Sentences with phrase «viewer respond to the work»

Instead, these works enlarge, repeat, and glorify images of women and vaginas in order to demand that the viewer respond to the work with an understanding of women as both subject and maker.

Not exact matches

Known for creating work that responds to architecture and the built environment, Cain embraces the relationship of psychological and physical space by encouraging viewers to be fully present and immerse themselves within her work.

[vi] This critique was not always well - received, and Arneson noticed that viewers often responded to the humor in his work not just negatively, but as if he had offended them personally.

Consisting of three geometrical modular black units weighing a total of 2,700 pounds, One - Two - Three asserts a «presence» that requires viewers to respond to the work in physical terms as well as visual.

He is an artist interested in examining how viewers respond to his painting, and often shows his work outside the usual setting of a museum or gallery.

The work, a robotlike figure that responds to a viewer's movements, will be part of an exhibition at the Ringling museum in Sarasota, Fla..

Finished with a top layer of white paint, the works archive the advertisements that punctuate urban life and encourage viewers to adapt, respond to, and erase these ever encroaching corporate images.

I hope that viewers of my work, being innately sensitive to color and movement, respond to some of the excitement, subtlety, discovery and idealism I have experienced in the best of it.

Viewers can visit the Untitled website built for Day With (out) Art 2011 by Creative Time here to watch a trailer, view the list of participating venues, access the Resource Guide, respond to the film, and engage in dialogue about the work necessary to end AIDS.

For works that rely on such an economy of gesture, they nevertheless suggest an interrogative and antagonistic position, one that requires both artist and viewer to complete the unspoken partnership with each piece and to respond to the titular challenge: Where Were You?

Departing from the idea of sculptures as self - sufficient and autonomous, he creates work that responds through scale and form to its immediate environment, demanding active engagement on the part of the viewer — not only through seeing but also through embodied experience.

He writes that the exhibition «presents the artist and his work partly in the context of his time and place and partly as artefacts present - day viewers respond to literally, without much explanation, as images that will strike them as strange or alien, either because of a cultural disconnect or because of the uniqueness of Dürer's imagination.»

Punctured, pinched and hollow shapes often feature in Moore's work and allude to the universal forms which he believed all viewers respond to subconsciously.

The work has a strong emotional resonance that I think viewers really respond to.

If the work's adult viewers responded by huddling together, their children were happy to plunge into the eye of Atlas's storm, hurtling through the forest of legs and slapping the walls with gleeful disregard for its fresh paint job.

In his latest installment at The Armory Show, his works continue to do just this, with pieces that convey ideas over images and register as pure forces viewers can respond to.

In responding to Donald Judd who made «specific objects,» Le Va provides the viewer with «non-specific situations,» inviting us to complete the work of art through bodily interaction with materials and our sense of perception: «What I want [viewers] to do is place themselves in the work, and search out some kind of meaning that fits the object, as opposed to immediately seeing something and applying some readymade explanation... I want the work to set up a dialogue.

The works in the show respond directly to physical architecture and the simultaneously private and public nature of the gallery while still relying on the viewer's interaction with the work to enliven.

«Artists Remi Rough (London), John Fekner (NYC), Kenton Parker (Los Angeles), Jaybo Monk (Berlin), Matt Doust (Perth), Marco «Pho» Grassi (Milan), Jade Palmer (Melbourne), Jon One (Paris), Amanda Lynn (San Francisco), Darren Henderson (Melbourne), and Jordan Seiler (NYC) were asked to consider the premise that there are three sides to every story, responding to the brief of Perth artist and curator Stormie Mills with an exhilarating collection of fresh, contemporary works in a very special exclusive for Western Australian viewers.

In these new sculptures, as well as across Price's work, the artist's careful attention to the minutiae of physical appearance and presentation invites the viewer to become more aware of the subconscious processes by which we recognise, interpret and respond to other people, all the while fashioning our own social identities via outward presentation.

«I install the work to construct passages and obstructions, which requires viewers to respond by negotiating the installation's overlapping forms and lines.»

She calls her materials quotidian, utilitarian, The resulting work by both artists defy category, flirt with invisibility and infinity and yet respond to the particular, re-image space, and beautifully surprise the viewer.

The result is a multisensual bombardment, synthesising the natural and manmade — far more than just an abstract work, but something that viewers can «feel» and respond to.