Sentences with phrase «project as any viewer»

It comes to me easily, but I have to have the space to contemplate and project as any viewer.

Not exact matches

It doesn't have to be an elaborate, SFX - filled production; it can be as simple as introducing yourself, explaining the campaign and your product, allowing viewers to understand why your project deserves to be backed.

«Our ambition is to create a connection between the viewer and the very real art of building taking place on a live construction project - especially as many of these are located in the very heart of public spaces,» says Art of Building manager Saul Townsend.

3 - D digital preservation not only helps save the memories of historical sites, it also guides restoration projects after natural disasters, such as the earthquakes that damaged the temples of Bagan.Editor's Note: Viewers sensitive to flashing light may want to avoid this video.

Julia Riley, Head of Education at the Discovery Centre, added «I hope that the worksheets we have prepared as part of this project will help younger viewers to learn a little more, and have fun too!»

Join me, Katy, as I share projects, patterns, how - to tutorial, and answer question from viewers like you!

Join me, Katy, as I share projects, patterns, how - to tutorial, and answer question from viewers like you!

In its incarnation as an art installation, mounted in Melbourne, Berlin and, most recently, New York City, Manifestoallowed viewers to wander freely among its dozen tableaux, each projected on its own screen.

Viewers who remember Teller from his recent work in Project X and 21 and Over may see the young actor as a one - trick pony, again playing the likeable screw up with an alcohol dependency.

The boxing flick has been a long - time passion project for Coogler and is aimed to bring viewers new and old to the Rocky renaissance with Jordan starring as the son of Apollo Creed, played by Carl Weathers in the original Rocky quadrilogy.

The boxing flick has been a long - time passion project for Coogler and is aimed to bring viewers new and old to the Rocky renaissance with Jordan starring as the son of Apollo Creed, played by Carl Weathers in the...

Carrey is still a marvel, and Oedekerk often quite inventive, but in the end, the film feels much more like a series of 5 - minute «Ace Ventura in Africa» skits than as a unified project, leaving the momentum hit and miss throughout for most viewers.

These two components work together so well that they actually weaken the movie as they underscore how badly everything else misses the mark in comparison and leave viewers yearning for a film that could have capitalized on this project's potential.

Building strategically on Education Week's reputation as the «must read» independent news source for leaders, educators, and policy experts in pre-K through high school, Editorial Projects in Education has extended its reach by serving readers, users, viewers, and clients across an array of platforms — from mobile devices to newsprint and magazine - style reports; from broadcast and Web video to webinars and live events; from targeted e-newsletters on selected topics to the online TopSchoolJobs recruitment service.

Join me, Katy, as I share projects, patterns, how - to tutorial, and answer question from viewers like you!

Extensions provide broadcasters with tools that let viewers do everything from view their favorite streamers» World of Warcraft stats to disrupt the in - game action of titles such as The Darwin Project.

As part of MTG's digital transformation, MTG Tech is constantly challenging the status quo by driving projects that enable viewers to experience content in new ways and on new platforms.

The VR project, funded by ARTE, allows viewers to experience the process of going blind alongside Hull as they relive memories and locations from Hull's audio diary.

The geometric elements remain white and untouched, and function as kind of void or zero point that actives the adjacent painterly areas and projects their image toward the viewer.

California (Sacremento to be exact), native, Liz Larner presents a new body of work at Regen Projects in Los Angeles, but what is happily off - kilter about this bold, sculptural presentation, is that coupled with it viewers find a side gallery in which an earlier selection of notably smaller, object - based works acts as an unusual and telling counterpoint.

Titled Mana Monumental, the exhibition features projects that utilize colossal proportions as a means to connect with viewers in a personal, meaningful way — much like Jackson Pollock and Sol Lewitt, whose sizable work effectively enveloped viewers with the sheer experience of confronting them.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery spaces.

This format suits the project well as it invites the viewer to approach the work closely in order to discern the details that distinguish what are often quite similar photographs, both in subject and aesthetically.

Drawing upon Eastern philosophy and contemporary social issues as a conceptual basis, these projects and events aim to establish an exchange between viewers and the larger universe around them, utilizing a site - specific approach to culture and history.

Sculptural as well as pictorial, each diptych is mounted to a support that projects the picture plane forward off the wall towards the viewer, hovering in space.

