Sentences with phrase «of viewer engagement»

These questions, and the level of viewer engagement with the film, provide yet more evidence of how brilliant and timely Get Out was.

Not exact matches

It has been noted already that religious television viewing increases significantly with age and that older viewers demonstrate an increased interest in serious content on television, especially news and public - affairs programming, as compensation for losses of more social sources of information and engagement.

In the most recent episode of his CBN show, The 700 Club, Pat Robertson gave this advice to a viewer who wrote in that he felt conflicted about continuing his engagement to a Muslim woman.

These jokes further confuse a film already at odds with its cast and concept, thereby weakening the viewer's engagement, and making Jumanji a muddled piece of cinema.

The movie has the minimal structure and trappings of a thriller, but it requires a different kind of engagement from the viewer; there's a different kind of contract being made with the viewer in this movie than in the traditional genre movie.

This boosts engagement and gives your viewer an element of control, turning them into an active rather than a passive learner, which improves learning and memory (Psych Central).

This question from a viewer reaches to the heart of sharing about your author journey, about yourself, and creating that engagement with readers, instead of just saying «buy my book!».

At the end of 2017, with the aim of boosting engagement with his 280,000 + viewers, Lionheartx10 (pictured below) solicited opinion on what gets them excited and what leaves them cold about Total War: Warhammer 1 and 2.

Optical painting may look anything but emotional in its content, but its direct engagement with the viewer underscores a deep - seated longing to connect... The genre has matured considerably over the past half - century, veering from cheap tricks toward labor - intensive analyses of form and color, and a deeper understanding of the act of seeing.

We intentionally designed our app so the viewer would see once piece of art at a time (iPad its primarily on your wall, and iPhone its in a card view), so that we could measure engagement in a much more meaningful way than most platforms.

The work in this exhibition has a very direct relationship not only between the painter and his material, but also with the viewer; a directness that short circuits concept and fashion and encourages an engagement with the materiality of the work and felt experience of it.

There is an engagement over time, a sense of discovery that is up to the viewer.

You talk a lot about wanting the viewer to get up close to the work, and there's obviously so much detail, and so much happening in that kind of intimate engagement.

Through a series of immersive and participatory works, Rubell offers viewers the possibility of physical engagement with the art object.

As the viewer becomes subsumed in Cain's world, the poetry of it is uncovered, allowing for a personal engagement with the artist's bodily and emotional involvement with her work.

Viewers are invited to enter this intensely disorientating yet disturbingly familiar space, with Fitch and Trecartin seeing the audience's physical engagement as a crucial extension of the life of the work.

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.

Tied together by an unbroken horizon, the landscapes offer a humbling look into the vastness of the lake and draw the viewer toward an emotional engagement with light, color and space, as well as questions of human significance.

Gormley explains, «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.

Creating works of rich symbolism, Lundell's titles serve as guideposts to the underlying narratives that refuse to overexpose the contents but, rather, encourage the viewer's engagement and interpretation.

The engagement with postmodern dance gave rise to a significant constant within his sculptural works: The investigation of an inclusion of the viewer which focuses on the temporal perception of sculpture by means of bodily movement through space, and which furthermore directs the view from the institutional space out onto social aspects in the real world.

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.

Direct not just in its address of the viewer, but also in its active engagement with social and political events, Kruger's work uses the visual language of advertising to critique the very messages it emulates.

He embraces internet videos and blogs as media for widely accessible artistic engagement, receiving millions of visits from viewers worldwide.

«Every viewer will see in Burtynsky's work the aspects of nature, and of man's engagement in nature, that seem most significant to him at the time.

Dawson approaches the studio environment as a test laboratory, creating work that considers the viewer is an intrinsic component of his work and that provides opportunity for engagement.

Phenomenology, for example, is there from the very beginning: those first geometric explorations of colour and form reveal the same engagement with the viewer's sensorial experiences of space and matter as the early «penetrables» — walk - in spaces constructed from monochrome painted boards — and the expanded participatory installations, which Oiticica continued making until the very end of his life.

By changing the placement and order of the words Amerika points the viewer towards systems of ideological engagement: clouds and precipitations as obfuscation and condescension.

Over the years, Richard Serra has become one of the most acclaimed living artists for his challenging and innovative work, which emphasizes materiality and an engagement between the viewer, the site, and the work.

Harsha's first engagement with these ideas resulted in the recent work Spot an innocent civilian, in which rows of standing halo - adorned figures appear as though they are part of an identification lineup, presumably for the viewer to appraise and determine the «innocent» of the title.

In her wall works, many of which play, sleight - of - hand - style, with the shifts between two - to three - dimensionality — inviting the viewer to enter their world while at the same time sealing themselves off from engagement — Rafferty prints photographic imagery on thin, clear film, often mixed with paint and solvents, and attaches these to irregularly rectangular clear acrylic sheets.

In doing so, the artist seeks to shake viewers out of a passive, anesthetized state into one that inspires active engagement with their surroundings.

Presenting cleverly staged scenes and figures whose gaze averts the viewer, Marshall's new body of work considers how we define «looking» vs. «seeing,» the relationship between subject and viewer, engagement and aversion, and the freighted acts of «observing, witnessing, and exhibiting.»

In collaboration with artists, curators, scholars and viewers, we will draw on a range of experiences and approaches to develop new strategies for productive critical, social and aesthetic engagement.

Its journey, undertaken here by proxy via Starling, is experienced in the real, adding an additional narrative that allows viewers various points of engagement with the work.

Departing from the idea of sculptures as self - sufficient and autonomous, he creates work that responds through scale and form to its immediate environment, demanding active engagement on the part of the viewer — not only through seeing but also through embodied experience.

This addition leads to greater engagement with viewers, making it an extremely effective form of visual content.

They explore black as a material, a method, a mode, and / or a way of being in the world, necessitating complex thinking and sensorial engagement on the part of the viewer.»

His dynamic images of earth, sea, and sky prompt viewers» engagement with both fleeting and timeless qualities in nature.

The work is not about communication but engagement with and creation of a story in which the viewer finds himself as the active protagonist.

For work that is entirely about empowering viewers to become aware of their own potentiality for reinterpreting material and political history the artist hopes to understand how such moves and gestures narrowly impact the viewer's engagement with the work itself; and, more broadly, the history and philosophy of science, military and popular influences on culture.

Expressions of culture, politics, and sustainability are deftly handled, while the sensual and even strange use of materials generates engagement, causing the viewer to take a second glance and question each artwork's intention.

It calls attention to the range of readings that can accrue around a work of art and the idea of the continuous flux that such engagement elicits between symbolism and objecthood in the mind of the viewer.»

Mixing a love of formal, modernist art with a madcap, idiosyncratic sensibility, Lins's work interrogates both itself and its engagement with architecture and viewers.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Many of Galindo's more recent works rely on direct engagement with viewers as a strategy for encouraging accountability and responsibility, a tactic employed by many of her predecessors.

Styled by the artist somewhere between high - fashion models and post-apocalyptic survivors, these figures represent Genzken's most explicit engagement with the human form, confronting viewers with a distorted reflection of the world around them.

He was intrigued by Rothko's interest in the metaphysical qualities of color and the idea of the viewer being enveloped by the painting through their unique perception and engagement with the canvas.

It demands a commitment from the viewer as well as from the artist in an ongoing engagement, so I think the idea of trend is maybe not germane to this discussion.

The show should provide an opportunity for viewers to reflect on the stormy course of Ray's career, from his early engagement with a Conceptual but humorous performance art to uncanny, sexually desublimatory figurative sculpture.