Sentences with phrase «other art a viewer»

Beckett's writing alludes to people and places in earlier books and plays, while Johns does something similar with fragments of other art a viewer will likely have encountered elsewhere in the show.

Not exact matches

Because of motion, lapse of time, mobility of the angle of vision, and the intimacy of the close - up, the viewer has a sense of presence that is much more tense than in any other art form.

Other documentary highlights include Cameraperson, taking viewers inside the global career of cinematographer, Kirsten Johnson; and The Eagle Huntress set in the mountains of Mongolia where a teenage heroine learns the ancient - and previously male - only - art of falconry.

An impressionistic barrage of sexually frustrated prisoners grasping for each other and at themselves, their musculature bathed in chiaroscuro light as they lovingly move their hands down their bodies while they're watched by drooling, baton - wielding guards, Un chant d'amour is an all - consuming work of art that aims to liberate the viewer through erotic fantasy.

But he anneals the cleansing fire with moments of startling tenderness, using compassion to shock viewers the way other directors wield the dark arts of sex and violence.

«The more that students experience varieties of art and design, and the more that they hear each other's perspectives, the more every student becomes a more critical and empathetic viewer,» says Cuyler.

«For 25 years, the L.A. artist has been creating immersive video installations that appear to breach the contours of the gallery, transporting viewers into other realities: swimming with dolphins, interacting with wolves or exploring the contaminated ruins of the Chernobyl nuclear power plant,» wrote art critic Sharon Mizota in the Los Angeles Times.

One of the most enduring practitioners of Op art, Bridget Riley will have her first exhibition with David Zwirner gallery, showcasing decades of her stripe paintings and other geometric compositions that confound viewers» eyes.

Some are delightfully low - tech, transforming ordinary materials into awe - inspiring visuals, while others make use of experimental new media, fusing art and technology in interactive works that change in response to the viewer.

The viewer gradually descends to Pop Art, Minimalism, and Post-Minimalism on the fourth floor; Conceptual Art, Earth Art, Performance, Neo-Expressionism, Neo-Geo on three; Installation Art, Appropriationalism, and the other isms on two.

More than other formal elements in the visual arts — such as color, line, or shape — scale directs attention towards the capacity of the artwork to respond to a specific location and call into play the role of the viewer.

In fact, while Minimalism is quickly decaying into the official language of grieving, Judd, Carl Andre, and others, even de Maria, were making far from monumental art — art that stays close to the ground, encompasses the viewer, and reshapes one's environment, mentally and physically.

Emerging in the early 1970s, Austrian artist Franz West (1947 - 2012) created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other.

Her art is a sharing of her own and other people's stories, and by viewers bringing their own stories to an exhibition, she hopes the conversation can begin.

Filling the space with their intermittent light, these emblems introduce the possiblity of an event, a work of art in itself, but also promise other works that await the viewer.

In his work This Situation (2007), for instance, the performers strike choreographed poses lifted from a wide range of art historical sources but quickly break into wide - ranging dialogues (with each other as well as with the viewers of the piece) inspired by unattributed quotations that the performers recite from memory.

Collectively, the works invite us to investigate the question of how we, as viewers, approach art and what kind of catalysts are used to shape a sense of Self in relation to the Other.

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.

While the exhibition considers the art historical background of the relationship between artwork and viewer, and its growing status over time, it asks, how do these works engage and forge relationships with audiences in distinctively different ways from any other works of art?

Challenging the viewer's patience, making him stunned by the complete absence of narrative, palette, or any other element that everybody was used to, Reinhardt explained that everything is on the move, so the art should be still.

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.

By using various art techniques, the art works presented in this project immerse the viewer in a surreal space of fantasy illusions, wonderful or terrible dreams, imaginary worlds and other - worldly «civilizations»...

Inspired by confrontation in human relationships, Bonafini's painterly objects, installations and textiles share a soft, luscious Art Deco palette and incorporate sensuous, tactile materials that invite viewers to get closer to the artworks as well as each other.

Nance told viewers that she chose art that was «muted» in various ways, whether through a subdued palette or other subtleties.

When he published The Sexuality of Christ in Renaissance Art and in Modern Oblivion, his 1983 classic on cultural and aesthetic repression, the New York Times summed up that «the book grew out of a question that had apparently occurred to no other modern scholar: Why is it that in so many Renaissance paintings of the Madonna and Child, the infant Jesus's genitals are actively displayed to viewers both within and without the picture?»

