Sentences with phrase «illusions of space by»

Since the Renaissance, Western painting has attempted to create the illusion of space by the technique of perspective.

«Rembrandt created the illusion of space by triangulation,» he said.

His work explores the illusion of space by challenging preconceived notions of perspective and authenticity.

Maximise the illusion of space by including one plain painted wall that leads to the apex of the roof; this allows the eye to be drawn to the highest point.

Not exact matches

In fact, some people test the space's safety by doing things they know will hurt people just to prove there is no safe haven on earth for anyone and that if we just give them one minute inside that space with these people, they will swiftly destroy their illusion of safety.

FAULTY DEPTH PERCEPTION Allow me to take a stab at what might be behind White's Effect, described in «Colors Out of Space,» by Stephen L. Macknik and Susana Martinez - Conde [Illusions].

BEYOND BIOCENTRISM: Rethinking Time, Space, Consciousness, and the Illusion of Death Host Paul Kennedy has his understanding of reality turned - upside - down by Dr. Robert Lanza in this paradigm - shifting hour.

Neuroscience meets New Age for the next generation of enlightenment seekers; this audiobook breaks down the illusion of business and stress by making space for quiet and stillness.

On our Luxury test car, this joined forces with the optional panoramic roof to elevate the illusion of space and combat the deficit of glass area caused by the rising shoulder line.

Many buildings have interior spaces as well, making the city feel more real and less of an illusion created by a fa ade.

By pairing similar colors in close proximity to one another, Dole - Recio creates the illusion of three - dimensionality through shadow and relief, an idea that she explores more directly by layering geometric forms, and by removing sections from the composition, creating both physical relief and negative spacBy pairing similar colors in close proximity to one another, Dole - Recio creates the illusion of three - dimensionality through shadow and relief, an idea that she explores more directly by layering geometric forms, and by removing sections from the composition, creating both physical relief and negative spacby layering geometric forms, and by removing sections from the composition, creating both physical relief and negative spacby removing sections from the composition, creating both physical relief and negative space.

Another series from the late 1960s / early «70s was based on a system of building in tiers: polished aluminium sheet was formed into half circles, half squares, or cones, that were placed on mirror - polished bases «in order to push the space down through the floor or out through the wall, thus extending the forms by illusion».

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Bspace between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BSpace, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of the painting as an object in space.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

By using a vector - based program to construct her scenes before they are transferred to canvas, Singer creates a world that is resolutely analog while containing the sense of limitless space and the illusion of depth that have defined the evolution of moving images across projection screens and digital platforms.

By using various art techniques, the art works presented in this project immerse the viewer in a surreal space of fantasy illusions, wonderful or terrible dreams, imaginary worlds and other - worldly «civilizations»...

When some objects in a composition are partially hidden by others, it gives the effect of overlapping objects and creates the illusion of space and three - dimensionality.

Trippy optical illusions created by Richard Anuskiewicz («Summer Sunset Reds,» 1982) and British artist Bridget Riley («Shuttle II,» 1964) and an earlier op - art piece by Victor Vasarely («Ixion,» 1956) share the space with color works by Ellsworth Kelly — beloved by the Atheneum as the first artist in its long - running MATRIX contemporary - art series — Barnett Newman, Paul Feeley and two of Josef Albers» «Homage to the Square» paintings, which complement two works by John McLaughlin.

Transforming a communal space, creating an illusion of depth, and erasing spatial borders, Lin alters our perception of volume by producing an effect of infinitude.

In other words, viewers no longer focus on an object atop a pedestal placed within the open space of a room as they do in regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a whole.

The boulder doesn't so much levitate as rest, supported by two all - too - visible metal brackets that diminish the illusion of this massive object floating in space.

With an abstract sensibility, each painter defines the illusion of space in their own personal way by capturing nature's exquisite light and atmosphere with its many colors and textures.

The viewer perceives oscillation through the illusion of a continuous wave produced by the physiological experience of space and movement.

