Sentences with phrase «work moves the viewer»

Swain's work moves the viewer to not just see color, but also to think and experience it.

Not exact matches

Rather than fancy camera work, he relies on powerful framing and the story itself to move viewers.

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.

The result is neither moving nor charming — not to mention particularly funny to viewers over the age of ten — and the lackluster work of the B - level star cast (which also includes Arquette-less Courteney Cox and Andie MacDowell) makes one further yearn for the days of animated features starring bonafide voice actors.

Early Man does little to move things on, in evolutionary terms, but — for younger viewers especially — its straightforward storytelling and gentle humour still work a treat.

This is not the case for all the work, and two pieces, radically different in form and composition, move beyond the intricacies of internal formal dialogue to effectively engage with the viewer, the gallery space, and larger questions about art's transformational power.

I would like to think of my sculptures and installations as something that moves the viewer, the colors of my work are the colors in my brain, in my dreams, in my imagination.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

This technique produces variations in transparency, as light and the viewer move in relation to the work.

When viewing the work, the eye of the viewer can follow a color across the picture plane, he can see how the color moves and vibrates as it changes gradually in value, temperature, intensity or hue.

Certain works also had beaded drapery moved by air currents from small electric fans, obscuring the work but also beckoning the viewer.

The energy that imbues these pieces is infectious, and necessarily so: the viewer participates in the work by physically moving around the gallery: circling the glass sculptures to watch them sparkle from all angles; gazing up and peering down; approaching the paintings and inspecting them from sniffing distance, to reveal the secret symbols that construct their artful chaos.

The images are flat on the pictorial plane yet shift at angles and points of entry, allowing the viewer eye to move around yet denies total access into the work.

Some may turn to the past while others may express their expectations of the future, and though the viewer may see something beautiful, moving, or original in the artist's work, there is a often a hidden weight of what motivated the maker to produce the piece.

With the artist we have a series of works that perpetually shift medium, expressing temporal vibrations encompassing the journey from studio to gallery, moving kinetically from painting to sculpture, and even employing the finishing touches of the viewer in the completion of Murillo's installations.

The highly reflective surfaces of the Smith grouping and the multiple sound channels encourage viewers to move around the work, altering their relationship to the array of sound.

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.

The paintings of the two artists were arranged on the walls so that the viewer could see the work of one painter with that of the other close by, moving chronologically through time so that, in walking through the exhibition, the viewer could see how each artist developed over time, both on his own, as well as in relation to the other.

It is always my intention move the viewer to have an emotional experience 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.»

A careful viewer will realize that Lewis worked on a smaller scale for most of his life owing to the fact that he lived and worked in a small apartment uptown, only reaching towards the larger scale associated with the New York School in the last decade of his life when he moved downtown to a proper artist's studio.

She insists on the sculptural object, as if in response to Carl Andre and Fred Sandback, whose work encompasses the surrounding space and a viewer's every move.

In this show the serenely sphinx - like faces are a template through which the artist can systematically explore the concerns of painting and drawing, not ignoring the sentimental implications of rendering a human likeness, but by their blankness and repetition allowing the viewer to move on to other aspects of the work besides «who is this» or «what can I learn about this person.»

Expanding the moving image beyond its frame, she sets up relationships between the work, the exhibition space and the viewer — both of an experiential and affective kind.

Often narrated in the artist's voice, and interspersed with spoken and written instructions that directly address the viewer, her works confound expectations through a rapid - fire succession of moving images and sounds.

As the viewer approaches the work, the moving images gradually morph into shots of one - on - one confrontations of tourists taking photos ostensibly of the spectator.

But unlike those comparatively inviting works, Marden's early pictures have an almost fleshly density that offers the solitary viewer a stark choice: Exercise the patience and inward silence they recommend or move on.

For this work, she has created an elaborate wall painting which utilizes patterning, repetition and optical illusion to move the viewer's eye about the room.