Welcome to the limelight, curated by Natalie Woyzbun, includes works by Jessica Craig - Martin, Instant Coffee, Christian Jankowski, David Kramer, Liisa Lounila, and Tony Matelli that invite the viewer into spaces of entertainment and leisure; You don't live here anymore, curated by Montserrat Albores Gleason, features works in which ideas of dwelling and building transform the site of art and its methods of construction; Uninvited (working with restrictions), curated by Kerryn Greenberg, considers how success can be realized in failure, and freedom found through restriction, in the performances of Steven Cohen and his partner, Elu; and In Other Words, curated by Mariangela Méndez Prencke, focuses on bilingual works that use collage and other visual devices to translate themselves into a foreign conOther Words, curated by Mariangela Méndez Prencke, focuses on bilingual works that use collage and other visual devices to translate themselves into a foreign conother visual devices to translate themselves into a foreign context.

l Los Diez moved abstraction from purely visual, formal concerns toward conceptual and phenomenological ends, in line with other contemporaneous international art movements, to engage both the viewer and the broader collective conscience of Cuba.

It's one thing to paint images of «the other», and it's another to paint scenes that refer to art history, but when the two are combined, the viewer is forced to contemplate each piece on several levels.

Her focus is on the natural world using soft pastel and other mediums to create a dialogue between the art and the viewer.

The result is an eclectic showcase of new work by local artists and the interaction of artists with arts professional with viewer that is unlike any other event.

For others, including those sympathetic to art's expanded field, environment had a worrying association with movement, a disruption of the one - to - one encounter between viewer and static

In Your Dreams invited the viewer to reflect on the human being's diverse relationship to sex and sexuality through art that references the romance, hilarity, kink, frivolity, roughness and tenderness associated with the thought, fantasy or act of sex.This exhibition at the Spring / Break Art Show — Spring 2015 included artists Zoë Buckman, Louise Bourgeois, E.V. Day, Tracey Emin, Walter Robinson, and Tom Wesselmann, among otheart that references the romance, hilarity, kink, frivolity, roughness and tenderness associated with the thought, fantasy or act of sex.This exhibition at the Spring / Break Art Show — Spring 2015 included artists Zoë Buckman, Louise Bourgeois, E.V. Day, Tracey Emin, Walter Robinson, and Tom Wesselmann, among otheArt Show — Spring 2015 included artists Zoë Buckman, Louise Bourgeois, E.V. Day, Tracey Emin, Walter Robinson, and Tom Wesselmann, among others.

Sanders has been featured in Art Viewer, I Do Art, The Oregonian, Wrap Magazine, The Hundreds Blog, LVL3, and Beautiful Decay, amongst others.

Others from this round's choices started to look more clearly like art, obliging viewers to ask questions to understand.

Black Arts Movement, Abstraction, and Beyond Art's capacity to endow the artist, viewer, and others with self - affirmation and a sense of cultural authority became the benchmark for the BLACK ARTS MOVEMENT of the late 1960s and early 19Arts Movement, Abstraction, and Beyond Art's capacity to endow the artist, viewer, and others with self - affirmation and a sense of cultural authority became the benchmark for the BLACK ARTS MOVEMENT of the late 1960s and early 19ARTS MOVEMENT of the late 1960s and early 1970s.

Art's capacity to endow the artist, viewer, and others with self - affirmation and a sense of cultural authority became the benchmark for the BLACK ARTS MOVEMENT of the late 1960s and early 1970s.

Other institutions tackle the «I'll never understand this» response to contemporary art by quoting artists in their labels, by featuring a response from a community member, or by asking a viewer for his or her own thoughts about a work.

By moving a piece of art, there is change to viewing distance, lighting, height and juxtaposition to other works, so returning viewers receive a fresh experience.

Cannily incorporating a wide range of visual vocabularies drawn from the realms of cinema, advertising, communications, and the history of art alike, and strategically structuring both architectural environments and the editing of images and sounds in order to take in the viewer and overwhelm the senses, Aitken exposes audiences to ideas — and to each other, in communal spaces — by means of a nearly hypnotic aesthetic.

