Sentences with phrase «takes over the viewer»

I very rarely use outlines in my work and very much build from the light — I want it to spill over into the scene, into the room and take over the viewer, bringing them inside of the piece in return.

The work in Matt Kleberg's two recent exhibitions — brightly - colored, striped paintings that describe interior or architectural spaces — slowly but surely takes over the viewer's attention.

Not exact matches

Once the viewer shows continued interest in Prince's advice... the chatbots take over.

Following five women over two years as they pitch VCs, build teams, bring products to market, fail and start again, SHE STARTED IT takes viewers on a global roller coaster ride from San Francisco to Mississippi, France and Vietnam.

Back in 1994 TV viewers all over the world watched transfixed, as South Africa's first democratically elected president took the oath of office.

Whether you have a film like Ex Machina winning the Oscar for best visual effects over films like Mad Max: Fury Road or The Hurt Locker taking precedence over behemoth's like Avatar for best picture, independent films have always had a way of winning over the hearts of many viewers.

As the film unfolds over 2 hours and 15 minutes, those words take on a greater and deeper significance, resonating throughout a remarkable real - life drama that pulls the viewer through an almost unbearable ordeal to arrive at a pinnacle of triumph and almost miraculous perseverence.

That's a lot for a viewer to take in, and as pleasing as some aspects of Your Name can be, there's no question Shinkai's overstuffed movie often trips over itself.

She takes the viewer on a journey to meet many of its top stars, producers, and directors: Maria Ford, actress in over forty films; Julie Strain, actress and 1993 Penthouse Pet of the year; Roger Corman; and pioneer Samuel Z. Arkoff.

Focusing on an earlier president, the HBO take on John Adams was a remarkable work that benefited greatly because of its scope as an episodic mini-series - this allowed for moments of contemplation, for legislative flourish, and for detailed negotiations to unfold over time, making their success all the more cathartic for the viewer.

Stevens» film lacks inspiration, either within the project or available for the viewer to take with them long after «Before the Flood» is over.

What makes the film so stunning is that they don't talk about it, and that viewers understand these complex things as they unfold in subtle details over the hiking trip the pair is taking in the company of a guide in the Caucasus Mountains.

The film becomes increasingly far - fetched over the last half hour as a miniature mob war erupts in the pokey take - away setting, but overall it's a pleasantly enjoyable experience and won't give many viewers much to complain about.

If only the film itself weren't marred by trying to win over viewers in taking already bad events and hyperbolizing their lurid content to make their side unimpeachable.

After a few viewers caught this tidbit and discussion mounted over the weekend, Jones took to Twitter for some damage control, however what he had to say wasn't 100 % convincing.

A certain brand of schadenfreude takes over watching The Commuter crumble in its later halves, myself and a good chunk of other viewers at my screening cackling at the various hare - brained plots and dull lines that populate the later portions.

The new indie comedy by Lake Bell, In a World..., takes the viewer on a fascinating and often amusing look into the cutthroat world of voice - over acting.

On September 20, 1973 a tennis match dubbed the Battle of the Sexes took place and over 48 million viewers tuned in to watch Billie Jean King defeat Bobby Riggs.

The concept behind Battle: Los Angeles is to take a sci - fi premise and shape it into modern militaristic mayhem, with director Jonathan Liebesman (Darkness Falls, Texas Chainsaw Massacre: The Beginning) deploying ceaseless amount of shaky - cam stylistics to pound the viewer over the head with an impression of front line realism.

Me, Myself & Irene was wildly uneven, Shallow Hal was a one - joke movie that beat the viewer over the head with its message, and now we have Stuck on You, a movie which is so determined to take its main characters seriously that it takes all of the air out the humorous portions of the film.

The story then takes viewers on watch with the cops over a series of several months.

Anyone over 16 who lives in the UK can sign up through the The Viewers» website — you'll have to fill in a questionnaire on your viewing habits, which takes 5 - 10 minutes.

The journey took place over 30 days between Canada and the U.S. and was a chance for viewers to not only go on this road trip with Jay, but to learn more about Nintendo, gamers, and Jay himself.

Like before, the angry voice of SEGA takes over the television, this time directly addressing the viewer with six words: «Just stick it in your Genesis.»

Taking the form of a diagonally sloping 33 - square - foot work that ranges in height from two inches to eight feet, Donovan's new Untitled will give the viewer an opportunity to tower over or be enveloped by plastic cylinders — depending on where one stands.

