Sentences with phrase «which viewers»

Homes on the East London streets, which viewers regularly watch the sisters cycle down, are now valued at # 562,777.

The film will also come with 14 deleted scenes, an audio commentary, and scene breakdowns in which viewers will get a in - depth look at how the most iconic moments in the film were concocted.

It is also much easier and cheaper to track the effectiveness of a campaign using SEO: while television ads may require further audience outreach services to tell which viewers are interested, all your website needs is a basic free analytics tool like Google Analytics to see who is reaching your website via search, and who is contacting your firm because of search engine optimization.

, in which viewers who had «a better idea about energy» were invited to send it in, and the winning ideas would be featured in these TV spots.

In other works, such as her solo installation at P.S. 1, where she built an elevated plane with cut - outs to which viewers ascended on ladders to gaze on what appeared to be a vista of icebergs (in fact, polystyrene forms), she toyed with our perception of space, location, materials, and memory, mixing things outside with things inside and natural forms with constructed ones.

Its participatory nature, in which viewers are invited to make use of the fixture individually and privately, allows for an experience of unprecedented intimacy with an artwork.

It's the follow up to «NDD Immersion Room,» in which viewers had to hand over their phones before entering a darkened nature - themed installation, and continues to build upon her investigation of the effects of cell phone culture.

This zone of flux becomes a curious place in which viewers can contemplate the relationships between works, while also coming to their own conclusions about what modernity means today, and what it may have meant to past generations.

These artists use place as a jumping off point, creating works informed by the environment in which viewers encounter them.

The floor of the gallery was covered with soil and old clothing, over which viewers walked to get to the house.

In this earlier moment, artists as diverse as Dan Graham, Peter Campus, Bruce Nauman, and Joan Jonas established feedback loops of live cameras and monitors into which viewers could wander: Sometimes their images were replayed to themselves in altered form, as in Campus's works, and sometimes spectators encountered their displaced projections on a short delay or in kinesthetically disorienting environments, as in installations by Nauman and Graham.

Her recent exhibition at CCA Wattis Institute in San Francisco included wallpaper encasing a whole gallery, while the materials for the work itself ranged from acrylic to silkscreen ink and paper, with the geometric design broken up by phone numbers (which the viewers could text), printouts, and other miscellanea.

One of the latter, The Never Ending Book Part 2 / Art and Therefore Ourselves, 2009, is a stage - like environment filled with more than fifteen thousand pages of images photocopied from volumes in Ruppersberg's library, which viewers are invited to rummage through and make selections from to create their own unique «books.»

Alison Kendall creates drawings and paintings in which viewers» expectations are breached by dreamlike intruders.

He applied narratives of his own devising and then utilized elements of his video sets to create sculptural tableaus within which viewers would experience his projective reinterpretations.

Installations which she called «cells» and «lairs» were rooms into which viewers could peer through palisades and broken panes.

They are abstracted visual assemblages of the artist's dreams and memories, portraying an inner landscape in which the viewers can enter to form new interpretations based on their personal experiences and imagination.

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.

Woolfalk made her first pieces while studying at Brown University; among them was a set of anatomically correct finger puppets with which viewers were encouraged to play.

Included in Remote Controls are the first interactive video disc, Lorna (1979 - 82), in which viewers use a remote control to navigate through the apartment of an agoraphobic woman, accessing her fears and dreams, personal history and future; and the sexual fantasy video disc, Deep Contact (1984), which first used touch - activated screens.

Through the lens of urban archeology, his art is inspired by the everyday, and becomes a vehicle of exchange through which viewers can re-examine their own sense of humanity and spirituality.

A monumental sculpture forms the centerpiece of Buzz Kill: extending from the four corners of the gallery, and reaching from the floor to the ceiling, this massive painted aluminum sculpture divides the exhibition space into individual «rooms «through which viewers can move.

However, the opportunity for interaction was not lacking, as exemplified by the oversized sculpture, Portrait of the Artist (2013), by Jennifer Rubell at Stephen Friedman in which viewers can crawl into the «womb» of the piece.

As its title «Fountains» suggests, the exhibition is conceived around fully functional fountains, «active sculptures» that transform the galleries into humid and energized places through which viewers wander, as if in a town square.

Hans - Peter Feldmann's 100 Years consists of 101 portraits of people born from 1900 to 2000, tracing the span of a human life within which viewers can position themselves.

