Sentences with phrase «space of the viewer»

Her video installations present virtual worlds while at the same time relating to the physical space of the viewer as she or he moves through the artworks, experiencing them from various angles.

The artwork enters the real space of the viewer as the barriers between sculpture and architecture dissolve, resulting in graphical purity and logic, sparked by clarity and elegance.

That meant putting a show together in real space, the shared space of the viewer.

The drawings become fragments and remnants — with the full image existing only in the transient space of each viewer's eye — and by extension mind.

In a context defined by the increasing saturation of images, the three artists here make a case for the unique position that real objects can hold in the physical space of a viewer.

Here the violent content is above rather than beneath the surface, up front rather than behind, almost projecting into the real space of the viewer.

His exuberant sculptures of the period unfold within the personal space of the viewer, shifting dramatically in appearance as s / he walks around them, although they mark a departure from the figure as subject, a sense of liberation from the concentrated weight, scale, and ordered naturalism of the body endures.

His 1964 essay «Specific Objects» is considered a manifesto for Minimalist sculpture, advocating artists whose works inhabited the actual space of the viewer rather than the illusionistic space of traditional painting and sculpture.

While Pistoletto has typically relied on the mirror's reflective surface to seamlessly integrate pictorial space with the physical space of the viewer, the Scaffali paintings appear to complicate this relationship.

At Zwirner & Wirth, a selection of smaller - scale works will be on view, including examples of Sandback's earliest sculptures, such as Untitled (Grey Corner Construction), 1968, a rectangular composition that appears to extend out from the corner and references the work of Russian constructivist Vladimir Tatlin, whose «corner constructions» of 1915 - 16 projected the work of art into the real space of the viewer.

They play on Constructivist forms - among their inspirations, according to Genzken, were the Proun rooms of El Lissitzky ± but also show the influence of Barnett Newman and Lucio Fontana, extending Newman's zips and Fontana's slashes into the space of the viewer.

The so - called expansion of course is into sculptural and installation - type manifestations of painting, where the space of the viewer is often encroached upon by physical elements in the artwork.

Its swirls of Day - Glo pink, yellow, orange, and blue expand to fill both the visual and physical space of the viewer, carrying both feminine seductiveness and stereotypical masculine bombast.

His collages of the late 1970s and early 1980s often ncorporated three - dimensional elements that extend the surface of the work into the space of the viewer.

These two modes of working are united by a desire to explore the boundary between painting and sculpture, and to move into the space of the viewer in a manner that demands complex investigation.

They also serve to physically remove the paint from the fundamental surface of the painting and push it, along with the relief elements, into the space of the viewer - a treatment of space that has been a part of modernist vocabulary since the cubists invented collage.

This piece sits on the ground without a pedestal, directly in the space of the viewer, and is unframed and exposed in a way that almost no previous sculpture had been.

In a similar vein, work by Michelangelo Pistoletto (b. 1933) addresses the spectator directly through a mirrored surface, blurring the line between the space of the work and the space of the viewer, unifying art and the changing realities of everyday life.

Together forming an oasis of color, each painting is dominated by a bright tone and finished with the artist's signature slanted edges, pushing the piece into the physical space of the viewer.

Frank Stella Ring 2008 18kt yellow gold ring 4.4 x 8.9 x 5.1 cm Edition 8 of 10 Signed and numbered Inspired by baroque artists, who developed illusionistic «tricks» to convincingly suggest that their subjects emerged out of the canvas and into the space of the viewer, Stella extended his paintings into the third dimension to enter the viewer's space with protruding materials.

She positions herself as one of the materials through which information is filtered — with the present - day contents of her studio and computer spilling out into the space of the viewer.

These works demonstrate a formal minimalism and narrative restraint that encourages a direct encounter between the space of the gallery, the space of the viewer and the space occupied by the object itself.

As obtuse and sardonic as Duchamp may have been, he had still done painting the enduring service of bringing the picture more immediately into the physical space of the viewer.

The artist skillfully extends the pictorial space of the painting beyond the confines of a «canvas,» beyond the gallery wall and out into the space of the viewer in an effort to capture the feeling of being surrounded.

Inserting them into claustrophobic compositions, these figures violently break through architectonic frameworks into the space of the viewer, pulling shattered material with them.

Merz extends the bison's hooves below the canvas to enter the space of the viewer, which upon closer inspection emerge as painted shoeboxes.

In a similar vein, work byMichelangelo Pistoletto (b. 1933) addresses the spectator directly through a mirrored surface, blurring the line between the space of the work and the space of the viewer, unifying art and the changing realities of everyday life.

As the phone's camera locates and calibrates the space of the viewer, the aesthetic experience is akin to walking around within the layered installation views Vierkant disseminates, with layers of abstraction appearing over the works and suspended in space throughout the room.

In 1966, McCracken generated his signature sculptural form: the plank, a narrow, monochromatic, rectangular board format that leans at an angle against the wall (the site of painting) while simultaneously entering into the three - dimensional realm and physical space of the viewer.

His sculptures enter the space of the viewer allowing one to move freely around its brightly colored and geometric edges.