Even today, after decades of appropriation - based art, some viewers are taken aback, at least momentarily, when they realize that Drexler is «merely» painting over borrowed images.

Once they lose that awareness, or way too often, the pageant takes over, and the viewer moves on.

Unlike traditional photography, which captures an instant of reality, her images are constructed from photographs taken in different locations over the course of several months, then layered and blended until the real and the fabricated become a seamless composition whose verisimilitude prompts the viewer to question the nature of both the medium and its content.

It takes over a site rather than opening a space for each viewer to enter.

«These works take the viewer into the secret world of the remnant rainforest, a forgotten place where the giant trees preside over the comings and goings on the forest floor.

The purpose of the conversation that took place over email was to further explore how these influences shape what the viewer sees, and to suss out to what capacity his studio practice informs the paintings.

Others, such as the wall relief Sudden Enclosures, 1986, are bulky and dense, taking the viewer's eye on an alluring trip over a convoluted topography of textures and colors.

Gal Weinstein feeds his ego creating three - dimensional works that tease the viewer yet, is completely comfortable to be taken over by mould.

Widely known as an icon of Op art, Riley first came to prominence in the 1960s — notably after her participation in The Responsive Eye exhibition at MoMA in 1965 — creating visually disruptive black - and - white paintings that actively engaged the viewer's perception, using geometrical patterns that were quickly taken over by the fashion and design industries throughout the «Swinging Sixties».

But these monstrous bulging forms also have a sinister quality as they press towards the viewer, taking over and dominating the space.

Internationally acclaimed artist Doug Aitken's latest filmic piece Station to Station takes viewers on a journey from New York to San Francisco in 10 stops, over 24 days.

Silva's birds take flight over gleaming horizons with impossible geometries, flapping their wings with imaginary physics and stunning the viewer with beguiling colors and textures.

An exhibition in the Fourth Avenue Colonnade of The Cooper Union Foundation Building, of over 50 graphic novel illustrations — presented for the first time in the United States — will take viewers through the history of Franco - Belgian comics art.

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.

Reviewer Will Jennings recommends the show, encouraging viewers to «plan a visit to see James» film and performance, taking place over the same afternoon as the second part of Austin's performance work, on 31 August».

It would take the viewer over 3,000 years to explore all the available combinations in just one piece.

Ultimately, Ruby dissects his method of liberating his work from his personal narrative — for the work to live on outside his studio, for it to get under a viewer's skin, and to take on new meaning as it gets interpreted over and over.

In this first ever solo exhibition at Station 16 Gallery, WIA takes over the space to recreate the artists love for winter activities and weekend chalet getaways in a way that is sure to delight new viewers and Whatisadam aficionados alike.

ART HK 11 is over and as art world attention moves back to Europe, we take a look at what pavilions from the Asian region are offering viewers at the 54th Venice Biennale.

Fusing together form, process and perception, her stages take the same gradual curves and twists of the brush, the knife, and the sewing machine, and extend it out into physical space, both introducing a similar meandering pathway to the viewer's experience of the works, and simultaneously drawing a connection to the weeds» presence «below,» the idea that the ground we walk on is extended over that of natural earth.

Formally, the images reference movements from Modernism to Minimalism, but the act of viewing the people inside the building, who seem to be unaware of the photographer, allows the most basic voyeuristic tendencies of all viewers to take over.

Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large - scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls and furniture covered in multicolored stickers put there by viewers over the course of the exhibition.

In the decades since, Salcedo has gone on to create larger installations — such as Noviembre 6 y 7 (2002), a work commemorating the seizing of the Supreme Court in Bogotá, installed in the city's Palace of Justice — taking over galleries and unusual spaces to create politically and psychologically charged environments that provide an immersive experience for viewers.

McMillian, inaugural recipient of the Suzanne Deal Booth Art Prize, has been invited to work in The Contemporary Austin's downtown site, the Jones Center on Congress Avenue, taking over the entire space physically and psychologically inverting viewer assumptions with entire floors transformed into immersive spaces of sound, video and color.

Finally with Charles Sheeler's work «Water», 1945, the cool depiction of a brand new hydroelectric plant, the painting is both literally and metaphorically «dry», with no water visible and a total absence of any human narrative; this is a picture «built» by the artist in the name of progress, the modern metropolis rendered pristine — and rather frightening — as the viewer questions that total lack of a human presence or narrative — and as we look on, still buoyed by this geometrically clean Modernist dream, all the while the machines — the new modern soul — conspire to take over the world.