Sentences with phrase «viewer around the space»

Heikes explores the physical and perceptual barriers inspired by today's social and political landscape through his installations that guide the viewer around the space with their abstract angles and forms.

The large, permanent table in the center seemed to lead the viewer around the space rather than get in the way.

Not exact matches

The letters are not painted, but painted around, allowing the background color to come through, and I think the viewer experiences the space created by that.

By 1960 the picture plane had implicitly come to belong to the past, but that would not be clear to either the artists who performed the closure or the critics who loved their work, nor had it become any clearer by 1972, when Greenberg described Stella's painting as poor sculpture rather than remembering Mondrian's remark about how paintings don't take place on the surface but in the space between and around itself and its viewer.

In a return to video, Sze questions how we measure time and space, incorporating elements that shift and dissolve as the viewer moves around the piece.

All of which ask the viewer to explore the spaces in and around the works.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

By juxtaposing unconventional views of ordinary spaces, this exhibition will showcase how artists orchestrate the viewer's perception of the world around them.

Out of the three rooms their installations will occupy at the event at PACE in London, the largest will include six works and feature Universe of Water Particles, Transcending Boundaries, a virtual waterfall that extends beyond the gallery wall onto the floor, flowing through the space and around the feet of the viewer.

The work's most salient connection to geography lies in the viewer's ability to walk by, around, and above Grosse's undulating fields of color as they unfold over time and space.

A central figure in the California Light and Space movement, Robert Irwin (b. 1928) has been creating installations and works of art for over six decades that challenge viewers» perceptions of the world around them.

On a repeated cycle, brilliant halogens come on for short bursts and then plunge the viewer and space into darkness in which the subject is implicated in a visual field framed by unstable but insistent glowing perspectives that allow free movement around and within them.

«Kelly's visual vocabulary is drawn from observation of the world around him — shapes and colors found in plants, architecture, shadows on a wall or a lake — and has been shaped by his interest in the spaces between places and objects and between his work and its viewers.

Inspired early in his career by modern dance — notably through his relationship with members of New York City's influential Judson Church dancers — and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large - scale sheet - metal pieces by navigating the space around them.

On the first floor, you may walk around Richard Serra's installation The Matter of Time (1994 — 2005) in gallery 104 and explore the unique interactions between the artwork, the viewer, and the space.

These works, when standing idle or when activated by a performer six times a week (Fridays and Saturdays at 2 and 4 pm and 5 pm either by actor / performer Austin Purnell or performer Lollo Romanski), set the tone for the way in which all of the works in the exhibition change subtly as the viewer — or the sculpture itself — moves around the gallery space.

But the power of her intimate expose is reflected again in the Whitney's new performance space, where Yuji Agematsu's immersive installation «Walk on A, B, C» takes viewers on a slideshow - driven geographic journey around the museum's new neighborhood.

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.

Created as hybrids and varying in size, from that of a bus shelter to a fashion runway, the pavilions operate as quasi-functional spaces that are activated by the presence of the viewer, as visitors are encouraged to walk through the sculpture and encounter reflections of themselves, others and the space around them.

The shaped paintings on view in this exhibition create illusions of space and depth, where planes may be perceived as simultaneously receding or projecting, allowing the viewer to journey both around and through the work.

Galerie Thaddeus Ropac presented a 24 - hour, 24 - country live - streamed performance by Terence Koh — LIGHTNING STRIKING AT BOTH ENDS OF A THOUGHT, which took the viewers into private spaces around the globe for an intimate and at times bizarre dioramas.

Combining the linearity of drawing with the materiality of painting, the surface gains sculptural volume when a viewer moves around the work, revealing the depth inherent to the negative spaces between each of the cards.

Like Minimalism, she calls attention to the space around traditional sculpture, the space in which the viewer may move as well.

The Flesh Is Yours, The Bones Are Ours elucidates the epistemology of history: by navigating around the reliefs, installed tightly across the entire floor of the space, and observing their designs, viewers are close to — yet still at a distance from — understanding the objects that lie beneath us.

