Sentences with phrase «ventriloquist doll»

This is a mini ventriloquist doll.

This mini female ventriloquist doll is recommended as as a sandtray / sandplay figure or for more general play therapy.

Participants flop like mute ventriloquist dolls caught between two worlds — literally part of Mayer's object narrative — Peter Rabbit and Roger Rabbit — a tourist in their own time.

A film by Philippe Parreno and Rirkrit Tiravanija features ventriloquist dolls acting as stand - ins for the world - weary artists at a panel discussion they would rather not attend themselves.

These mini ventriloquist dolls are recommended as as sandtray / sandplay figures or for more general play therapy.

Not exact matches

After the incident with her, in the wee morning hours (evidently none of these guys has to work on Thursday), everyone but Dr. Kramer decides to spontaneously drive to San Francisco for a stop at the House of Affection, a brothel run by a woman (Ann Wedgeworth) with a ventriloquist's doll.

An iconic use of the haunted - doll trope, this Alberto Cavalcanti - directed tale of a ventriloquist and his seemingly sentient (and malevolent) dummy has stood as a touchstone of the subgenre — everything from the Anthony Hopkins - starring Magic to recent offerings like Annabelle owe the British horror sequence a debt.

His findings lead him to discover the tale of theatrical entertainer and ventriloquist Mary Shaw (Roberts, The Nanny Diaries) and her collection of dolls that had been buried with her upon her passing.

Comprised of two separate videos, «Ringtone» and «Geisha Song,» the installation features the artist's signature style of using inanimate objects, such as ventriloquist dummies, paper dolls and finger puppets in staged photographs and film to objectify people and express a blend of psychological, political and conceptual ideas.

The titular series portrayed in Laurie Simmons» Clothes Make The Man: Works From 1990 - 1994 consists of 6 nearly identical resin dolls, modeled on wooden ventriloquist dummies.

Since the mid-1970s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, and people to create photographs that address underlying issues of representation.

Taking its cue from the resurgence of figurative sculpture in the late 1980s and early 1990s, and from Sigmund Freud's essay «The Uncanny» (1919), the exhibition brings together mannequin - related art works, mostly from the 1960s onwards, with objects from disparate cultural contexts that engender a similar sense of unease in the viewer: medical dolls, anatomical waxworks, religious statues, pagan figurines, ventriloquists» dummies, sex dolls, taxidermy and so on.

She has placed inanimate dolls, ventriloquist dummies, and household objects and furnishings in intricately staged sets with theatrical lighting with the reverence typically reserved for precious materials or human subjects.

Since the mid-70's, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, mannequins and occasionally people, to create images with intensely psychological subtexts.

Laurie Simmons stages photographs and films with paper dolls, finger puppets, ventriloquist dummies and costumed dancers as «living objects,» animating a dollhouse world suffused with nostalgia and colored by an adult's memories, longings, and regrets.

In addition to artworks, however, Kelley gathered religious statues, inflatable sex dolls, ventriloquist dummies, wax figures, and medical anatomical models into crowded clusters to eerie effect.

Simmons stages photographs and films with paper dolls, finger puppets, ventriloquist dummies, and costumed dancers as «living objects,» animating a dollhouse world suffused with nostalgia and colored by an adult's memories, longings, and regrets.