Sentences with phrase «like blackness»

It's «the font of least resistance,» and isn't a font choice but rather is «the absence of a font choice, like the blackness of deep space is not a color» (p. 110).

Times New Roman is not a font choice so much as the absence of a font choice, like the blackness of deep space is not a color.

For all their mystery, for all the taciturnity of their refusal, these paintings lodge the totality of their effect in a sleight of hand through which the material surface of the picture appears to be supplanted by an optical membrane: a resonant film that seems the very envelope of vision, like the blackness you «see» when you shut your eyes.

I liked the blackness of the lava and I found that light had a very special effect in relation to that black rock.»

Not exact matches

The relative lack of minority employees at Twitter was particularly galling, say Luckie and Miley, because the platform had become such an important tool for the global black community, through a vibrant and dedicated subset of users known as Black Twitter — who speak to one another about the reality of blackness in America and who often contribute original reporting, spreading news through ad hoc hashtag communities like #BlackLivesMatter.

Wise application of the Word of God to our life situations, our identity and our purpose was the powerhouse that gave 19th Century African - American theologians the foundational truths upon which historic and modern «blackness» was built — theologians like Rev. Henry Highland Garnet, Rev. Alexander Crummell, and Rev. Henry McNeal Turner to name a few.

For wisdom, we need to look past the rhetoric of the opportunists to the original ideologues of modern blackness, and how they defined blackness itself — men like Malcolm X, Stokely Carmichael and Floyd McKissick.

It's like a church running a program for black folks — telling them that even though they are black, they shouldn't act on that blackness.

For behold, they had hardened their hearts against him, that they had become like unto a flint; wherefore, as they were white, and exceedingly fair and delightsome, that they might not be enticing unto my people, the Lord God did cause a skin of blackness to come upon them.

The manifold meanings of her blackness escaped me, but beneath the surface of that knowledge there lurked an awareness of tragic symbols that caused me to weep quietly in my seat in the concert hall when she sang «Sometimes I Feel Like a Motherless Child.»

Several organizers expressed a need to prioritize blackness here like anywhere else, a city that has a near 100 - year history of economic repression and white vs. black divisiveness.

What those who deny Obama's «blackness» seem to ignore is that categories like this are inherently social and political constructions with a high degree of arbitrariness (on which, see, amongst many writings, Hari Kunzru's wonderful book, THE IMPRESSIONIST, and E.M. Forster's war - time essay, «Racial Exercise»).

Instead, past deep - sea expeditions have found «dumbo» octopuses flapping through the inky blackness with ear - like fins.

Somehow and someway we move, we carry on, we persevere - even though, in times such as these, it feels like we are swimming through tar, barely able to keep our heads above the blackness.

Interestingly enough, I never fit into the «code of blackness» during childhood / adolescence and I was still well - liked enough by most of the black people at my schools, with the exception of a few black girls.

When Sam isn't hosting her show, making shorts like Rebirth of a Nation (a post-Obama repurposing of minstrelsy), or literally writing the book on how to sustain one's blackness at a white - dominated Ivy League school, she's bedding Gabe (Justin Dobies), a white TA.

Vanessa, like her actress, is shown to be mixed - race German and black (Zazie Beetz speaks fluent German as well) and so Oktoberfest and all of her German traditions are as important to her as her blackness.

What might global blackness look and feel like in a world like that?

It's beautifully shot — all blues and whites — exactly what it's like when you move from complete blackness to bright light.

Del Toro uses a lot of old - fashioned camera tricks like wipes (as transitions from scene to scene), and there are also multiple iris wipes (where a circular shape surrounded by blackness homes in on one small image).

Although this isn't Hollywood's first attempt to turn a historically black superhero into the main event, headlining their own tentpole film — consider Wesley Snipes run as the vampire - hunter Blade, Halle Berry's turn as Catwoman, Will Smith's alcoholic anti-hero Hancock or even Shaquille O'Neal's turn as Steel — this feels like a first in part because of how much effort has been poured into its making and, more importantly, how readily it embraces its fundamental blackness, from its colorful African settings to its tribally - influenced makeup, hairstyle, and costumes to its predominately black cast and crew, a verifiable assemblage of talent that'll turn even the most skeptical of heads.

Even though the tone here is impeccable as a Max Ophüls classic or high - period Bertolucci, you really have to go to something subversive like The War of the Roses to get a hint of the comic blackness.

I'd like to offer four thoughts to ponder as you consider deconstructing blackness (or race) in your own K - 16 classroom.

I'm accustomed to rather bleak trimmings from lower - priced German cars, but the Audi A3 dash is like a telescope image of deep space; just inky blackness that goes on forever, punctuated occasionally by a bit of bright trim.

