Sentences with phrase «upon the viewer as»

The movie goes exactly where you expect, the only real question being what sort of craziness McCarthy, Falcone and Mallory will unleash upon the viewer as they make their way along this well - worn path.

Constantly seeking new territories for expression, the Goldsmiths University alumnus weaves fictional and real - life narratives together in order to shed new light on personal and collective identities, whilst calling upon the viewer as an active participant.

Together with Millie Chen's writing, which interests physically and conceptually with the artworks, this exhibition will work upon the viewer as visual and textual incantations for acts of incorporeal transformation.

Not exact matches

By creating this one unforgettable image Spielberg forces the viewer to identify with the horrific plight of the individual in the same way that Schindler does as he gazes down upon the carnage from a similarly remote and elevated position of safety.

Julia Roberts is amusingly nasty and catty (there's a better word here that rhymes with «witchy») as the Queen, though her comedic secret weapon is the indefatigable Nathan Lane (best known to younger viewers as the voice of Snowbell the cat in the Stuart Little movies) as her put - upon servant Brighton.

Director Rodrigo Plá presents events as in a film noir, as though the outcome is inevitable, no matter what anyone might do to try and change that, and the realization that dawns upon the viewer is one of dread.

But by the end of the film things calm down and we are reminded that this is indeed a film for kids, as we have a life lesson forced upon us which most adult viewers could no doubt do without.

They're both social commentaries, reflecting upon contemporary society's fascination with blood, and they both stir doubt within the viewer's own morality — as does many of Refn's other films.

Yet, just as in Louis Malle's My Dinner with Andre, the dialogue, especially Sands» closing anecdote, evokes images in the minds of viewers upon recall.

The viewer is called upon to make some moral judgements as more facts are revealed.

As we've already touched upon here on Bloody Disgusting, this past Sunday night's Season 7 premiere of the hit AMC series was one of the most disturbing, harrowing, and grueling hours of television we've ever endured, and though we understood that it was exactly as upsetting and brutal as it needed to be, many viewers didn't quite feel the same waAs we've already touched upon here on Bloody Disgusting, this past Sunday night's Season 7 premiere of the hit AMC series was one of the most disturbing, harrowing, and grueling hours of television we've ever endured, and though we understood that it was exactly as upsetting and brutal as it needed to be, many viewers didn't quite feel the same waas upsetting and brutal as it needed to be, many viewers didn't quite feel the same waas it needed to be, many viewers didn't quite feel the same way.

The folks over at PlayStation Underground were given some hands - on time with the English version of Dragon Quest XI running on PlayStation 4, and as a result, they've uploaded 17 sweet minutes of gameplay footage for viewers all around to set their eyes upon.

The larger than life - size portraits appear to be featureless black and white silhouettes upon first glance, but as the viewer becomes more intimate with the image, each woman's individuality unfolds in the rich textures and skin tones barely visible.

His careful use of simple media is intended to call attention to their manipulation, display, and materiality, as well as their effects upon the viewer's perceptual awareness.

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.

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.

While Morley's paintings invite the viewer to reflect upon the conflicts that have shaped humanity since time immemorial, they also echo the artist's personal experiences as a child during the Second World War, his cultural affinity with both England and America, and his lifelong fascination with models, from the plastic Air - fix kits of his youth to the paper cut - out varieties.

As though appealing to individual memories, they confer upon viewers a time for calm contemplation.

The goal is to not only activate the viewer's role as interpreter but also foster reflection upon his or her own beliefs, values, and presumptions along the way.

The speed of the paintings» creation alludes to a lust, as if release is thrust upon the viewer.

However, unlike traditional Chinese landscapes, Lam builds upon the scene by adding objects such as rocks, houses and human figurines, inviting viewers to take a closer look at the details.

Gazing upon a small image of 87 x 68 mm against the white background, viewers encounter time and space that extends without limit, perhaps also serving as a moment of «rediscovery» for us.

As opposed to creating concrete forms, the transparency of these pieces invite the viewer to examine the intricate interplay of each assemblage and the ways in which the contextual interpretation of each component shifts depending upon the angle at which it is viewed.

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.

Unlike more recent attempts to frame the personal collecting habits of an artist as a manic embodiment of commodity fetishism in the era of high capitalism, this exhibition asks viewers to reflect upon the correspondences between artist and acquisition and the complicated relationship that contemporary art exposes between taste, influence, and popular culture.

