Not exact matches
According to the Phillips Gallery in Washington, D.C., «His large canvases, typical of his mature style, establish a one -
on - one correspondence with the
viewer, giving
human scale to the experience of the painting and intensifying the effects of color.
Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted
on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large -
scale X-Ray images of the
human skull mounted
on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the
viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments
on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.
Newman relied
on horizontality and overall
scale to allow the
viewer to inhabit the painting through peripheral vision (and indeed most landscapes are painted horizontal to resemble
human vision), but Swavely's paintings are vertically oriented.
With Bricks, conceived at the early period of the Uruguayan dictatorship, the piece obscures any cues for cardinal directions,
human scale, and the relationship of the body within its environment, imposing boundaries
on the
viewers» experience.