As a Reader, as a Viewer: the curators of Move Still will guide visitors through two distinct spatial and temporal perspectives of the exhibition: emphasizing the descriptive and interpretive relationships between the body, material apparatuses, and tasking embedded in the included works.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

These works, when standing idle or when activated by a performer six times a week (Fridays and Saturdays at 2 and 4 pm and 5 pm either by actor / performer Austin Purnell or performer Lollo Romanski), set the tone for the way in which all of the works in the exhibition change subtly as the viewer — or the sculpture itself — moves around the gallery space.

In an interview with Asia Society Museum Director Melissa Chiu, Sze said, «The viewer's perspective and how information is revealed to the viewers as they move through time and space are for me actually what the experience of the work is always about.»

Barnett Newman famously said about his monolithic Vir Heroicus Sublimis that he expects the viewer to interact with the 20 foot - long work by moving across the entire length of the painting to be able to grasp the changing aspect ratios and relationships between elements.

She continues to develop their possibilities in monochromatic works which are covered with undulating meshes that seem to fluctuate and dissolve as the viewer moves around them.

As the viewer moved from gallery to gallery, they were presented with a series of paintings and sculptures that aggressively challenge the very idea of portraiture, from Marsden Hartley's One Portrait of One Woman (the woman being Gertrude Stein, whose work was referenced multiple times in the show) to Glenn Ligon's moving and disturbing Runaway series from 1993 that juxtaposes images of runaway slaves with descriptions of Ligon written by his friends and colleagues.

Art works should engage, articulate, problematise, open new ways of seeing, place the viewer in jeopardy of their received opinions, move the artists to the limits of what they know or believe, excite, incite, entertain, annoy, get under the skin, and when you've done with them, nag at your mind to go take another look.

Moving fluidly between media, Nawa's work explores issues of science and digital culture while challenging viewers» sensory experiences.

Since earning her MFA from the School of the Art Institute of Chicago in 2009, Lauren's work has developed into oil paint stop - motion animations - moving paintings in which thick impasto strokes appear to move before the viewer's eyes - and music videos for international acts.

Combining the linearity of drawing with the materiality of painting, the surface gains sculptural volume when a viewer moves around the work, revealing the depth inherent to the negative spaces between each of the cards.

I mainly paint trees with a composition that allows them to move beyond their borders into the room... My work on acrylic will at first appear to the viewer as a 2 - D painting.

Jette Gejl Kristensen has worked with 3D technology since 2001 when, in collaboration with computer scientist Peter Møller - Nielsen, she produced the film trilogy Stone, Grass, and Fabric, in which she experimented with the capability of virtual forms to move and physically impact the body of the viewer.

The silhouettes of the sculptural works continue this shifting as the viewer moves around the work, with an amorphous shape suddenly turning into a gaping mouth or a funny bird's head.

Richter embraced the title, Abstract Painting, in 1976, as a generic one for all his subsequent canvases, a move that effectively forced viewers to interpret a given work without explanation provided by the artist.

Modern Mondays is a weekly program that brings contemporary, innovative film and moving - image works to the public and provides a forum for viewers to engage in dialogue and debate with contemporary filmmakers and artists.

Moving fluidly between different media, Nawa's work explores themes of science and digital culture while challenging viewers» sensory experiences.

Heather Phillipson works with sculpture, moving image, text and sound, creating video installations and «talking pictures» (video with live voice) that weave the viewer through a collage of fragmentary and evolving ideas and narratives in multi-sensory environments.

In Kauffman's work, the environment constantly shifts as the viewer moves around each object.

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.

Heather Phillipson works with sculpture, moving image, text and sound, creating video installations and «talking pictures» (video with live voice) that weave the viewer through a collage of fragmentary and...

This work shows the movement of trees from right to left as the birds continue to flap in the middle of the projection, invoking in the viewer an experience of moving in the same direction and speed as the birds.