Sentences with phrase «viewers become»

There is a voyeuristic aspect to Senior's work as viewers become self - consciously aware of the action of their own gaze.

The works also shift the relationship of the audience to film, as viewers become participants, their bodies intersecting and modifying the transitory forms.

Others create new situations wherein viewers become active participants in the artists» modes of exploration.

The interactive installation, River Crossing Puzzle, transforms a traditional children's puzzle into a playful but politically charged game, while with My Spy Desk, the exhibition's viewers become unintentional protagonists.

Through this channel, viewers become willing conversational participants in the creation of the final piece.

Viewers become the only physical presence within the -LSB-...]

Engaging their bodies to look, viewers become more keenly aware of the corporeal aspects of the images.

Meanwhile Tiravanija showed one of the tasty dinner pieces (in which viewers become participants as a meal is served to them), with which he was making his name as a central figure in Relational Aesthetics.

Viewers become part of the piece, captured by running cameras and screened during the performance.

With Frohawk Two - Feathers» latest installment of the saga of the Frenglish Empire, viewers become part of an exchange between cultural memory and history — between the fictitious Frenglish Company Crocodile and our world, with reality being somewhere in the middle.

As the film progressed we, as viewers become totally immersed in her character.

The viewers become invested in the action because there is a hypnotic quality in its hauntings.

Through breathtaking cinematography weaving in and out of the early 20th Century set pieces, viewers become equally invested in the dark, twisty case as Gordon.

The committee stressed that not all viewers become aggressive, of course, but the correlation between violence and aggressive behavior by some is undeniable.

Apparently, when Pocahontas went through its test screening, young viewers became restless during the rendition of this musical number.

With all of the fire and toppling buildings, the viewer becomes stuck in a trance that won't let up.

With Franco in the building, the question for viewers became how the outspoken Colbert would approach the subject, if at all.

Each canvas tapering into the next, the viewer becomes involved in a dictated progression of abstraction and images, colors and compositions muting and transforming along the way.

The larger than life - size portraits appear to be featureless black and white silhouettes upon first glance, but as the viewer becomes more intimate with the image, each woman's individuality unfolds in the rich textures and skin tones barely visible.

A multicoloured, outdoor installation of triangles made of plastic bollards, steel and gravel was positioned in such a way that the viewer became caught up mentally and physically in an intricate play of formal relationships and informal sensuality.

The viewer becomes the one to - be-looked-at, caught in the blinding lights.

As the viewer becomes subsumed in Cain's world, the poetry of it is uncovered, allowing for a personal engagement with the artist's bodily and emotional involvement with her work.

Dolly is the communicator of a muddled collection of memories, and the viewer becomes a voyeur, flicking through the pages of a diary.

The viewer becomes part of the dialogue in which Crosby addresses cultural intersections that are under acknowledged.

The viewer becomes the subject in an experiential field that oscillates between the meditative and the interrogative.

Death is a subject of art for the ages, but this work brings with it such delicacy of feeling — as the viewer becomes seduced by the anthropomorphism — counterbalanced by the shocking ending, that one does not begrudge the return to such a theme.

Chapel of Meditation offers a contemplative space in which the viewer becomes enveloped within the radiant light and veiled mists found in the artist's work.

Walking among Cunat's net forms, the viewer becomes a part of her constructed environment.

The difference is subtle, but can't be unseen once the viewer becomes aware of it.

Feitelson consciously sought to reduce extraneous elements to create «extra existences» — where the viewer becomes physically absorbed by the viewing experience.

Reflected in aluminum panels, the viewer becomes part of the work and is invited to question what he or she sees.

The viewer becomes the witness to anonymous acts and Just's storyline is dependent upon the participation of his witnesses.

The viewer becomes an unfamiliar visitor engaging with the characters.

Upon closer inspection, the viewer becomes attuned to a surreal atmosphere that vibrates from the coiled corners of the fragile ceramic sheets.

The viewer becomes an outside voyeur, drawn in to untangle the artist's vision.

As such, the phenomenological experience of the viewer becomes paramount: «What has interested me all along is not the pronouncement of meaning, but pointing toward the way meaning is formed.»

Within these assemblages however the order is clarified as the viewer becomes aware of how each element combines to create and generate an audio composition.

The viewer becomes an interactive dialogue partner, which lends the sculptures a completeness in that the artwork takes on meaning through its communicative function.

Depicting unremarkable scenes of urbanised environments, the viewer becomes a voyeur with access to a blurry fragment of an otherwise inaccessible world.

Adrian Searle: Berlin - based artist has created one of the very best Turbine Hall commissions in which the viewer becomes the subject in a relationship that explores intimacy, communality and the self

The two elements form one immersive work, of which the viewer becomes a part on entering the room.

In 300 objects it follows an artist who didn't so much abandon art as push it slowly, painstakingly and even logically — in small abstract paintings, wall pieces and flexible sculptures — to a place where objects and materials were meant to be handled and viewers became participants, alone or in groups.

While meandering beneath, the bright, fluttering work reveals itself to be an illuminated, celestial landscape borrowed from traditional Japanese painting or Manga animation — each viewer becoming a figure suspended in a handcrafted paper paradise.

This gathering of characters, of which the viewer becomes one, is reflected back by mirrors, copper and other metal - leafed works installed in the scenography.

The viewer becomes the subject, causing a shift in awareness that serves as a filter to rediscover each of the sculptures already viewed — a phenomenon The Contemporary doesn't consider too highbrow for the average Joe.

In the Detroit series of decaying and derelict urban structures, the viewer becomes intensely aware of the passing of the years and the impact of economic depression.

As with real art, time expanded, slowed down; viewers became aware of complex interplays between realities; logic was bypassed, multiple patterns of meaning formed.

By working with a reflective surface, the viewer becomes an integral part of the piece while the subject of the work is drawn into the activity of the gallery space, prompting one to contemplate questions of self, representation and reality.

The conceptual work of the Viennese group Haus - Rucker - Co, founded in 1967, explored the performative potential of architecture through installations and happenings in which, using pneumatic structures or prosthetic devices that altered perceptions of space, viewers became participants with the possibility of influencing their own environments.

The viewer becomes actors of these familiar situations.