Densely layered and vaguely topographical, her drawings suggest sequences of cosmic or otherworldly events occasionally populated by ethereal human figures; as Schimert describes it, they create a «space for illusion.»

More importantly, these works demonstrate how these visionary artists maintained the rigor and discipline they brought to understanding visual perception by creating the illusion of three - dimensional space and motion using mostly line and color.

His work is characterized by a resemblance to computer - generated works on paper that give the illusion of warps in the fabric of space - time.

Group Exhibitions 2018 Stretch / Pulled / Inked, Impact Arts, as part of the Glasgow International, Glasgow (upcoming) Glasshouse, Glasgow Botanic Gardens, Glasgow (upcoming) 2017 Amazing Perplexity, Curated by Nathalie Hoyos, Rainald Schumacher and Alevtina Kakhidze, Residents Group Exhibition of FACE — Artist Residence Program in Kiev 2016 Factually Real Illusions, curated by Lorna McDowell, Cookhouse Gallery Chelsea College of Art, London Semi-Gloss, Semi-Permeable, Glasgow International Festival 2015 International Women's Contemporary Art Forum — A Crossing Section of Art, BankART Studio NYK, Yokohama Finite Project Altered When Open, David Dale Gallery, Glasgow Abstraction from Architecture, Edinburgh Print Studio Hold, Sway, Generator Projects, Dundee 2013 Editionshow, Chert, Berlin You're my wife now, Infernoesque project space, Berlin Every Day, GoMA, Gallery of Modern Art, Glasgow 2012 Tintenfisch, CNEAI =, Paris, organized by Chert & Motto in the frame of Berlin - Paris exchange 2011 Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City University of New York Annuale, Edinburgh 2010 Drinnen & Draussen, Chert, Berlin A man, some chickens and one corner, with Petrit Halilaj and Heike Kabisch, Berlin — Paris exchange, Galerie Carlos Cardenas, Paris, with Chert, Berlin 2009 Spacioux, curated by Michela Arfiero, Paola Gallio, Daniela Lotta, Lambretto Art Project, Milan Motto & Chert & Roses, Tulips & Roses, Vilnius 2008 You can't hide your love forever, LH Gallery, Paris And So It Goes, Art news Projects, Berlin MFA Degree Show, Tramway, Glasgow Flock, Bezalel Gallery, Tel Aviv 2007 MFA Interim show, Glasgow School of Art, Glasgow Devil Blue Dress, The Factory, Impact Arts, Glasgow 2005 Tercet, Intermedia, King Street, Glasgow 2004 Pieces, The Factory, Impact Arts, Glasgow

The structure of Craycroft's installation borrows from early stop - motion animation techniques like the 20th century setback camera, which gave the illusion of forms moving through real space by filming animation cells on a horizontal glass plane placed in front of a miniature forced perspective set.

That Marcius Galan (b. 1972) once studied architecture is apparent in Erased composition (green 15)(2014): the São Paolo - based artist «is fascinated by space and how it defines our behavior,» says Galeria Luisa Strina's Maria Quiroga, noting one work at Brazil's Inhotim sculpture park which conjurs the illusion of a glass wall across the corner of a room.

As a result, I intend to tie a reality constructed and modeled from representations and the virtual world of pictorial illusion with the physical interactive space created by the painting's materials and hypnotic conditions.

In Vance's canvases, the background no longer surrounds the object, but breaks through it — by opening and closing these spaces in the pictorial plane the artist is able to create the illusion of a three - dimensional space.

As a variety of technical devices were employed by early modernist painters to intimate extension beyond the space defined by the picture plane, and by later artists to reveal and acknowledge the two - dimensional surface of illusion, the artists in this exhibition have utilized devices which indicate a contemporary view of time and space and the work of art.

Pictorial space and illusion have often parted ways in the time of abstraction, only to be reunited by clever topologists like McNeil, who twist and toy with our perceptions in ways that never cease to delight.

