Sentences with phrase «makes viewers question»

While surprising, this extreme quest for love makes viewers question how far they would go to find their own soul mate in a world increasingly dominated by social media.

But it was his delivery that made viewers question whether he understood how Facebook operates and generates revenue.

The Rolling Tide demolished the Trojans 52 - 6 and made all viewers question how talented USC's roster really is.

I seek to expose the beauty that often results from decay while, at the same time, making my viewer question their own perception of the world around them.

While many of this season's exhibits are intended to make the viewer question the medium, others celebrate the traditional aesthetic considerations of image - making and the passion for the art form.

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.

With this combined usage of photo and text, the artist not only aims at making the viewer question the logic and application of societal clichés, but exposes how clichés shape the roles of women, men, relationships and racism.

Maybe my paintings will make the viewer question: Is evil inherent or a by - product of conditioning?»

They were pasted on walls around New York City, as a way to make viewers question their roles in surrounding culture.

Not exact matches

While the makers of this documentary have a strong bias against hospital births, they ask viewers to consider questions that every expectant parent ought to seek answers to before making a decision on where to give birth; some examples of such questions are:

The profile page asks you intelligent questions to give other viewers an accurate image of you as a person and to make it easier for you to locate potential dates.

Yet all of Marvel's phase three films and their tentative questioning of the underlying political ethos of the franchise feel like buildup for Black Panther, which in its second act comes very close to completely tearing down the Marvel Cinematic Universe en totale — and making viewers long for such a thing to happen.

The question remains for the viewer, what choice have you made already, or will you make in the future?

I loved Avengers: Infinity Wars because it managed to pack 10 years worth of Marvel storytelling into a cohesive, funny, emotional, and overwhelming experience that demands multiple viewings and makes viewers ask many questions about what happens next.

It can make a viewer's head spin trying to ask questions about how and why anything works.

I suppose, given the fact that the film is set in the future, that almost all efforts that might come readily to mind have been exhausted, although the film doesn't make many attempts to answer any possible question that may arise in the minds of the viewers.

A cartoonist, novelist and screenwriter, Alex Garland, who's most commonly known for writing films such as The Beach, 28 Days Later, Sunshine, Never Let Me Go, and Dredd, has now made his directorial debut with Ex Machina, a sci - fi cautionary tale that challenges viewers with a variety of existential questions in regards to artificial intelligence.

We hear none of the planning that leads to that encounter, and Vicky disappears from The Infiltrator after that scene, leaving unanswered any questions the viewer may have about why the team risked involving a civilian in such a delicate operation, or whether introducing Roberto to Bob's actual aunt might not make it easier for the cartel to discover Bob's real identity.

It questions the existence of God and shows the truly important things in life in a way that makes the viewer search for the answers himself - but they are hidden in plain sight.

This led this astute viewer to ask yet another question, «Could it really be that the brain of Jason Segel was the one mind that was absolutely needed to make Muppets Most Wanted something more than average?»

The movie goes exactly where you expect, the only real question being what sort of craziness McCarthy, Falcone and Mallory will unleash upon the viewer as they make their way along this well - worn path.

Though there is no question in any viewer's mind as to which parent figure is preferable, the script makes the interesting choice of giving each side its due.

Next, the panel debates whether the U.S. should make the pickup truck the «national vehicle», and they try to help two viewers with tire questions.

We love our live viewers and the comments and questions they throw at us but understand not everyone can make it.

Eventually things get a bit serious and aside from building a following, getting more viewers to your site (i.e. religiously refreshing Google Analytics) and well travelling some more, the only other thing is this... The ultimate question: «How do you make money while blogging?»

A rip is made in the sky and soon a dragon descends with darkspawn that look like Xenomorphs and the question is produced before the viewer will you stand or will you run, which is a pretty pointless question since the entire game will be to save the entire world, so technically the choice of running is ruled out.

