Sentences with phrase «movement as the viewer»

Schwartz's objects encourage physical movement as the viewer's vision moves across the object's frontal planes to the sides with other flat surfaces.

His optical experiments focus on how color and line can create a sensation of movement as the viewer's relative position to the artwork changes.

Not exact matches

Viewers saw no movement in the YouTube video, but some speculated that Shkreli's cat, Trashy, might jump up on the desktop, as the cat has done on occasion during the pharmaceutical industry entrepreneur's weekly financial investing recaps.

Just as these three films were eye - opening because of how they allow viewers, 50 years later, to witness the emerging student movement and its rapid radicalisation, so a feature - length fiction film from the same year, Tätowierung (Tattoo, Johannes Schaaf, 1967), proved to be a real discovery and, in my view, one of the festival's true gems.

After a year full of fraught conversations about whether a person can separate the art from the artist, Oldman's past behavior rang alarm bells for some viewers who saw his award as undermining the Time's Up movement.

This documentary plunges the viewer into the chaotic life of a forgotten artist, from early fame as a painter and denizen of the Lower East Side, through his struggles with heroin, to his surprising comeback as street art exploded to become one of the most popular and lucrative art movements in the world.

Obviously this is not a movie for homophobes, and might have a few uncomfortable moments for average viewers, but «Milk» is worth seeing as an artful homage to a provocative figure and a movement.

The nurses» locomotion was made famous as viewers watched her sporadic movements on the silver screen when the first Silent Hill movie released.

The movements of people and light are captured brilliantly, and it's a testament to Farr's skill how easy it is as a viewer to get totally immersed in the city scenes that whirr past the car window that forms our viewpoint for much of the film.

Inspired by European artists such as Mondrian and Kandinsky, their bold experiments with space, movement and colour radically transformed the relationship between art and viewer.

And, for the viewer, it is not hard to imagine the movement of her arms, pushing paint against gravity creating thick walls as her hand stops and joints turn over to allow a change in direction.

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

Planned as an interactive work consisting of large rectangular panels whose movement can be controlled by the viewer, the project is ultimately vetoed by the building's architects.

Kline's small - scale rendition of a moving train draws the viewer into the painter's challenge as he tries to capture the essence of an object that defies, by its transformational movement, any such representation.

In an artist's statement she speaks of «the tracking and marking of energy,» as well as «finding patterns within chaos» that enables the viewer, with the slightest perceptual shift of vision, to arrest the movement that she generates with her vigorous swirling strokes and discover the serene stillness at the heart of her compositions.

«Viewers will be able to compare artists» works from before and after the Armory Show and see to what degree they each embraced Modernism as the movement became assimilated into the mainstream of American art.»

«Happenings: New York, 1958 — 1963» will be arranged predominantly chronologically, enabling the viewer to understand the movement as it unfolded through time.

Border Zones and Liminal Bodies This screening features short video art pieces by 12 U.S. and international artists that invite viewers to contemplate contemporary issues, such as migration and refugee crises, disability and the body in movement, feminicide in Ciudad Juárez, water insecurity, and other issues.

Despite its status as one of the most widely cited and recognizable art movements to come out of the early 20th century, Surrealism remains (perhaps appropriately) something of an enigma to contemporary art viewers.

The ethos of the students» collaboration reflects Cage's sentiment and prompts the viewer to experience the venture's heterogeneity less as an object to be assimilated, and more as a movement towards a climate of engagement.

In shooting from below, Harris monumentalizes these women, forcing the viewer to look up at them as symbols of a time and movement revived today across overlapping activist platforms.

Continually investigating the movement and politics of the body, Fabri's work incites viewers to locate themselves as «insider» or «outsider.»

Given the immersive scale of Patton's tableaux, viewers participate as mourners, both for those who have died and for our own movement toward death.

This osmosis between group and solo presentations put the viewer in the active position of working out to what extent Arte Povera holds together as a movement.

The results provoke the viewer to engage in an active participatory role, as the gaze conflates the static physicality of the canvas with the natural saccadic movement of vision.

Doty Glasco's photographic silk prints depict the landscape as a symbol of geologic time embedded into an ethereal material that ripples with the viewer's movements.

It also serves to slow down movement through the space — viewers are not as likely to rush through an exhibit if they're wandering in an unfamiliar setting in the dark.

To be inside of it requires allowing a joyful kind of envelopment that asks a viewer or a listener to celebrate a body as it works, as it risks, as it instigates movement while both aware and unaware of you.

This work shows the movement of trees from right to left as the birds continue to flap in the middle of the projection, invoking in the viewer an experience of moving in the same direction and speed as the birds.

