Sentences with phrase «viewers of works by»

Just as with Cubism and Impressionism, the excitement that continues to awe viewers of works by Wilson, de Kooning, Pollock, Kline, Rothko and Gorky starts with the sheer energy involved in the way these artists put paint on canvas.

Can we presuppose that the viewer of a work by Donald Judd in Paris gets the same information as a viewer in New York?

Not exact matches

Televangelists used money sent by listeners and viewers (much of it pledged for mission work overseas) to buy up hundreds of radio and TV station licenses, and to create satellite - fed networks.

In addition to the outlets that are paid to cover the spectacle the day of, popular influencers, photographers and editorial brands flood millions of feeds by showcasing models at fittings, working out and otherwise preparing to walk for millions of viewers weeks prior to the show.

A work of art does not exist totally of itself but is completed by the viewer.

Many allusions to German culture and history in his work are likely to go unrecognized by the first - time American viewer, especially anyone who has not read some of the growing critical literature on Kiefer or the excellent guide by Mark Rosenthal to the Kiefer exhibition now touring the United States.

To see if entertainment could offer a solution to this challenge, Ingber teamed up with Charles Reilly, Ph.D., a molecular biophysicist, professional animator, and Staff Scientist at the Wyss Institute who previously worked at movie director Peter Jackson's Park Road Post film studio, to create a film that would capture viewers» imaginations by telling the story of a biological process that was accurate down to the atomic level.

Although the amygdala's importance in face recognition and emotional assessment is well - known, little is understood about how these processes work, but research led by investigators at Cedars - Sinai and the California Institute of Technology has found that at least some of the brain cells that specialize in recognizing emotions may represent judgments based on the viewer's preconceptions rather than the true emotion being expressed.

He reconstructs an iconic piece by placing a metallic reflective ball in front, to give art viewers a brand new perspective to a classic piece of work.

It's fairly tedious stuff that's compounded by a lack of narrative momentum and an almost aggressively deliberate pace, with, in terms of the latter, the movie's slowness ultimately preventing the viewer from working up any interest in (or enthusiasm for) the protagonist's feel - good antics.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

Review I have seen this movie twice, probably the third romantic movie that compelled me to do that, and the reasons are quite simple: It's probably impossible that anyone can't relate to young Josh Hutcherson's character, an 11 year old with a normal middle class life and problems (parents initiating divorce); that its surprise by the rediscovery of a young classmate (Charley Ray) initially as an unexpected friend and later as something else... The well crafted work of director Mark Levin is based on the mutual discovery of all these feelings (mostly new and uncontrolled) that evolved in Josh's character and in another particular viewer: you.

Despite such qualms, however, Fifty Shades Darker admittedly does manage to hold the viewer's interest throughout due to its solid visuals and strong performances - with, in terms of the latter, Johnson and Dornan delivering able work that's matched by periphery players like Marcia Gay Harden, Kim Basinger, and Eric Johnson.

Those who ignore the rules or can't figure out how to make them work are doomed to produce inept and unwieldy pictures that will frustrate viewers by providing glimpses of the fantasy without delivering it.

Gorgeously photographed, and with a minimalist score by Fred Frith, Leaning Into the Wind offers viewers a welcome chance to consider the work of an artist who defies the recent commodification cult to embrace the ephemeral and the nominally «worthless.»

Although different viewers will have different rankings for the various segments, it seems impossible that «On Work,» the visually extraordinary segment by clay - painter Joan Gratz will not rank towards the top of them in the way that it combines Gibran's powerful words with equally stunning imagery.

The abundant tropes remind the viewer of those featured in vehicles favored by the likes of Steve McQueen, Charles Bronson, and James Coburn, men's men who made movies for men that weren't even likely to interest boys with a taste for action, as the work of the next generation of action stars (Stallone, Schwarzenegger, and Norris» other slightly younger Expendables cast mates) would.

Some early viewers of the film — which opens this weekend in France — immediately likened the movie to work by Brian De Palma.

Viewers would be forgiven for their hesitance to see another movie from the directors of the «Vacation» reboot, but John Francis Daley and Jonathan Goldstein, working from a pitch - perfect screenplay by Mark Perez («Accepted»), have crafted an ensemble comedy that lives up to its high - concept premise while giving a gang of talented actors — including the gifted Jason Bateman, so rarely employed to great effect on the big screen — fun characters and big, outrageous moments.

There are any number of readings available here, from Katniss and Peeta's relationship mirroring generations of Hollywood stars (closeted and otherwise) with fake publicity marriages, to the oppression of the working classes by the greedy 1 %, to the vagaries and dangers of instant fame, to bread and circuses, and «Catching Fire» allows viewers to dig into or avoid the metaphors as much as they want.

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

These performances are squashed by the Duplass brothers» devotion to overt and jumpy camera work that gives the viewer almost exclusively single shot close - ups of each character.

Coloured by verdant green nature and the red stain of rusting metal, Abbasi steeps the viewer in the sorrow and beauty of this poverty stricken milieu, yet an over reliance on elaborate cinematography soon becomes distracting, and those familiar with the early work of David Gordon Green, won't be surprised to see the director's name appear as an executive producer.

For Nugent, the work was to keep the momentum of the propulsive first act going, and to keep viewers from experiencing too much «visual lethargy» during the film's first half, which all takes place within the 10 - by -10-foot shed.

Without the game's two selling points — the mental thrill of tactical work paid off by the visceral enjoyment of combat gameplay — viewers are left with a sub-Tolkien setting and a poor, rather clichéd story.

