Sentences with phrase «work upon the viewer»

The 2012 painting Role Reversal, which alludes to Eric Fischl's 1984 painting Imitating the Dog, is a good example of how Walker's paintings work upon the viewer.

The desired effect of this body of work upon the viewer is self - investigation.

Together with Millie Chen's writing, which interests physically and conceptually with the artworks, this exhibition will work upon the viewer as visual and textual incantations for acts of incorporeal transformation.

Not exact matches

Echoing the working methods of ship - in - a-bottle hobbyists, Hawkinson created a painstakingly detailed model ship that twists in upon itself, presenting the viewer with a thought - provoking visual conundrum.

The way the VGX will work this year is three awards will be voted upon by viewers.

In 1964, John and Dominique de Menil commissioned the artist to create a non-denominational chapel for viewers to meditate upon these works in Houston, Texas.

Her work mimics the urban environment in both materiality and the nature of the imposing structures that swallow — or impede upon — the viewer.

The works from 1967 to 1971 feature acrylic on mylar and canvas and feature both subtle and more obvious female symbols — Keyhole and Side OX feature distinct hole shapes, while the disjointed geometric forms in Horizontal Woman No. 2 may only reveal a woman to viewers upon a close look.

At 18th Street's main gallery, Dizon will weave video that she has shot together with archival footage, text from philosophical, political, and literary sources, and sounds composed from field recordings, scores, and voice, into an intricate work that invites viewers to reflect upon diasporic subjectivity, postcolonial history, and the effects of global capitalism in the Philippines.

One is Griselda [Pollock], who Richmond cites to make the case that, «a feminist perspective (or problematic) is determined not by the gender or political identity of the artist but rather the «effect» of the work: «the way it acts upon, makes demands of, and produces positions for its viewers.

Working with layer upon layer of glassware imagery, she generates an atmospheric field of luminous, chromatically intense, intricately woven crystalline labyrinths that invite the viewer to fall into the still life, to get a sense of what she, the artist, experienced.

Based upon a willingly unmediated discourse between artist, artwork and viewer, Hutchins» works ultimately serve to refigure an intimate engagement with materiality and form.

Depending upon a viewer's vantage point, she will see either the former museum walls, the work of the other artists, or a combination of both.

Maybe now viewers can appreciate his work upon its own merits.

the essence of each piece focuses upon notions of «home» and «dwelling»; the viewer's emotional response to the altered architectural works is the artist's aim.

Walking among the pieces, in an attempt to draw the intended connections between the works and the title, each viewer embarks upon a unique journey resulting from Chou's artistic decisions and their individual life experiences.

Beautiful images entice the viewer, but upon careful inspection, there is discomfort in the images Koester creates; a sense of darkness, of social disorder, permeates his work.

Upon entering the gallery, viewers will find five certificates, acting as a kind of performance documentation for the works in the exhibition all from the artist's series Rivals.

At 18th Street's main gallery, Dizon will weave the video that she has shot together with archival footage, text from philosophical, political, and literary sources, and sounds composed from field recordings, scores, and voice, into an intricate work that invites viewers to reflect upon diasporic subjectivity, postcolonial history, and the effects of global capitalism in the Philippines.

Often including himself as a subject in the works, Mehner invites the viewer to join him in reinterpreting definitions of identity and ethnicity placed upon Native people.

A child - like puppy - face motif also summons a primitive female form, and a white wall emerges as a textured surface only when the light renders shadows upon it — Black is interested in the alteration of the viewer's orientation and relationship to his works over time.

While seemingly a display of inert monochrome works from afar, the curious viewer is rewarded with highly responsive, undulating fields of material upon closer inspection.

Throughout his latest works, Bader plays upon the dynamic between artist, artwork, and viewer — foregrounding the role of the viewer or buyer in making meaning.

Last spring, the department hosted mixed - media artist Ebony Patterson, whose work pulls the viewer in and forces them to bear witness to the violence and social injustices imposed upon those deemed invisible.

Upon entering the Chimney's space, viewers discover an unruly and jungle - like environment: sculptures suspended from the ceiling, a video projected on paper works as well as architectural elements.

