Word: viewers
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...original film, Romero tested the viewer's sympathies, partly balancing the plight of the few uninfected townsfolk with the attempt of a Colonel and a scientist to find a cure. The remake dispenses with these nuances, turning the military into a vague, malevolent force that spies from above on Ogden Marsh, then quarantines or removes the townspeople. By doing so it exploits the enmity, across the political spectrum, for people in power. Its sour view of government intervention would suit both the American Left in the Bush-Cheney era and the Tea Party today. As we watch the three people...
With footnotes of Horn’s meditations on the images below each photograph, there is a repeated application of text in an unexpected medium. The footnotes call attention to three separate, but linked relationships: Horn and the photograph, Horn and the viewer, and the image and viewer...
Like a piece by influential Minimalist Donald Judd, “White Dickinson” forces the viewer to recognize his relationship with the work, noticing the subtle changes in light and color depending on his position. But unlike Judd’s repeated metal rectangles, all of these bars are separate works, each a different height with a different Emily Dickinson quote embedded in the aluminum. By inserting language, Horn injects her own personality and thus her own hand, breaking the fabricator assembly, non-artistic touch, and industrial mold of Minimalism...
These pairs are repeated to form a set, leaving the viewer to decide how to engage them—as a whole or a succession of couplets—and thus reemphasizing the uniqueness of perception. By casting herself in these pairs for the viewer’s scrutiny, Horn establishes a double-fold relationship between her and the viewer, as well as the object and the viewer. Horn succeeds in rendering photography, which is automatically singular and permanent, multifaceted and ephemeral...
...presents “Roni Horn aka Roni Horn” neither by time nor medium, fittingly letting the viewer traverse and experience the significant collection on his own. A progression in style can be detected between the earlier and more recent works, just as a unity in message can be grasped from the group. Horn spectacularly balances coherence and novelty even in three decades of her work,w while the ICA proves that it can handle such a major exhibition in its relatively new location and building...