Althamer has taken part in numerous exhibitions of contemporary art, including: Forget Fear, 7th Berlin Biennial (2012); Paweł Althamer with Urs Fischer, Jacob Kassay & Jakub Julian Ziolkowski, DESTE Foundation (Athens, 2012); Almech, Deutsche Guggenheim (Berlin, 2011); Les Promesses du passé, Centre Pompidou (Paris, 2010); Skin Fruit, New Museum for Contemporary Art (New York, 2010); Pawel Althamer and others, Secession (Vienna, 2009); The Fifth Floor: Ideas Taking Spaces, Tate Liverpool (2008); Skulptur Projekte (Münster 2007); One of Many, Nicola Trussardi Foundation (Milan, 2007); Pawel Althamer, Musée National d'Art Moderne — Centre Pompidou; (Paris, 2006); The Grand Promenade, NMCA (Athens 2006); 4th Berlin Biennial (2006); Pawel & Vincent, Bonnefanten - museum (Maastricht, 2005); Dreams and Conflicts: The Dictatorship of the Viewer, 50th Biennale of Venice (2003); Pawel Althamer, Kunsthalle Basel (1997); Documenta X Kassel (199art, including: Forget Fear, 7th Berlin Biennial (2012); Paweł Althamer with Urs Fischer, Jacob Kassay & Jakub Julian Ziolkowski, DESTE Foundation (Athens, 2012); Almech, Deutsche Guggenheim (Berlin, 2011); Les Promesses du passé, Centre Pompidou (Paris, 2010); Skin Fruit, New Museum for Contemporary Art (New York, 2010); Pawel Althamer and others, Secession (Vienna, 2009); The Fifth Floor: Ideas Taking Spaces, Tate Liverpool (2008); Skulptur Projekte (Münster 2007); One of Many, Nicola Trussardi Foundation (Milan, 2007); Pawel Althamer, Musée National d'Art Moderne — Centre Pompidou; (Paris, 2006); The Grand Promenade, NMCA (Athens 2006); 4th Berlin Biennial (2006); Pawel & Vincent, Bonnefanten - museum (Maastricht, 2005); Dreams and Conflicts: The Dictatorship of the Viewer, 50th Biennale of Venice (2003); Pawel Althamer, Kunsthalle Basel (1997); Documenta X Kassel (199Art (New York, 2010); Pawel Althamer and others, Secession (Vienna, 2009); The Fifth Floor: Ideas Taking Spaces, Tate Liverpool (2008); Skulptur Projekte (Münster 2007); One of Many, Nicola Trussardi Foundation (Milan, 2007); Pawel Althamer, Musée National d'Art Moderne — Centre Pompidou; (Paris, 2006); The Grand Promenade, NMCA (Athens 2006); 4th Berlin Biennial (2006); Pawel & Vincent, Bonnefanten - museum (Maastricht, 2005); Dreams and Conflicts: The Dictatorship of the Viewer, 50th Biennale of Venice (2003); Pawel Althamer, Kunsthalle Basel (1997); Documenta X Kassel (199Art Moderne — Centre Pompidou; (Paris, 2006); The Grand Promenade, NMCA (Athens 2006); 4th Berlin Biennial (2006); Pawel & Vincent, Bonnefanten - museum (Maastricht, 2005); Dreams and Conflicts: The Dictatorship of the Viewer, 50th Biennale of Venice (2003); Pawel Althamer, Kunsthalle Basel (1997); Documenta X Kassel (1997).

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.

Concurrent solo exhibitions in Tokyo at Maison Hermès and Tokyo Opera City Art Gallery, respectively, are allowing Japanese viewers the chance to appreciate both bodies of marble and crystal work, as well as other aspects of Sone's practice including paintings, drawings and early videos.

Instead of esoteric ideas that require the critic as an intermediator between the art on the one hand and the public or the viewer on the other, Pop Surrealism just is what it is.

Sharing the viewer's space more literally than any other medium, sculpture has given rise to some of the most iconic works in art history, including the classical Greek Venus de Milo (c. 130 - 100 B.C.), Michelangelo's High Renaissance David (1504), Rodin's The Thinker (1902), and Constantin Brancusi's The Kiss (1908).

Even more than in other recent Turner Prize shortlists there's a sense of contemporary art as a hermetic niche activity in which the participation of the viewer — despite all protests to the contrary — is of purely notional importance.

In the second gallery, over 30 watercolors and prints on loan from the Tate, MFA Boston, Baltimore Museum of Art, Harvard Art Museums, Seattle Art Museum, and other institutions further illustrate this romantic perspective, often painted so that the viewer feels as though they're a voyager riding a vessel into port.

The resulting works have entranced viewers and institutions for nearly 50 years, with Schenck's works owned by the Smithsonian Institution, Denver Art Museum, the Autry Museum, Booth Western Art Museum, Tucson Museum of Art, and several others.

Echoing Marcel Duchamp's statement that «art is a game between all people of all periods», his collaborations — which involve other artists, nature, chance, material and the viewer — redefine exhibitions as not only a display of objects but also a space of negotiation, a place where a series of games can be played.»

Can works of art «speak» to the viewer or have «conversations» with other works?

Perhaps more than any other contemporary artist, Lawrence Weiner has brought viewers into the processes by which works of art may be (or may not be) realized.