I'm bewildered, but from what I can tell this whole show is a prelapsarian vision seen through the eyes of someone who imagines that an aesthetic world exists from which viewers — if we follow the Judeo - Christian story of initial membership in the Garden of Eden and subsequent expulsion for disobeying the rules — are barred.

Eight large - scale works will transform the Schirn from 2 October 2013 to 5 January 2014 into a series of spaces that can be experienced intensely by the senses and installations into which viewers are directly integrated as participants.

He will also present related stools upon which viewers can sit and watch a selection of his rap videos.

In this installation the artist provided a ground in which the viewers present experience is extended and tested through a deconstruction of spatial ordering allowing the viewer to become a self - observing figure in a disorientating ground.

It is a painting exhibition, but also a coexistence of four spaces in which the viewers can immerse themselves just as in an architectural structure.

While all of the exhibiting artists in Love Action Art Lounge approach the social from distinct and varied perspectives, they, arguably, share what Yates McKee, the author of Strike Art: Contemporary Art and the Post-Occupy Condition, describes, when writing about Occupy Wall Street, as a horizontal pedagogical space in which viewers themselves might be prompted to imagine and perhaps eventually enact their own sense of social transformation.

Artworks in the show sit in a relationship of discursive fluidity; the exhibition space becomes an invisible network of connections and meanings within which viewers position themselves.

Last year he built a huge work at his New York gallery, 303, that featured a partly disassembled Gulf Stream camper mounted on a kind of gangplank, which viewers could walk through.

His two «threshold sculptures», which viewers had to negotiate to enter his lacklustre display, were a gift to the tabloid press, while his illuminated sign There Will Be No Miracles Here spoke no more than the truth.

These bottoms adorn the novelty cups that litter the table on screen and at which viewers sit (it's a simulation of the on - screen simulation).

The installation is constructed from eight large canvases that are painted black and bolted together to create a room in which viewers can immerse themselves in a contemplative space.

Perhaps an indication of the richness of Zach Harris's artistic practice is the wild variance with which viewers describe the references and precedents for what they see.

By creating interactive work, she fabricates a space in which viewers engage with their surroundings and each other.

At N Space, Van Lingen exhibited his meditative paintings, drawings, and some multi-media works while the work at the Project Space was a kinetic, mirrored video installation which viewers sometimes caught glimpses of themselves amidst the chaos.

The first edition of the Yokohama Triennale, for example, featured Tsubaki Noboru and Muroi Hisashi's suspended giant grasshopper The Insect World / Locust that was hung outside Yokohama's Grand Intercontinental Hotel; Anita Dube's sombre installation His Master's Voice, which meditated on India's modern history through its array of furniture covered in a thick layer of dusk, and Cai Guo - Qiang's Fireworks from Heaven, which featured reclining massage chairs from which viewers gazed on a display of artificial fireworks.

Beutler is also constructing a platform for one of Esra Ersen's video installations and a tower from which viewers can take a closer look at Kirstine Roepstorff's new wall work.

Leonardo predicted the difficulties that would confront artists five centuries later when they tried to produce purely abstract paintings which are always in danger of becoming aesthetic Rohrschach blots on to which viewers project their own figurative fantasies.

The canvas, which is stretched directly onto the wall, creates a screen or backdrop onto which viewers project their own associations triggered by the powerful imagery.

Dyed with ink, the patterns of Hefuna's large - scale screens are woven with spare words and phrases, with past and present resonances with which viewers are called to engage.

Johan Creten's piece Le Banc des Amoureux (2011), is a bronze bench on which viewers can sit.

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.

McCarthy first performed this work at his exhibition at Villa Arson in 1994, and then presented it later as an installation in which viewers had to put on costumes like those in the performance video in order to enter a room to see that video.

I am hoping that I organized and installed an exhibition in which viewers can see my curatorial «whole» while at the same time being able to engage individually with the work.

Entering Nelson's work is an active, and sometimes anxious, experience in which viewers move through an elaborate labyrinth of rooms often concealed within rooms, surrendering their bearings to experience the artist's three - dimensional narrative.»

Sited a mere 97 miles from Trinity, location of the first atomic bomb, the exhibition outlines an expansive framework within which viewers can meditate on two increasingly relevant antipodes of human experience: the quest for aesthetic expression, and the threat of global apocalypse.