Sentences with phrase «spatial illusions by»
Albers's Interlinear N 32 bl (1962) exemplifies his use of mechanical means to create a complex spatial illusion by engraving an impersonal, functional line within a field of hand - rolled jet black ink.
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Some were trying out unusual materials and techniques — cotton balls, fake jewels, pigmented wax, spray guns, squeegees — either to make painting more perversely objectlike or to reopen the spatial illusions shut down by the Judd - Stella - Greenberg juggernaut.
J.T. Thompson's Illusion at Triangle Gallery by Joyell Nevins For painter J.T. Thompson, his latest exhibition at the Burnell R. Roberts Triangle Gallery, «Illusion of Spatial Extent into the Labyrinth,» is a chance to come back to the place where it all began.
More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.
Hofmann's art work is distinguished by a rigorous concern with pictorial structure, spatial illusion, and color relationships.
By 1968 he was teaching at the University of Massachusetts and had become increasingly interested in making paintings which manifested an energetic presence and spatial illusion in front of the picture plane.
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.
Even among the growing number of painters inspired by a mingling of spatial illusion and surface event, Saulnier reveals an acute sense of impunity in his work.
Lisa Norris Gallery presents a new exhibition, a solo show by artist Gwenyth Fugard, Spatial Illusions that will open on 23rd April and will run until the end of May.
As is typical for paintings from this period, the present work is characterized by the colliding of flatness with the illusion of spatial depth: while the folds in the tablecloth, modulation of the oranges and the cast shadows articulate Hockney's eye for veracity and imply three - dimensionality, the broad, simplified brushstrokes with which the gladiolus and the green backdrop are rendered essentially flatten the composition.
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 presence of higher spatial resolution information in the regional models, beyond what can be accomplished by interpolation of the global model output to a finer grid mesh, is only an illusion of added skill.