Upon entering the gallery, viewers will find five certificates, acting as a kind of performance documentation for the works in the exhibition all from the artist's series Rivals.

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.

Often including himself as a subject in the works, Mehner invites the viewer to join him in reinterpreting definitions of identity and ethnicity placed upon Native people.

A child - like puppy - face motif also summons a primitive female form, and a white wall emerges as a textured surface only when the light renders shadows upon it — Black is interested in the alteration of the viewer's orientation and relationship to his works over time.

Virtuosic mimicry is not the only point of such images, however; «failures» such as smudges and anomalies of scale disrupt the illusions and remind viewers of the usually compliant but sometimes faltering hands and memories upon which the illusions depend.

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.

They also build upon the collective histories of their chosen medium — clay as nature, clay as origin, clay as shelter, clay as dam, clay as vessel, clay as terra firma — and choose to play with those histories in their attempts to give the viewer pause while, simultaneously, addressing twenty - first - century aesthetics and concerns.

As viewers move through this gifographic, the images and animations build upon each other further highlighting the theme of the visual.

She acknowledges they are depending upon viewer sophistication, because in the way paintings perceive nature and issues such as climate change, the art also comments on landscape painting's history and forces of culture and politics behind it.

Works such as the present example, clearly demonstrate the power of these spatial associations to impress upon the viewer the essence of Still's awe - inspiring oeuvre.

She wants the viewer to pass through the front room, behold the crappy graffiti paintings, and then go into the back gallery, where, upon seeing the «real» work — which is clearly labor - intensive and, as she would say «super intentional» — be knocked out by her brilliance.

They were interested in creating artworks that encouraged viewers to avow their own relation to the work of art; receivers had to reckon with themselves in shared space with an artwork whose constitution as a work depended upon them.

In his many portraits of Nijinsky created throughout the 1930s and 1940s, Kline was relying upon the viewer's cultural knowledge of Nijinsky's life and the ballet Petrushka in order to heighten the emotive power of these paintings, just as he did in the abstract version of 1950.

Some Serras are overweening and threatening, as if their rusty metal mass might muscle in upon you; some squeeze viewers into a labyrinth.

Impositions upon the body also exist for viewers to the exhibition as they walk around the space and encounter artworks that have their own autonomous movements (Eva Fabregas's floor - based works, Self - Organising System, and Alan Butler's Orphan Transposition series of spinning laser - etched acrylic panels, featuring out - of - copyright images of Yosemite National Park, freely circulating online).

Upon entering the gallery space, the viewer is confronted by an installation consisting of three video projections that present the most pressing questions concerning the supposed objectivity of academic knowledge by pointing out the corporatization of institutions of higher learning in the United States and the sometimes controversial positions that universities fall into when trying to physically expand amidst disenfranchised communities, as well as falling into possible contradictions with the agendas of university donors.

The work as such is not grouped thematically within the several rooms of the gallery, but rather it is hung aesthetically within a very open white - walled space such that work in differing rooms and nooks and corners can communicate effectively with one another and with the viewer depending upon one's orientation.

As with the «fake» movement that he co-founded, Sigmar Polke found his inspiration in the everyday life, be it household magazines, advertising or common prints on fabrics, and changed the imagery, creating new codes and messages, spurring the viewer on to reflect upon the meaning behind original and adapted image.

«The exhibition space then becomes the stage upon which my characters are free to tell their stories as the viewer experiences the opera.».

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

Thomas» striking billboard confronts the viewer head on as the first image the visitor sees upon entering the park, stimulating a dialogue on the relationship between land, labor, American history, and culture.

The Buddha meditating upon himself points to the self - reflexivity of the experience of the television viewer — a wry comment that equates the TV viewing experience to the practice of Zen meditation as means to achieve a higher level of consciousness.

Peake stages multi-sensory performances — such as Amidst a Sea of Flailing High Heels and Cooking Utensils, his two part performance held at Tate Tanks and London's Chisenhale Gallery in 2012 — which adopt a variety of cultural motifs and aim to induce a bodily, visceral impact upon the viewer.

As Moten riffs on the word «drag», vulnerable expressions, simultaneously fresh - faced and smeared with make - up, are fixed upon the viewer.

Le Va calls upon the viewer to piece together the unseen action, what he refers to as a Sherlock - Holmes aesthetic.