The two artists are prominently featured by Puerta Roja in the group exhibition Movement; Cruz - Diez's Physichromie series (1959), and Chromointerference Spatiale Décembre (1964), use contrast and harmonization to generate virtual colours that change depending
upon the viewers point of perception.
Not exact matches
Depending
upon a
viewer's vantage
point, she will see either the former museum walls, the work of the other artists, or a combination of both.
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 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 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.
His three - dimensional editions, constructed of high - gloss metal layers, playfully interact with
viewers, affording unique experiences depending
upon their vantage
points.