Sentences with phrase «rather move the viewer»

Described as a deeply passionate person by contemporaries such as Nicholas Serota, it is no wonder Hodgkin transformed his experiences into coherent physical objects that contain an evanescent and emotional sense of realism, with which he would rather move the viewer than convey the nature of an extract from his life.

Not exact matches

Rather than fancy camera work, he relies on powerful framing and the story itself to move viewers.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

Because the dean «wanted to be portrayed in a way that engaged the viewer rather than as a static official of the university,» Miller - Havens moved away from the usual characteristics of official portraiture.

Ultimately, I find it very rewarding to look at, because it privileges the freedom of the viewer to seamlessly move anywhere at any time, in any direction, rather than the freedom of the artist to do whatever s / he wants, which is an overrated freedom often culminating in tropes, a fall - back alternative to the tyranny of «infinite choice».

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.

Rather than offering a comprehensive drawing retrospective, the show will be organized with an eye to morphological relationships so that, as viewers move through the gallery, they will recall and ideally return to earlier related images.

In Muntean / Rosenblum's installation, the viewer moves through the artificial living space as the avatar, experiencing the constructed environment from within, and thusly becoming the malleable consumer rather than the god - like controlling hand.

The space in which the viewer exists becomes immersive and inclusive as sculptures move away from being self - contained objects, expanding rather than consolidating.