Klamen's multi-canvas installation, «Meta - Paintings» (2016), elaborates on this concept by presenting well - known works of art in a re-contextualized space, highlighting the deception of each image through masterful illusion and imagination.

Mirroring the three - dimensionality of the film's visual narrative is the dub soundtrack to Nightlife, a space - filling and deliberately low - tech soundscape made by the artist using a variety of analog filters and basic sound effects, such as reverb and delay, creating a disorienting illusion of expanded space.

Sarah Charlesworth's recontextualized newspapers, a comparison of The Family of Man by Edward Steichen and Steve McQueen, typologies by the Bechers, Karl Blossfeldt, Dan Graham, and others, the photographic archive as a tool of social control, series - based portraiture by artists August Sander, VALIE EXPORT, Claude Cahun, Bea Nettles, Annette Messager, and Sophie Calle, the passage of space and time in works by Ed Ruscha, Duane Michals, Minor White, William Christenberry, and Atta Kim, photographic documention of artistic process, observation and experimentation, the photobook as a traveling idea, the slide show as performed sequence, Eadweard Muybridge and the illusion of motion, sequential narrative in works by Jan Groover, Eleanor Antin, and Chris Marker, compressing time in video works by Andy Warhol and Paul Pfeiffer, and more...

Published in R. Rosenbaum, Frank Stella, Harmondsworth, Penguin Books Ltd., 1971, p. 57) By contriving the conditions for absolute symmetry and using industrial painting techniques, Stella championed painting as a resolutely flat object in space, devoid of illusion.

However, she then pushes it further by incorporating the extremes of color juxtapositions explored by Op Artists, such as Julian Stanczak and Richard Anuszkiewicz, to create vibrational qualities to excite the eye and add a retinal quality, while also utilizing the interplay of color value shifts and shaped canvases from Downing and Reed of the Washington Color School to create the illusion of volume and three - dimensional space.

The elegant symmetry of the works in this series is achieved by placing a sequence of L - shaped right angles in a variety of combinations — in Telluride they are placed back to back — to produce the first paintings in Stella's oeuvre that breaks centuries of artistic tradition that enclosed pictorial illusion within the confines of a rectangular enclosed space.

Though Sandback employed metal wire and rod, and elastic cord in his earliest works, he soon dispensed with mass by using acrylic yarn to create sculptures that produced perceptual illusions while addressing their physical surroundings — the «pedestrian space», as Sandback called it, of everyday life.

Pierre Soulages, Nicolas de Staël and Hans Hartung taught him that an illusion of space existed within the materiality of a painting's surface, something dismissed by previous abstract artists who focused on flatness.

He began to contemplate the idea of electrical lighting as his defining artistic medium and chose common industrial florescent tubing knowing «that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition.»

These paintings were a departure from his figurative work, he wanted to «make work that wasn't fed by some visual object or illusion of space.

The qualities and intentions attributed to Denny's paintings, of an interactive dialogue between the observer's perception of quotidian architectural space within which they meet the painting and the spatial illusions created by the paintings themselves — are actually qualities Denny had imbibed from Barnett Newman, in his paintings and his professed intentions (amongst other qualities)-- and so, to denigrate Newman's (and Rothko's) as subjective, «private» visions is completely unwarranted, but it chimes with Bunker's wish to portray «publicly engaged» art as somehow an advance on «high modernist» subjectivity.

The AGW Greenhouse Effect Illusion is created by deliberate science fraud by replacing our real gas atmosphere with properties and process with the imaginary theoretic fiction of empty space massless ideal gas.

Depth, dimension and elegance are easily accomplished, along with the illusion of space, by mounting a wall mirror in your home.

Plant vertically by using attractive, wall - mounted planters to free up floor space — you could even make your own — and hang mirrors to give the illusion of spaciousness.

A sleek double sink vanity backed by a massive mirror is ideal for small spaces as it creates the illusion of more space.

Cleverly surrounding a deep bath with the same marble as the floor and walls creates a seamless flow of luxury and also gives the illusion of a larger space, as the eye is not distracted by varying patterns.