Sentences with phrase «relationship with the viewer»

The resulting images were imbued with a sense of memory while still maintaining Fuchs's typical arm's - length relationship with the viewer.

His creations stood solely on the ground, forming a more personal relationship with the viewer.

This doesn't mean all art has to carry a positive reaction; a negative one can be just as powerful, but just because an artwork carries a conceptual thought or political statement does not mean that it has to negate any sensory impact or relationship with the viewer.

Closer to Robert Ryman and Robert Barry, the text, at most times a single word but rarely more than a short sentence, sits subtly on the surface plane beckoning a relationship with its viewer / reader.

Monica Bonvicini (b. 1965, Venice) is a truly international artist, whose work addresses the history of art and architecture, and their physical and psychological relationship with the viewer

In this case repetition would be to isolate one news image per day and to start one drawing from that image, the figures always being scaled to approximate a realistic relationship with a viewer's body.

He designed this project to take advantage of the possibility of a new type of interactive relationship with the viewer, recently made possible by the Internet.

Like other Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated new forms of display and distribution that challenge our traditional assumptions about the nature of the art object and its relationship with the viewers.

Abstract Expressionists These visual artists, divided loosely between exponents of «action - painting» and «colour field», sought to escape the outside world and focus on their relationship with the viewer.

Not exact matches

It's something even fellow Trump defender and lawyer Alan Dershowitz scolded Hannity about on his program Monday night, telling the host that he should have disclosed his relationship with Cohen to viewers.

In this, he is competing not only with the viewer's other personal relationships and perhaps his or her relationship to a local church, but also with the other broadcasters who are struggling to gain the loyalty of the same viewer and who are prepared to offer even better «faith products» in order to gain the viewer's support for themselves.

Viewers are more likely to express influences of religious programs in actions which are proximate to the television screen, such as contacting or subscribing to a religious broadcast organization rather than through the more distant option of initiating a relationship with a neighborhood church.

Jersey Shore viewers may have a love / hate relationship with the pint - size guidette Nicole, but her name got a fist pump when it sailed up four spots to land at 159 (thankfully, her nickname Snooki remains hers alone).

So you will be pleased to learn that my relationship with X factor will remain as being merely a viewer... just for the kids of course.

As viewers saw on Lovetown, USA, the relationship expert was tasked with helping two single dads find love.

«She is the perfect personality to help us continue to solidify our place in the relationship and dating space, and it couldn't come at a more exciting time as more viewers are engaging with our shows and personalities across platforms.

Dating is a stage of romantic relationships in humans whereby two people meet socially with the aim of each assessing the other's suitability as a IrfanView one of the most popular viewers worldwide.

This station has been designed to empower viewers with the knowledge of our Lord Jesus Christ and bring then into an intimate relationship with the true glory of the Holy Spirit.

At the very least, that ambiguity reminds viewers how narrow our relationship with the narratives we watch has become — how prone we are, as a viewing public, to assume our demands will be met.

In a film where Ramsay was pushing the boundaries of the viewer's relationship with her protagonist, she admits the first Cannes audience was the most nerve wracking moment of her career.

There are any number of readings available here, from Katniss and Peeta's relationship mirroring generations of Hollywood stars (closeted and otherwise) with fake publicity marriages, to the oppression of the working classes by the greedy 1 %, to the vagaries and dangers of instant fame, to bread and circuses, and «Catching Fire» allows viewers to dig into or avoid the metaphors as much as they want.

By the ending of Peele's unsettling tale of a mixed - race relationship, white viewers empathize with Daniel Kaluuya's black man to the extent that they transcend their whiteness and suddenly see their world through a glass darkly.

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

There's no need to have seen Mediterranea, though viewers who have will better understand the close relationship that Pio shares with Seihon's Ayiva, who provides the boy with a crash course in petty theft.

In a New York Times piece titled «Black Panther and the Revenge of the Black Nerds,» author Lawrence Ware outlines how the 44th president forever changed black viewers» relationships with geek culture.

All of this may prove to be enlightening for viewers who come into the film wholly unaware of the particulars of Van Gogh's life — his close relationship with his brother Theo, for instance — beyond the more widely known aspects (his struggles with melancholia, primarily).

The film plays with spacial visual relationships for the benefit of the viewer.

This group of viewers might also relate to the protagonist's struggle to face his feelings about relationships with his siblings and the purpose family holds in his life.

It's also a buddy movie that uses visual phallic puns to hint wickedly at what might have only crossed the minds of viewers of previous buddy movies, spelling out the ambiguity of their relationship with a funny routine involving an overheard conversation about feeling each other's breasts.

Throughout the first season, Yost and his writers did a fine job crafting a show for casual viewers and devotees alike, with satisfying standalone hours and relationships that developed over time, especially Raylan's cat - and - mouse game with a slippery crook played brilliantly by The Shield's Walton Goggins.

The viewer is left to decide for themselves what Drew's relationship with his dad was like and this make the film feel incomplete.

Those two young leads are the only ones who make a sharp impression on the viewer, even if their relationship allows the film to comment on class differences with the subtlety of a jackhammer.

I thought the film worked particularly well on the small screen where the viewer is in a closer relationship with the subjects.

Perhaps this is a bit of insight as to what type of relationship viewers can expect to see between the time traveling mutant and the wise cracking merc with a mouth.

Speaking of his role on The Crown, and Churchill's relationship with the young Queen Elizabeth (Claire Foy), which viewers see evolve beautifully during the show's first season, Lithgow says, «That work was done by [creator] Peter Morgan, and all of the inspiration for the series came from one scene between Elizabeth and Churchill in his play The Audience.

Her work is particularly concerned with the viewer - object relationship as a reflection of the human condition, positing apparently infinite yet ultimately limited possibilities of subjectivity.

Hovnanian's work asks the viewer to confront the cultural pressures and societal dependencies that affect our relationships with one another.

The dimly lit space — a forest that lacks the many marks of human civilization — challenges viewers to evaluate their relationships with technology.

His use of industrial materials and process prevents the viewer from establishing a familiar relationship with the work, resulting in an experience that is confrontational,» according to the Steely Library Web site on sculptures throughout campus.

He is interested not in the viewer's passive relationship with the work, but in the viewer's physical presence beside it.

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.

These paintings often glow from within and seem almost alive, breathing, interacting with the viewer in silent dialogue, creating a sense of the sacred in the interaction, reminiscent of the I - Thou relationship described by renowned theologian Martin Buber.

They have an intimate relationship with the painting process and we the viewer have a possibility of sharing that intimacy as the work does not shut us out or bounce us back off a hard surface; it lets us in.

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.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

Developing a personal relationship to the materiality of the work, she uses the form as a way to communicate and connect with the viewer.

Faux Faux changes the passerby's focus by asking viewers not to rely on an illusion for comfort but rather a relationship with their immediate surroundings.

«Double Down» is a group show featuring fifteen artists whose included works deal with associations of reciprocal relationship, establishing intrinsic dialogues within one, or between multiple complementary and oppositional objects, putting the viewer in a different relationship to the work.

Her work cultivates meaning by forgings relationships between the artist's body, materials and technologies that leave the viewer with a palpable sensation — one both visual and phenomenological.

Fowler is a filmmaker who uses photographs, archival images and music, building experimental cinematic collages that ultimately deconstruct conventional thoughts about biography and the documentary; the viewer is drawn in and confronted with their own relationship to history and to film as an art form.