Word: viewer
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...explore the relationships between different colors and the impact of different series of colors. The chronology explains that Davis had a "desire to achieve intellectual clarification of the problems he found as a practicing artist." But if he achieved that clarification, the Fogg show does not enlighten the average viewer...
Ignoring the theory behind it, Davis's work holds up better in the eyes of the uninitiated than some other abstract art of the past 50 years because Davis usually gives the viewer a little piece of reality to hang on to--a word or a number slipped in among patches of color, or a form that distinctly resembles a human being. These touches are somehow reassuring to those who prefer traditional portrait and landscape art; Davis uses the reassurance to persuade viewers to move further into his art and enjoy the clever play of lines and shapes without worrying...
...subject matter of the paintings is usually fairly unimportant. Sometimes, however, the titles of the works give away Davis's intent and lead the viewer to play a guessing game to figure out how the abstractions represent what the title suggests. For instance, the mural Davis did for a studio in the Municipal Broadcasting Company looks at first like nothing more than a busy arrangement of abstract designs and bright colors. But, with a little imagination the viewer can make out forms that suggest radio towers, musical instruments and sound waves, and pretty soon, the whole painting begins to pulse...
...presentation of Holocaust there was a lot of banality quite different from the "banality of evil" that Hannah Arendt described in her controversial 1963 book on Adolf Eichmann. The commercials, for example, were ridiculous and outrageous intrusions. Viewers drawn back into the most painful darknesses of the century would suddenly, repeatedly, find themselves jolted into clusters of ads that seemed almost deliberately designed to offend: the viewer's mind was forced to make the transit from Auschwitz to Bottoms Up pantyhose-one for those women who want the fanny rounded, the other for those who want it smooth...
Despite the excessive length. Act One moves briskly. There are no awkward lulls between songs and dialogue. Ruddigore further avoids monotony by alternately tingling and tickling the audience's spines. The overture and an early number that re-enacts the original curse freeze the viewer's blood, but as the plot progresses the mood shifts to a more comic melodrama, complete with Dracula-like capes and ominous laughter. The chills resume in force during Act Two's climactic portrait scene, in which the paintings of deceased Murgatroyds literally come alive--a moment that is as visually dazzling...