Sentences with phrase «wants viewers of her work»

For her part, Goel says she wants viewers of her work to slow down and really look, «especially with so many screens and moving images around us.

Not exact matches

I mean, yeah, a dead baby would be like 1000x more offensive and emotionally difficult for viewers, but the metaphor holds better, and if you want to guilt us dirty bottle feeders into making our boobs work or forgoing our mental health meds or suffering through rape flashbacks or never - ending mastitis or simply not enjoying how we feed our babies, then a picture of a dead baby will be much more effective.

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.

«I want viewers, when they look at my work, that they see themselves in the picture,» he says, «that they also become part of this land; that they, in a way, merge with the land — but they don't quite disappear into the land.

It works in moments, and Carell at least manages to endear himself to the viewer, but mostly, Sexes simply doesn't know what it wants to say, and what is said is a hesitant, stuttering mess of a message about women's and LGBT rights.

«Serialized content, whether it's a TV show, movie trilogy or written work, is a great and much - loved form of entertainment — it leaves viewers and readers wanting more, eagerly anticipating the fates of their favorite characters,» said Jeff Belle, Vice President, Amazon Publishing.

For a group like the Criterion Collection, the prioritization of this concern happens through signaling their ongoing act of «working closely with filmmakers and scholars to ensure that each film is presented as its maker would want it seen and published in an edition that will deepen the viewer's understanding and appreciation of the art of cinema.»

You talk a lot about wanting the viewer to get up close to the work, and there's obviously so much detail, and so much happening in that kind of intimate engagement.

With his work, he wants to allow the viewer to transcend the paint and enter into the psyche of the subject.

He wanted the viewer to be cleansed of the usual preoccupations of a work of art, «of falsely climactic emphases, of susceptibility to tricks of illusionism, and of the restless drive to penetrate behind «mere» appearances».

I want viewers to question the materials of my work, to step closer to get a better look.

My intention is never to make the viewer experience the same kind of feelings I'm feeling; more that I just want the viewer to see something in the work that they can openly connect with and relate to.»

Ronay wants to entice viewers toward a state of mental play in which many possible meanings seep out of the work.

He wanted to use his works of art to make the viewer conscious of his environment; he wanted to bring about a sensitive consciousness - raising, as it were.

The panels can easily tell a story similar to a history book, but a story Mokgosi wouldn't dictate out loud during the talk, instead he wanted the viewer to interpret their own story of it based on their ideas, and personal judgment.Other works on display throughout the School were part of the «Status Quo» group presentation.

She provides images that pique the viewer's curiosity and suggest some kind of storyline, but she wants the work to be open so that each person can create her own interpretation.

Liebman remarks: «Every decision I make I want there to be a formal reason and another level of meaning, so it works on multiple layers... When I see the paintings, I can't help but see them in reference to the original image, but the viewer doesn't necessarily have that.

But Stella wanted none of that kind of interaction to occur between his work and its viewers, leading him to make his most famous statement about his art: «My painting is based on the fact that only what can be seen there is there.

I very rarely use outlines in my work and very much build from the light — I want it to spill over into the scene, into the room and take over the viewer, bringing them inside of the piece in return.

Pepper said of these works that she wanted to create sculpture with «simple relationships that were, at the same time, beyond the viewer's grasp.»

So often the inherent contradictions in her work stay with you, like her Mamans, those enormous spiders that loom over the viewer with legs like bundles of angry nerves, these were «portraits of my mother... I want to walk around and be underneath her and feel her protection.»

Bringing her paintings to this point of irresolution and wanting more, she allows us, as viewers, to be part of each work.

The exhibit is organized in more or less a chronological order, which is perfect for an artist who went through various stages — there was fascination with photographic prints, silk screening, extensive collaboration with Merce Cunningham, sometimes with works created in real time as Cunningham's dancers trouped around, an idea of interactive art, in which the viewers were encouraged to tune a radio embedded in a painting to any station they wanted (needless to say, you should not try that now), and so on.

«I want viewers to feel the range of emotions and sentiments these artists bring forth in their work, whether is sad, angry, serious or satirical.»

«Rather than have a human presence in the work in a traditional narrative sense,» Monk explains, «I want the viewer to be aware of their own presence in front of the object.

On one occasion Golub pointed out that his work was an invitation to a place where nobody wanted to go, taking for granted that his paintings put the viewer in a situation of becoming a witness, or even an accomplice, whose gaze is returned by the figures inflicting pain.

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.

It is this bodily response to an idea or an image that she wants the viewer to experience when encountering her work and its use of unexpected materials, scale and humour.

Overall, I work to keep the question of how painting creates meaning as open for myself as I can, and I want to leave space for the viewer to engage with these possibilities as well.

Evans has said he wants his work to function as a «catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys.»

In an attempt to recreate these «likes,» the curators mostly featured photographs of smooth, young, and light - skinned bodies presumably because that is what people want to see; however, these works do little to offer the viewer an alternative view of what is desirable.

His visual vocabulary was drawn from observation of the world around him — shapes and colors found in plants, architecture, shadows — and has been shaped by his interest in the spaces between places and objects, and between his work and its viewers: «In my work I don't want you to look at the surface; I want you to look at the form, the relationships.»

AM: Process is so important in your work, and you have said that you want viewers to have a visceral response to your paintings; can you talk about the physicality of your materials?

The service offers viewers access to 30 minute long episodes of the show, which may work better when kids want to watch the whole thing but parents don't have an hour to spare.

If you are a creative professional such as a graphic designer, and want the viewer of your LinkedIn page to see examples of your work, you can also append a creative portfolio display using one of their applications.

I want decorating shows, like yours, ones the viewer can watch and put many of the ideas to work in their own home.