thousands of unique viewers, over million hits per month, with 50 - 100 listings per day coming on line, over ten thousand of EMails distributed daily.