In some works, such as Circle Square (2011), this is accomplished through a use of space and materials that physically invites the viewer's gaze into and around the work's playful geometric surfaces.

Showcasing major loans from the National Portrait Gallery alongside highlights from Birmingham's collection, the display will create a spectacle of turning in the gallery and will mirror the way the viewer moves around the space.

His site - specific works challenge viewers» perception of their bodies in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures.

«Pepe's work is an invasion of the exhibition space: it is a seemingly chaotic assemblage of insultingly «low» materials that disorients the viewer and forces bodily interaction, including, at the very least, stepping around, stooping under, looking up, looking through, and exercising faculties of mind and imagination....

In other words, although the whole space is filled with flowers, a hemispherical space is constantly being created with the viewer at its centre and the viewer is free to move around wherever they want.

In other words, by focusing the viewer's attention on the space around it, an artwork's diminution of scale can actually give the piece greater resonance.

Because an installation usually allows the viewer to enter and move around the configured space and / or interact with some of its elements, it offers the viewer a very different experience from (say) a traditional painting or sculpture which is normally seen from a single reference point.

The works will range from wraithlike sculptural works like Ground Control (2008), a black helium balloon that moves around slowly and freely in one of the gallery spaces, to video works like Dream Machine (2006), in which the three primary colors alternate frame by frame at 24 frames per second, producing a jarring, disorienting effect on the viewer.

The centerpiece of Timothy Nolan's exhibition, a latticed and stacked trapezoidal shaped sculpture shifts, melds and reconfigures as the viewer moves around the work and throughout the gallery, sometimes taking form as the elements of the piece interact with one another, and sometimes confounding viewers» experience of spatial dynamics within the work and the larger gallery space.

The absent space around space - consuming objects including bathtubs and mattresses provide both a familiar and foreign feel as they represent an inverse of the original object and require a reorientation of the viewer's perception.

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).

The sounds that the viewer hears while walking around the space resemble human whispering, as well as breathing.

The viewer leaves this room and continues the rest of the exhibition feeling buoyant, somewhere between awake and sleeping, indeed, somewhere between the limits of the body and the space around it.

This emptiness created by means of reserved enactments, minimal interventions and reduced gestures makes space for the relationship between the separate works, mutually charged by their interaction, and thus opens up the interpretative impetus for the viewer's perception that is driven not only by seeing, but also by moving around, feeling and hearing.

Interested in the way that a space can be modified or even dismantled by a projected image, Steinkamp worked at transforming the viewer's relationship to the architecture around them.

For Gilliam, the hard - edge ethos was not a theoretical end itself, but the beginning of a lifelong interest in the connection between painting and sculpture, and in creating, in critic and curator Jonathan Binstock's words, «a totally painterly environment, one that made a viewer's relationship to the object and the space around the object... almost as important as the object itself.»

The space will be illuminated at night to approximate daylight, so viewers can see the panels around the clock.

Caro continues his interest in the relationship between interior and exterior space with forms that fold in on themselves and draw the viewer's eye around the work.

This affirms the «less is more» approach of minimalist artists, for whom the simplicity of a shape allowed for the piece to interact more with the space around it, and with the viewer themselves.

Andre's works were typically non-figurative, usually consisting of identical ready - made commercial units, such as bricks, cement blocks, or metal plates, put together in geometric arrangements, and placed directly on the floor so as to emphasize material, form, and structure - inviting viewers to question the space around them.

Fitzgerald's work structures the works around it, allowing the viewer to move between the art and the gallery space.

Her work is often devised around audio and spatial feedback systems that manipulate the visitor's awareness of sound and space, incorporating the physical and sonic qualities of surrounding architecture to engage the viewer's senses.

The cones fill the gallery space while allowing the viewer to move around and through them.

As a result, these works measure out an intervention into the space around them with such clarity and precision that they surprise the viewer into a more acute appreciation of the spatial environment that they themselves inhabit.

Sharon Katz - Recent landscape paintings by Katz describe a space that wraps around the viewer, investigating a radical twisting of perspective and implicating the viewer as a subject of the work.

His aim is to draw viewers in with artwork that explores the relationships between shape, color and the space around the work.