The artist guides the viewer through the process in her statement: «As an artist, I work hard to develop paintings that speak both to me and to others about the beauty that exists in space, color and movement.

These paintings defined a movement that ushered in a new era of the artist as a conduit between the viewer and the subconscious mind.

The act of looking through the various layers of the image, as well as the movement from one box to the next, draws the viewer into the rite performed by these figures even while remaining physically excluded.

These allusions, together with his descriptions of Roden Crater as a site created to connect viewers with the movements of planets, stars, and distant galaxies, have heightened critics» suspicions about Turrell's sympathies with New Age cultures such as those famously headquartered in Sedona, Arizona, not far from Roden Crater.

This month, at the Fabric Workshop and Museum in Philadelphia (through May 29), Ritchie presents such interactive works as Proposition Player, a kind of dice game in which viewer movements trigger animated derivations of his paintings on projection screens nearby.

As the name of the movement suggests, there is an integral bond between the material used as a support and the medium that determines what the viewer perceives on the surfacAs the name of the movement suggests, there is an integral bond between the material used as a support and the medium that determines what the viewer perceives on the surfacas a support and the medium that determines what the viewer perceives on the surface.

In addition, the viewers need to make temporal movements such as walking past and circulating in order to switch angles of view; they collect information from the work and constantly refresh and enrich the experience they gained from viewing.

The exhibition considers looking as a fundamental action ingrained with a sense of internal movement; a back and forth quality between subject and the gaze of the artist and viewer.

However, when the viewer moves, the images become animated, revealing new colors and dimensions — the imagery fluctuates as a result of the viewer's movement.

«As was always her way, she left much for the viewer to interpret rather than create a didactic presentation,» Alvia J. Wardlaw, director of the University Museum at Texas Southern University, writes in an essay on the de Menils and Houston's civil - rights movement.

Impositions upon the body also exist for viewers to the exhibition as they walk around the space and encounter artworks that have their own autonomous movements (Eva Fabregas's floor - based works, Self - Organising System, and Alan Butler's Orphan Transposition series of spinning laser - etched acrylic panels, featuring out - of - copyright images of Yosemite National Park, freely circulating online).

Jessica Harrison's work for the exhibition will be a new body of sculptural objects in porcelain and bone china that explores the notion of the collection, as an aspiration, a physical grouping and a framework that structures the viewer and their movements and sensory experiences.

Ron Arad RA said: «The rotation and the horizontal movement take turns in the viewers» perception as the readings of the object alternate and the hypnotic effect is greater than the means, so will hopefully be the delight of the public at St Pancras.»

As with the «fake» movement that he co-founded, Sigmar Polke found his inspiration in the everyday life, be it household magazines, advertising or common prints on fabrics, and changed the imagery, creating new codes and messages, spurring the viewer on to reflect upon the meaning behind original and adapted image.

In this way, an object can have the same physical properties as the digital works: there is movement, interaction with the viewer, and an endless number of compositions.

His sculpture «Distancing Device» (1970) coordinates the movements of the viewer, while films such as Mirror Films (1972), Towards / Away from (1972) and Blind Spot (1973) control the eye with careful precision.

Even though Burri was never explicitly tied to any movement, to most viewers his abstract «unpainted paintings» should appear comfortable in his cultural moment, absorbing the monochromatic interests of Abstract Expressionists, while also setting the ground for Arte Povera and assemblage art.The co-curators work extensively to expand these associations through the exhibition's wall labels, which relate Burri to various artists, works, and moments far beyond the scope of midcentury abstraction, including Piero della Francesca's Madonna of Partition (1455 — 6)(for the subject of incised fabric), Joseph Beuys (as an artist formed by war), Italian Neorealist cinema (for its use of artifice and rupture to reappropriate the realism of Facist war propaganda), and even Rodin's Gates of Hell (1880 --- 1917)(for the «Combustione Plastica» series» hellish melting of form).

Inspired by the civil rights and women's liberation movements as well as her own philosophical studies, Piper created performances designed to catalyze the viewer's social awareness.

Even Calder's Flamingo (1973)-- located in Chicago's Loop — and his other static sculptures, dubbed stabiles by Jean Arp, evoke movement as they invite viewers to contemplate them from every angle.

She uses choreography as a tool to create movement sequences that re-interpret our everyday physical gestures, reflexes, and rituals, and direct the viewer into the frame of the composition.

«A playfully metaphorical work that embraces the personal and political, Cloud Study invites the viewer to meditate on the tragicomic nature of life, with the movement of the vane mirroring these oscillations as it twists and turns in the wind.»