In different ways, then, each of the artists in this show is concerned with signature residue:
their works challenge the viewer into believing in the artistic aura of their gestures, however minimal.
Merging ideas of ritual, community, and pride,
the work challenges the viewers to revisit stereotypes and visual tropes.
The works challenge the viewer with mute austerity as stark signs that refuse to perform as signifiers.
His site - specific
works challenge viewers» perception of their bodies in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures.
Interpretation of
the work challenges the viewer to locate «voice», as ambivalence seems to be at its core.
Much of
the work challenges the viewer to consider how the unexplainable can continually occur.
The work challenges viewers to consider new ideas about contemporary art, artifice, and authenticity, and the phenomenology of experience in the desert environment.
His work challenges viewer's sensibility to the obvious.
Walker's
work challenges viewers with scenes and characters that are puzzling, bizarre, shocking, and graphic.
Her work challenges viewers to reflect on the relationship between self and other in an ever - evolving global landscape.»
Rudolf Stingel (b. 1956, Merano, Italy) is a New York based artist whose
work challenges the viewer to critically consider their own perceptual experience in viewing art.
Not exact matches
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.
Equally, if everything fails to
work, the film is a slog that perpetually
challenges the
viewer to engage while offering little reason to do so.
It isn't perfect, but when it
works, it's brilliant, and a definite recommendation for
viewers looking for something a little more
challenging than your typical adventure film.
Isn't passionately loving or hating a
work of art a way of measuring what buttons have been pressed and demonstrating that
viewers might have been
challenged?
No comic filmmaker in America today
works so hard to stay on the knife's edge between humor and pathos or is so eager to
challenge his
viewers emotionally.
You
challenge the
viewer with the structure, but what was it like for the actors
working with this material?
Mahadev's series of winning images not only provides a window into the lives of the women and children
working in a brick factory, but poses an interesting
challenge for the
viewer to look beyond the attractive imagery.
This
work, a group of de - and reconstructed cats and dogs suspended from the ceiling by wires exemplifies Nauman's ability to place the audience off - balance, thus
challenging the
viewer's preconceptions.
At the heart of Wolfgang Tillmans»
work is a
challenge to existing hierarchies of beauty and value; he invites the
viewer to discard all assumptions about where these qualities are to be found.
His
work challenged the notions of public and private space, originality, authorship and — most significantly — the authoritative structures in which he and his
viewers functioned.
A staple in art historical discussions of institutional critique, Lawler's photographs
challenge the
viewer to think about the context in which
works of art are displayed, and subsequently the overlooked aesthetic choices made by the places in which they are viewed, sold, and stored.
With «pattern paintings» intentionally resembling wallpaper, and paintings that capture the image of
viewers on their surface, the
work presents a playful
challenge to notions of gallery space and what constitutes a painting.
Challenging the
viewer's assumptions about the world, Piper's
work draws from personal and professional experiences and directly addresses gender, race, xenophobia, social engagement and self - transcendence.
This new body of
work presents oversized, hyper - realistic portraits of people that
challenge the
viewer to consider the artist's rigorous technique.
, a group exhibition curated by Beth Rudin DeWoody featuring
works in various media by both well - known and emerging artists who
work in the field of contemporary realism to visually or conceptually
challenge the
viewer.
The
works in this exhibition, spanning 1992 to the present, blur the divide between two and three - dimensional forms to
challenge the
viewer's understanding of the world in which they live.
This Annual Open Call exhibition
challenges artists to create
works in a box that engage one
viewer at a time.
As Como is quoted in the show essay, «the
works are catalysts... they are meant to
challenge the
viewer's sense of history, memory, evolution, and transcendence.»
challenges viewers to find personal meaning in the
works on exhibit.
Since the 1960s, Tuttle has
challenged conventions of genre and media, sensitizing
viewers to the experience of looking with his
work.
Through glass
works designed and fabricated in Murano and the Seattle area, as well as in paintings, sculpture, prints, and video, Wilson
challenges assumptions about history, culture, and display practices, offering alternative interpretations and encouraging
viewers to reconsider how they think and what they know.
She continues to create
works that both
challenge and provide solace to her
viewers.
Her
work is informed by her daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that
challenge the
viewer to contend with the disorganized body in a state of excess.
Jenkins's
work is generally performance - based, and he often
challenges the
viewer by questioning what it means to be an artist; indeed, he recently gave an artist's talk which included employing hecklers to shout him down.
Durgin's body of
work creates a mutable and highly charged space in which the
viewer is
challenged to define what is real and what is beautiful.
Shields
challenges the
viewer to move around his
work as one does a sculpture, and color always stimulates my tendency to guess the theoretical underpinnings of the use of a spectrum.
Drawing from his personal, as well as a collective, wellspring of experiences living as an African American man in the South through the middle of the twenty - first century, Dial's
work captures struggle and oppression, but also joy and wit, and
challenges viewers to wrestle with their own preconceptions, prejudices, as well as ironies of being an American.
An artist whose mixed media
work is highly conceptual and who constantly
challenges himself to
work with a wide range of materials, Ryan Gander also
challenges his
viewer to engage with his environments instead of playing the «lazy spectator.»
In doing this Paolini
challenges the
viewers preconceived ideas of what an art
work should be, subverting expectations and leaving the
viewer with a sense of ambiguity.
The resulting
works push the limits of their utilitarian materials and
challenge the
viewer's perceptions.
A central figure in the California Light and Space movement, Robert Irwin (b. 1928) has been creating installations and
works of art for over six decades that
challenge viewers» perceptions of the world around them.
While attempting to incorporate text into his sculptures of the period, he was
challenged to find a cohesive way of incorporating his voice into his commanding structures, and although he created numerous neon light
works and installations, his sculpture evolved in a more conceptual direction, withholding information and requiring a complex response from the
viewer by creating «uncomfortable spaces and shapes».
She actively
challenges viewers to question their perception of space through
works that blur the line between two and three dimensions.
The
challenge was learning how to enable multiple entry points into my
work for different
viewers about the same body of
work and subject matter over a decade.
Each painting creates a space and world of its own, captivating
viewers and
challenging them to spend time with the mesmerizing
works.
LRF: The
challenge of
working on the same subject matter for over a decade is how to keep the photographs dynamic and interesting to the
viewer over that extended period of time.
Because these
works are closely interrelated, other strands emerge as well, like
challenging the
viewer's integrity and critiquing American culture.
Lydia Okumura (b. 1948, Brazil) actively
challenges viewers to question their perception of space through sculptures, installations and
works on paper that blur the line Read More»
Lydia Okumura (b. 1948, Brazil) actively
challenges viewers to question their perception of space through sculptures, installations and
works on paper that blur the line between two and three - dimensions.