Implicated in Hirschhorn's work, viewers are obliged to consume and reflect upon that which they may have hitherto been able to ignore in their daily lives.

Upon inspection, brushstrokes are visible against the work's vibrant pink background, and viewers can detect subtle differences in hue.

Drawing upon available space in major cities, site95 will present over five projects per year, creating a platform for artists and curators to present innovative ideas in different contexts and allow viewers to experience new work not native to their location.

The contemporary world foists an endless saturation of images and information upon us but Feldman's works force the viewer to grapple in real - time with the image she presents.

Works such as the present example, clearly demonstrate the power of these spatial associations to impress upon the viewer the essence of Still's awe - inspiring oeuvre.

The Unswept Floors series offers actual environments upon or across which one moves and interacts, while the works in Tabula Rasa both engage and confront the viewer in private moments of contemplation.

Upon entering the gallery, the viewer was greeted by huge distorted figures in a body of work that marked the artist's fourth solo exhibition with the gallery.

Based upon a willingly unmediated discourse between artist, artwork and viewer, Hutchins» works ultimately utilize and bestow an intimate engagement with materiality and form.

The distance keepers, that museums use to prevent viewers from approaching works of art, are assembled in vertical compositions and reflected upon the black photograms become part of the model.

She wants the viewer to pass through the front room, behold the crappy graffiti paintings, and then go into the back gallery, where, upon seeing the «real» work — which is clearly labor - intensive and, as she would say «super intentional» — be knocked out by her brilliance.

They were interested in creating artworks that encouraged viewers to avow their own relation to the work of art; receivers had to reckon with themselves in shared space with an artwork whose constitution as a work depended upon them.

Impositions upon the body also exist for viewers to the exhibition as they walk around the space and encounter artworks that have their own autonomous movements (Eva Fabregas's floor - based works, Self - Organising System, and Alan Butler's Orphan Transposition series of spinning laser - etched acrylic panels, featuring out - of - copyright images of Yosemite National Park, freely circulating online).

By manipulating the spaces between each individual card, Donovan adds almost a third dimension to her pieces, and the works subtly shift with what she calls a «filmic quality» upon the movement (and perception) of viewers.

Like Rozendaal's lenticulars, these works change in appearance depending upon the viewers perspective.

This work abstractly functions in contrast — or in alignment — to the two others, depending upon the viewer's perception of «order,» how power is constructed, and how abuses of power are facilitated and exercised.

The work as such is not grouped thematically within the several rooms of the gallery, but rather it is hung aesthetically within a very open white - walled space such that work in differing rooms and nooks and corners can communicate effectively with one another and with the viewer depending upon one's orientation.

The distant, yet eerie quality of the blurred focus is an example of Aitken's cinematographic artistry at work, provoking the viewer with the sensation of having stumbled upon a private moment.

Again, in a 1998 interview with Charles Merewether, Salcedo expounds upon this notion of the metamorphosis, describing the experience of the viewer with her own artistic repair or restoration of the past: «The silent contemplation of each viewer permits the life seen in the work to reappear.

Together, the works create a balance between gravity and levity, light and dark, and past and future, prompting viewers to reflect upon a utopian model of the universe.

While 20th century experiments with the effects of pure color — particularly Color Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stance.

In bearing a multiplicity of connotations, his works present numerous, rich readings, illuminating the viewer upon each inspection.

While each artist plays upon the past, Summer Breaks is meant to re-define classicism and bring forward contemporary work for viewers of a digital age, one free of convention.

However this may apply to Takeshi's work specifically, for an artist basing his career upon the effect of digital media and moving images on viewers, the incorporation of narrative is an interesting move and additional visceral experience for a genre that once separated itself from commercial media by eschewing plot entirely — truly something «new» in New Media.

But crucially, while the work today is classic rather than vital, Flanagan's early joy and playfulness can not but impress upon the viewer, the inquisitive experimentation on show making this exhibition well worth it.

Within this act of covering up, Bacon's work instils upon the viewer a sense of abstracted introspection.