Taken from a novel by Dennis Lehane (and adapted by Affleck and Aaron Stockard), author of Mystic River, Gone Baby Gone is a film which works on many levels and will stay with the viewer long after it ends.

Most viewers will come away impressed by the sheer amount of big - name stars that contribute to the film in smaller roles, and while they all offer some nice character work here, this film really belongs to Ralph Fiennes, who shows quite well that he can command the screen in a lightly comedic fashion, rather than as the heavy that dominates most of his better known works.

The technique adds to the suspense by throwing the viewer off the scent, and contributing to a sense that we might be watching the work of an untrustworthy narrator.

Filmmaker Richard Shepard does a superb job of immediately luring the viewer into the briskly - paced proceedings, as Dom Hemingway opens with an irresistibly over-the-top stretch detailing the central protagonist's prison - based exploits - with the movie's effectiveness heightened considerably by Law's magnetic and gloriously scene - chewing work here.

The performances are deft, the pacing is fleet, and the viewer is left with the agreeable impression that «Band of Robbers» is a promising work by filmmakers whose next one probably will be even better.

Working from a sensational, intimately layered script written by Simon Beaufoy (Slumdog Millionaire, The Full Monty) and directed with dexterous skill by Little Miss Sunshine impresarios Jonathan Dayton and Valerie Faris, this empowering, exuberantly enthusiastic motion picture creates such a palpable sense of joy in the viewer it gives one hope things really will turn for the better sooner rather than later.

An impressionistic barrage of sexually frustrated prisoners grasping for each other and at themselves, their musculature bathed in chiaroscuro light as they lovingly move their hands down their bodies while they're watched by drooling, baton - wielding guards, Un chant d'amour is an all - consuming work of art that aims to liberate the viewer through erotic fantasy.

But the best of such works, faithful to the difficult and uncertain paths by which one attempts to seek the truth, also sensitize the viewer to the perceptual and intellectual biases we have when we look at anyone other than ourselves.

You could plausibly go further and suggest that the way the film reinvents PT Barnum — by all accounts a nasty, racist piece of work who exploited his workers without any qualms — as a beaming champion of minorities and misfits, might chime with viewers who wish to see good in men, and find precious little of it around in today's #MeToo landscape.

Two revelatory, impossibly gyroscopic 16 mm shorts by Tony Hill, whose work was totally new to me: Downside Up (1984) and Holding the Viewer (1993), presented by Hill himself at a happening organised by Bristol Experimental and Expanded Film, aka BEEF, at the People's Republic of Stokes Croft in Bristol.

As we observe Kate and Alex getting to know each by sharing their deepest feelings about love, work, and life, the film reminds the viewer of the lost art of taking the time to know and understand another individual.

Speaking of his role on The Crown, and Churchill's relationship with the young Queen Elizabeth (Claire Foy), which viewers see evolve beautifully during the show's first season, Lithgow says, «That work was done by [creator] Peter Morgan, and all of the inspiration for the series came from one scene between Elizabeth and Churchill in his play The Audience.

A docudrama mapping the trials of real - life teacher Francois Begaudeau over the course of one year in a rough Paris high school, work shopped and performed by actual students, any concerns of gimmickry or over-earnestness dissipate as the film's searing insight and joyful wit carry the viewer through an all - too - brief 130 minutes.

Capturing the soul of an animal now long gone, failed by a system it was never asked to be a part of, Barone's work reaches viewers in a way that no graph, pie chart or percentages ever could.

It's left to the viewer to work out that this actually means the video is simply advertising paid for by the publisher or developer of the title in question.

The new live action trailer is quite the epic piece of work and no surprise considering it has been directed by Neil Huxley (Avatar, Watchmen) and shot by Director of Photography, Fabian Wagner (Game of Thrones) although the true marvel of this trailer comes to light with how it has faithfully recreated the game's Nemesis System that allows you, the viewer, to determine whether your actions result in an Orc who is completely loyal to you or one who is consumed by revenge.

Featuring 60 paintings and collages made between 1954 and 2013, the exhibition was monumental in both scope and effect: by showing a less frequently seen side of Katz's work, it prompted the viewer to reconsider the artist's overall project, now well into its sixth decade.

Taking the form of a diagonally sloping 33 - square - foot work that ranges in height from two inches to eight feet, Donovan's new Untitled will give the viewer an opportunity to tower over or be enveloped by plastic cylinders — depending on where one stands.

The next brave gallery to accommodate Mach's work is the Griffin Gallery in west London, which will also be giving viewers a chance to see his installation and creation process by opening its doors a few of weeks before the show, while he's setting up.

By contrast there's the world and work of Richard Tuttle, the subtle, idiosyncratic Tuttle, who can leave viewers dazed or dazzled.

In 1998, he published his book Relational Aesthetics, which theorized a new style of art — pioneered by such figures as Pierre Huyghe and Dominique Gonzalez - Foerster — that placed an increased emphasis on viewer participation and the interaction between humans surrounding works.

The current exhibition of work by the late Alan Uglow (1941 - 2011) at David Zwirner highlights the way Uglow's abstract paintings engage with each other and the viewer to create subtle, shifting apprehensions of flatness and illusion.

This is experienced in the spaces between each work and the surrounding architecture — an irregular play of light and shadow which itself might be altered by viewer's movements through the space.

It's not always easy to enter the work: one must follow multiple strands of color before a narrative opens up and the viewer is absorbed by the sensual space Reafsnyder offers.

About the relationship of his work to the viewer Rothko said, «A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer.