Word: viewer
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...occasional clever lines surrounding it. The shouts of Toder and others certainly bring energy, but they spark less of Durang’s inspired lunacy and more memories of relatives picking awkward fights at Thanksgiving. The gunshots, yells, and moans of pain become something the viewer has to sit through in order to hear Et’s hilarious school play on American history (which includes such roles as “famous black person,” the inventor of peanuts) or the misanthropic priest Father McGillicutty (Benet Magnuson ’06) explain why God allows...
...movies. It bored into Frank Sinatra's frazzled psyche in The Manchurian Candidate; mixed fear and fire as a captive in Orson Welles' Touch of Evil. Even after she'd been killed in the Psycho shower (a model doubled her in some shots), Leigh's unblinking eye held the viewer's. Decades later, it still does. --By Richard Corliss
...deadpan manufacturing, with little craftsmanship, no complexity of form and utterly straightforward construction. But this did not mean that they wished to destroy sculpture altogether. In fact, they seemed to think that some aspects of the viewer’s experience of sculpture were inherently valuable, and that the viewer-sculpture encounter should be celebrated. To this end—and also to conveniently complete the destruction of the sculpture-as-precious-object—these artists began creating objects that are, as implied in the title of the show, literally dependent on the viewer’s active participation...
Which is exactly the reason I say only “modestly successful.” The main problem with participation-oriented work such as this seems to be that the value it offers to the viewer begins and ends in the participation. You wouldn’t be surprised to find a miniature version of a piece like “Wave” in a Sharper Image catalog or sitting on the desk of some executive. Which is not to say that playing with “Wave” isn’t fun, but rather that...
...curator, Kirsten Weiss, chose to display most of the sculptures in exactly this fashion. Several other fabric pieces related to “Head Body Limbs” are shown neatly folded and under glass; to do this to a piece that was explicitly meant to invite viewer interaction and thereby undercut traditional modes of displaying sculpture is the ultimate curatorial irony...