When the blackness came upon her, her mind turned heavy and stubborn, like one of those cement mixing trucks you pass sometimes on the road.

blackness, and the scene where Bimbo rides down a giant Mario 64 style slide into a hallway of falling axes looks like something straight out of a video game.

I loved the small circle of light Thomas's candle gives off while the rest of the game is engulfed in pencil scratched blackness like a child was scribbling out a drawing.

They do not depend on surprise or illusion, like the central cross that leaps out of Reinhardt's blackness just in time to scare one.

His most notorious work to date is «what what in the butt» - a youtube viral video that conflates homosexuality, blackness, and religion into an absurd / escapist cartoon like universe.

Blackness then, much like the line is ever unfolding, infinite in its manifestations.

When he settles on blackness, like Franz Kline before him, a title proclaims The Marriage of Reason and Squalor, and that seems right as well.

The conceptual artist challenges the notion of a monolithic blackness in the sculpturethat opens «Five Decades,» Which Mike Do You Want to Be Like...?

Beasley, a graduate of Yale's sculpture program, is an unquestionably rising star, set to join the ranks of other mixed - media artists who deal with signifiers of urban blackness, like Theaster Gates, Rashid Johnson and Hank Willis Thomas.

These same qualities are evident in the gritty blackness of the surfaces and in the vector - like movement and ambitious scale of Smiths work.

Parks sets testimony aside to compose with blackness, like the father's face pressed to the window.

What looks at first, too, like sheer blackness hides traces of intense color.

It includes large abstractions by David Diao at Office Baroque, along with quilts and curls by Joanna Malinowska at Canada, fashionably casual painting by Nate Lowman at Maccarone, a carpet of blackness and salt by Jared Madere at David Lewis, and text art by Karl Holmqvist at Gavin Brown, its undisclosed message disguised as something like eye charts.

He reflects concern for blackness in popular culture, much like Barkley L. Hendricks and Mickalene Thomas — and he has recently added women, though not a gay black male, in response to complaints that his obsession with the black male amounts to too much testosterone.

These hundreds of objects that looked like framed, matted, fields of painted blackness, worked as neutral, «generic signs» that might inspire the viewer to think about the social expectations that constructed the «idea» of a painting,» more than the actual painting itself.

With Jason Moran's elegiac piano score to Ligon's The Death of Tom (2008) wafting through the space on a loop, «Blackness in Abstraction» can, at times, feel like a gothic art auction or a bizzaro Robert Ryman retrospective — all meditations on different registers of monochromatic tone and texture.

The show is most compelling when it asks the viewer to see earlier works — often outliers in the field of individual careers — in light of new trajectories, or when it pushes blackness beyond the associational and into deeper psychic channels, as in William Pope L's unsettling Blind (2015), a dark window cut from the gallery wall, like a literal aperture or escape hatch.

Including references ranging from popular TV sitcoms like Living Single to MTV's Real World to Edwin S. Porter's early 1907 short film Laughing Gas, Syms's videos and performances look closely at representations of blackness, and their relationship to self, narrative, vernacular, feminist thought, and activist traditions.

«Blackness in Abstraction is a form of visual note taking, entirely provisional, experimental, suggestive, and capacious, like much of the art it presents.»

He has described the boys in Caravaggio's paintings, for example, as «overripe bits of rough trade, with yearning mouths and hair like black ice cream,» and evoked Francis Bacon's famous screaming pope «smearily rising from blackness like carnivorous ectoplasm.»

And the other figures in the show, in the portraiture work that mythologized blackness, always verged on being too fantastical, yet didn't look like he was referring to a distant fable, but to people I knew or perhaps had met before.

What seems like an exquisite exercise in the hybridization of Clyfford Still's Color Field paintings and Lucio Fontana's Spatialism is in truth a metaphor of what Ralph Ellison called the «invisible condition of blackness.»

In 2015, he co-curated (with Kelli Morgan) Black Like Who: Exploring Race and Representation, an exhibition that considered who renders imagery of blackness in American art and contemplated the various reasons why.

I am intrigued by his exploration of different dichotomies, double entendres, and symbolic artifacts — i.e. as representations of social - political constructs, like «knowing what blackness is or isn't.»

Ojih Odutola notes, «Like the construct of Blackness, wealth defines the spaces of those who inhabit it — it limits and / or permits movement and readjusts context.

Like Adrian Piper wrote in «Passing for White, Passing for Black» (1992), excerpted as part of the first entry: I'm a black woman whose demand for respect has been confused with arrogance because «she simply does not realize that her blackness should make any difference.»