The somber dark palette of his Chapel paintings recalls Malevich's The Black Suprematic Rectangle, 1915 (better known as «The Black Square») where the canvas serves as a screen upon which the viewer projects his own thoughts and images.

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.

For a 2011 project commissioned by the British public art association Artangel, Gander created «Locked Room Scenario,» a group show of inaccessible, partly visible artworks by fictional artists that forced viewers to adopt what the artist describes as a «detective's mentality» in attempting to piece together the fragmentary information they encountered.

These works are a field onto which a viewer can project as much or as little physiological trauma as they want.

They are a blank slate onto which a viewer can project as much or as little psychological trauma as they want.

The entire room is given a blue tint by an illuminated ceiling, as projected slow - motion loops of six men and six women, alone in their frames, perform an unresolved gesture without acknowledging the viewer, like opening an apartment door, or floating (or sinking) in water.

Artist Charles Long comments, «My re-occurring interest in the uncanny over many years is in full effect here in the Pet Sounds project where something as familiar and literally grounding as a handrail morphs into an unnamable blob that has a very physical presence with some power to dialog with the viewer's own somatic sense.

The project aims to explain to the viewer how art investigates and comments on the processes of everyday interactions between people and the world, how contemporary art practices interpret the current condition of disappearing transitions from object to subject, from nature and culture to conceptions of the world as a collective process.

In the project, space materializes as a medium of confrontation between site and viewer.

A film of drawings projected on the wall sustains the artist's presence, but the artist's chair is overturned, as though he has just absconded, leaving the viewer to complete the work.

Split Marion, 2013 a diptych mirror in - stallation, prompts the viewer to join the artist to gaze and be gazed upon, projecting themselves as the characters of Marion Crane and Norman Bates.

The shaped paintings on view in this exhibition create illusions of space and depth, where planes may be perceived as simultaneously receding or projecting, allowing the viewer to journey both around and through the work.

In exquisitely rendered paintings, works on paper, wall and floor works, sculptures, site - specific installations and public projects, the Mysore - based artist examines structures, borders and barriers as a series of ever - shifting concepts, alluding to an interconnectedness that compels the viewer to consider their relationship to the art work as part of a wider conversation about systems of knowledge, belief and power.

The light recedes into the darkness as reflections of the sun off the wave crests project out towards the viewer.

Drawing upon Eastern philosophy and contemporary social issues as a conceptual basis, these projects aim to establish an exchange between viewers and the larger universe around them, utilizing a site - specific approach to culture and history.

In this lecture, delivered on December 14, 2015 as part of the Works in Progress series, John Tyson considers how Haacke has employed weather for both aesthetic and political ends, exploring the way meteorological projects, such as Condensation Wall, can heighten viewers» awareness of the normally invisible systems at work in art institutions.

The project encapsulates what is genuinely fulfilling and invigorating about Installation art as a practice: showing what is possible, while reminding its viewers that it is invention.

Her current book project provisionally titled, Pattern Recognition: Durational Conditions of Contemporary Art asks what happens when the processes of standardization, modularization and the clustering effects of digital culture, which have come to condition viewers» expectations for time - based media art, are not considered as neutral technologies, but as powerful social markers.

That project can not help but be contextual: It imagines its viewers individually rather than collectively and targets them each as they move through the spaces of the show.

Titled Uzihektaka Wakipi and casually referred to as the Cave Project, Lipomi's self - made exhibition required curious viewers to meet the artist at his flat.

The Moment of Engagement invites the viewer into the process of the maker, serving both as artist statement and additional exploration into the project.

PROJECTED CLOSE AGAINST A WALL in a large, dark gallery, the saturated red of Steve McQueen's 16 - mm film Charlotte, 2004, produced an intimacy with the viewer every bit as charged as the contact that occurs between the artist's finger and Charlotte Rampling's eyeball.

Upon entering the Chimney's space, viewers discover an unruly and jungle - like environment: sculptures suspended from the ceiling, a video projected on paper works as well as architectural elements.

The viewer enters a controlled environment featuring objects as well as light, sound and projected imagery.

Addressing the condition of simultaneous visibility and invisibility that comes with city dwelling, Sprawl draws the street viewer and passerby into a fourth, projected space that implicates them in the acts of viewing and being viewed as participants in the constructed and surveilled environment.