Sentences with phrase «viewer standing in front of»

Essentially a line of vitality and energy that seems to assert the mystery of existence and the dynamism of life, its unassailable verticality in the midst of vast field of color often sparks a mystical connection with the verticality of viewer standing in front of the painting.

There are times when passive learning can be wonderful, for instance, when a viewer stands in front of a painting and gloriously lets it wash over him or her, immersed in a flow of sensations.

«But if the viewers stand in front of my work and find thought processes, or some kind of tenderness, a sense of delicate fragility — not only the simple expression of emotions of youth and roughness — I believe it is due to the music I listened to before I met punk.»

Not exact matches

aaaaaan then by historical account, after the disciples left their homes, gave all they had and hung out with poor people «to keep their good economic standing,» cried in joy from beatings because they could serve Christ and not the world, and all of the twelve but one were beaten thoroughly and executed, becuase the one who lived was placed in boiling oil and WOULD NOT DIE in front of thousands of viewers... «tooooo keep their «good economic standing?»»

Sorry, Mr Hooper, 3 musical solos back to back all shot as if the viewer is standing 10 inches in front of the performer does not make for interesting cinema.

Standing in front of it, as far as the eye can see, the viewer is confronted with a myriad of dots that appear to vibrate elaborately through an optical effect.

While standing in front of the images, some viewers synchronously googling «guerrilla girls» on their smartphones, a strange feeling of occult timelessness set in.

Standing in front of Aqueous / Igneous I find myself engaged in Theatre, where perception directs movement, an exchange of energy between the viewer and the performance of paint.

The artist, however, does not give us much of a hint of the museum setting — no visitors are standing about, no reflection of the diorama's glass front is visible — and so the viewer is lured into creating a narrative in a manner similar to the one induced by Crewdson though perhaps not quite as eerie.

Collectively, the works portray a tantalizing range of patterns and surfaces; they are often installed directly in relation to the architecture in which they are exhibited in order to purposively propel the direction of the viewer's movement in space, so that the paintings themselves address the viewer when they are both standing in front of them and passing by.

Ideally, the viewer would stand in front of his paintings, focusing on large fields of color and abstract forms, and come to terms with the self and his or her own scale.

Sculpture, painting, installation, sound and the spoken word all attempt to heighten and question the experience of what it means to stand in front of something that has been made with the express intention of supporting, qualifying or glorifying an ideal of authority, placing its viewer under a state of subordination.

As has been widely reported, Dana Schutz's painting Open Casket (2016) was immediately challenged by protestors who stood in front of it to block viewers» access along with a call to remove and destroy it.2 At issue is the appropriation by this white painter of the photo of the lynched - body of the black boy, Emmett Till, taken at his open - casket funeral held in Mississippi in 1955.

The work, by physically reflecting viewers in the mirror once standing in front of it, forces an active engagement with the sculpture and elicits a reflection about the viewers» «position» towards these issues.

The viewers stand as if on a ramp in front of Schnell's paintings, imaginarily just about to plunge into the picture.

Nothing that would make the viewer to stand for minutes and minutes in front of the painting trying to solve and understand its mystery.

The glass appears black until the viewer stands directly in front of the boxes resulting into an uncannily voyeuristic 3D view onto scenes where either something dreadful has just happened or is about to commence.

Thomas Judisch «As the viewer you stand there, in front of it or in it, irritated and first have to collect yourself.

Rail: So the viewer who walks from either side sees the painting, but if he or she stands directly in front of it they see it almost like a Barnett Newman zip.