The images questioned accepted taste, challenging the viewer to think through how they had been made; their random juxtapositions often seemed to mimic thought itself.

Sam Moyer is a Brooklyn - based artist who creates mysterious, expansive images that leave the viewer questioning how they were made.

These artists make reference to particular places or timeframes that are brought forward (or backward) to the present day, forcing viewers to question traditional notions of time as it exists in a rigid, linear sequence.

Fisher's interest lies in depicting a visual string of associations made by seemingly disparate images that often defy categorization, and these works raise questions for the viewer about meaning, resolution, and closure.

No matter how abstract the viewer might perceive it to be, it makes you question if their is such a thing as boundaries when it comes to our inner selves and how we make it tangible.

Furthermore, in placing these pieces in proximity to each other but simultaneously giving the viewer space to focus on each work individually, a deeper, imaginative experience is made possible and associations can be questioned.

Coming from Hershman Leeson, who enjoys exploring the boundaries of new technology with her art (and with varying successes and lessons learned), the unanswered question makes the viewer wonder if there should be a limit.

«Using data is a tool for conversation,» Viviano says, explaining that turning information into sculpture will help viewers ask questions about what makes a city successful.

Some confront the viewer directly, with messages like «Attend more events», «Fight the nonsense» and «I am afraid to make mistakes and it hinders my progress», while some go at step beyond and ask questions like «Is this ok?»

Prager's work calls this into question, and not only reveals the scene she intends to present, but makes the viewer aware of the psychological processes involved in their own observations.

Playing with the conceit of image - making, perceptions are questioned as the viewer considers whether these repainted scenes represent a parallel universe, two different moments in time or a trick of the mind.

Roman Ondák explores in his installations, photographs, drawings, and performances a specific situation, which very often provokes a double - take in the viewers, making them question their perception or awareness of social codes.

Sculpture, painting, installation, sound and the spoken word all attempt to heighten and question the experience of what it means to stand in front of something that has been made with the express intention of supporting, qualifying or glorifying an ideal of authority, placing its viewer under a state of subordination.

But, perhaps more than anything UMOCA has ever produced, do it — the newest exhibit in the Utah Museum of Contemporary Art's main gallery — calls into question everything about art: not just what art is, but the process by which it is made, who and what an artist is, and the roles of the curator and the viewer.

«I wanted to create some other kind of dialogue between the viewer and myself, about what they are looking at, and why they ask certain kinds questions, or make certain kinds assumptions.»

Andre's works were typically non-figurative, usually consisting of identical ready - made commercial units, such as bricks, cement blocks, or metal plates, put together in geometric arrangements, and placed directly on the floor so as to emphasize material, form, and structure - inviting viewers to question the space around them.

Through his own creativity and the perfectionism which makes him such an extraordinary craftsman, Jasper Johns ceaselessly asks questions about the function of painting, the mediating role of a product that tries and touches the sensibility of the viewer.

«Both in the demands that it makes of the viewer and in the way that this exhibition uses the spaces of the gallery, the show begs the question as to where the subject of art can be found — I am proposing that it is rooted most powerfully in the imaginative engagement and ultimately the memory of the viewer.

Art historian Alistair Rider explains how the work questions the viewer's perception of sculpture: «How we see and make sense of space and volume is fundamental to Donald Judd's art.

To help clarify Tremel's work for the viewer, I took this opportunity to ask her a few questions about her multidisciplinary approach to making curiously compelling art.

«It is a total environment that acts as a broadcasting tower for the issues of our time — the ethical and aesthetic questions that frame this moment, those of human, environmental, and social entropy — and does so in a way that is immersive, making the viewer a fully participatory protagonist of the work.»

Fernández's conceptually - based, research intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualised experience of engagement that prompts questions of both place and way - finding.

Fernández's conceptually - based, research - intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualized experience of engagement that prompts questions of both place and way - finding.

They also phrased each question as if a real client were asking it so it makes sense to viewers with the same problem.