Sentences with phrase «against blackness»

When I watched the trailer for Passengers, dark red bottles on shelves behind the spaceship's bar popped against a beige wall, and the ship's blue thrusters really stood out against the blackness of space.

Design: With everything set against the blackness of space and speckled with distant stars, there is no question that this is a NASA site.

The brightly lit limb of a crescent Enceladus looks ethereal against the blackness of space.

-- he saw it: this huge and incredible bright blue planet against the blackness, Earth.

THE constellations spin dizzyingly, 15,000 stars against the blackness.

His goal is to fly without fuel or an engine to 90,000 feet, where the Earth's curvature glows against the blackness of...

The reusable rocket and capsule is designed to carry passengers to an altitude of more than 100 miles (62 km) above the planet so they can experience a few minutes of weightlessness and see the curvature of Earth set against the blackness of space.

The upcoming flights are designed to reach altitudes of more than 65 miles above Earth, high enough to see the curvature of the planet set against the blackness of space.

Not exact matches

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.

This is it, I thought as I stood up, back straight, because this is my favourite sight: the inky blackness of pine trees, black lace relief burned out against the western sky as the last guardian of this date on the calendar cedes.

15 That day will be a day of wrath — a day of distress and anguish, a day of trouble and ruin, a day of darkness and gloom, a day of clouds and blackness — 16 a day of trumpet and battle cry against the fortified cities and against the corner towers.

The base music of rap, hip - hop, shares quite a bit with disco, indeed grew directly out of it, and the identity / rebel / heroism focus of rap is a very specific one — rock rages in a broadly indistinct or middle - class mode, often against modernity, but rap's poetic world is «lumpen - proletarian,» and its archetypes and formulas are all about expressing certain notions of blackness and manliness.

There are books on shelves, in file containers along the stairway, piled in laundry baskets — and they reflect the range of his interests: Painting in the Twentieth Century, Rebels against Slavery, The End of Blackness, Invisible Man, Theories of Modern Art, African Art, Against Race, A Rumor of Revolt, A Different Mirror: A History of Multicultural America, The Salt Eaters, Of Grammatology, Black Empire, A Commentary on Heidegger's «Being and Time», The Future of thagainst Slavery, The End of Blackness, Invisible Man, Theories of Modern Art, African Art, Against Race, A Rumor of Revolt, A Different Mirror: A History of Multicultural America, The Salt Eaters, Of Grammatology, Black Empire, A Commentary on Heidegger's «Being and Time», The Future of thAgainst Race, A Rumor of Revolt, A Different Mirror: A History of Multicultural America, The Salt Eaters, Of Grammatology, Black Empire, A Commentary on Heidegger's «Being and Time», The Future of the Race.

Through color, Casteel both embraces and pushes back against signifiers of blackness, revealing a multiplicity in tone and hue that feels supernatural in its matter - of - factness.

Bradford: No, I thought it was a political gesture initially to push back against easy narratives of blackness or easy equations [to] give us the real story, the real figuration.

No, I thought it was a political gesture initially to push back against easy narratives of blackness or easy equations [to] give us the real story, the real figuration.

Matthew Brannon still has a door seen from the inside but leaning against a wall, and Anne Collier still has her hands holding blackness in place of an open book, but the old pomo defenses still work wonders.

Blackness set against bright colors helps enforce the divisions between hard and soft.

Unifying dreams fracture into the ghosts of slave - era nightmares, notably in the exacting prints of Kara Walker, who subverts the cut - out silhouettes of picture books with historic barbarities; and in the text - based work of Glenn Ligon, whose stencilled confessional I feel most colored when I am thrown against a sharp white background fades inexorably into blackness as it journeys down the page.

«Blackness in Abstraction», then, seeks to address the central conflicts that continue to bedevil abstraction itself: an artistic zone in which purity has long been staged against the imminent or the social; in which dark is pitted against light, good against evil, presence against void.

Taking his cue from Glenn Ligon and Thelma Golden's 2001 exploratory concept of «post-Black» — a term describing artists adamantly against being labeled «black artists» so that they might explore a multiplicity of ideas concerning racial blackness — Majeed engages these questions around folk and outsider by adopting a similar non-essentialist and inquisitive stance in Post Black Folk Art in America.

On the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer space.

Abstract images — a flashlight beam lighting a dark path, photographs of dark shapes and rudimentary objects — interspersed with moments of blackness viscerally and poetically evoke the subject matter against the artist's documentary - style voiceover.

This reading and meet - the - poet talk with one of the first Cuban women to celebrate blackness in poetry will be set against the backdrop of the Bronx Museum's Wild Noise / Ruido Salvaje exhibition, a survey of Cuban artists both on the island and abroad grappling with issues of identity, community, and the urban experience.