Sentences with phrase «between forms and colors»

With lines, shapes, and colors, pure abstraction can suggest emotion and action, concentrating on the relationships between forms and colors.

Separately, gallerist Patrick Dawson spoke of the relationship between the forms and color in Portilla's work.

Turrell created variations on all of his projections, exploring the relationship between form and color.

His belief that the tensions between form and color were themselves evocative of pictorial space is revealed in these works, from 1942 and 1945, and reflected in that of his many students.

Not exact matches

For the acid dyes to color the eggshell (or silk fibers in the tie), they must undergo a chemical reaction that forms a chemical bond between the dye and the eggshell proteins (or silk fibers in the tie).

THE MCCOLLOUGH EFFECT Discovered by vision researcher Celeste McCollough, this illusion demonstrates that the interactions between color perception and form perception can be surprisingly long - lasting.

Central Colorado's Tava sandstone (light - colored band of rock at center, with geology student for scale) probably formed between 680 million and 800 million years ago, a new study suggests.

Moreover, consumption of Maillard chemical products (also called Advanced Glycation Products, or AGEs for short) formed by reactions between lysine and sugars is a common occurrence in cooking that leads to brown colors called Maillard products.

Between the contrast that the two colors created and the uniqueness of its asymmetrical nature, these aspects come together to form a harmonious, perfect fall dress.

Guillermo del Toro also dazzlingly uses splashy screens of water and appropriate sound effects to transition between scenes, and imbues the aesthetics with oceanic color grading both indoors and outdoors, all showing that his visual eye is once again in top form.

In its purest form, Upstream Color can be viewed as a balancing act of textures and surfaces — the crucial discourse between image and sound to depict a state of pureness within our complex and achingly human world.

This color by number activity is a fun way for students to practice Converting between Standard and Vertex Form of Quadratic Functions.

Converting between vertex and standard form of functions Color by Number Activity is a fun way for students to practice their skills at working with functions in different forms.

With no voltage applied, the (colored) oil forms a flat film between the water and a hydrophobic (water - repellent) insulating coating of an electrode, resulting in a colored pixel.

Now universities around the country are forming a new, color - blind, Affirmative Action, aiming to close the gap between rich and poor

In between are too few of the swaggering compositions — of target - like concentric stripes, designs based on compasses and protractors, and shaped canvases that echo the shapes painted on them — that made Stella a god of the sixties art world, exalting tastes for reductive form, daunting scale, and florid artificial color.»

Ballroom Marfa is pleased to announce the opening of Immaterial, an exhibition that will focus on the physical and psychic tensions between form, color, and space across varied visual and structural mediums.

Part philosopher and part poet, the artist Richard Tuttle creates works that challenge the formal, and often oppositional relationships between time, space, color, and open and closed forms.

In some works, ribbon - like compositions appear to twist and fold, alternating between abstract forms, bursts of color, or floral motifs.

The exhibition «Donald Judd: Paintings» presents 14 paintings created by the artist between 1959 and 1961, which were vital transitional years for Judd in his experimentation in form and color.

Meredith's works are related to the dialogue of the tension between the female physical form and the idea of color which represents emotional and intellectual movement.

The lightness of being in his work, the range of forms, contours, edges, saturations and coloring — and the lightness of the spaces in between his network of slashes, swatches, and other painterly exchanges, is so navigable for the eye that the paintings are airy, permeable, and most significantly, written in a language that is all his own.

As the artist shifts his focus to the materials, colors and conversations between his artworks, he allows that process to determine the final form of the work.

Avery retained color as the primary vehicle of feeling and expression, but achieved a greater degree of abstraction by increasing the parity between recognizable forms and abstract shapes.»

The tension between the rigid formalism and the pop - treatment of the text is a tug - of - war in form, color, and concept.

This meticulous approach facilitates a descriptive formal interplay between elements such as saturated color and form, making the smallest details visible.

«The entrance plaza, formed by the building's cantilevered structure and the ground floor lobby, share the vibrant ruby color pattern establishing a dynamic and porous relationship between indoor and outdoor elements.

In all his works here we see the back and forth between what the eye gleans from this world of light, shadow, color, form, people, trees, skies, water and all the elements of objective reality, and what the artist asserts of his feelings, as revealed by gestures, color and movements of paint through actions that depict the artist's inner world.

During those years, Youngerman greatly expanded the scale of his paintings, developing softer, more organic forms, an interest in color optics, and a sense of space in which shapes fluctuate between positive and negative.

The exhibition's chronological installation brings to light intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

Christopher Rothko draws on an intimate knowledge of the artworks to present eighteen essays that look closely at the paintings and explore the ways in which they foster a profound connection between viewer and artist through form, color, and scale.

The large scale works blend formal concerns such as surface, color and abstracted space, with what the press release states as, ``... investigations into the connections between sexual fetish of the female figure, and forms of nature.»

Among these are the alteration of color and light through time, the association of vertical and horizontal intervals, the distance between forms and their relativity to scale, the cycle of cluster to interstice to matrix as the seasons change, and the nuance of variation within the geometry of form or growth.

The exhibition's chronological installation reveals intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

Danish artist Jesper Dyrehauge, based in Berlin and Denmark, has developed a specific methodology and artistic philosophy that seeks to invent new dialogues between paint, canvas, color, form.

Though derived from the same painting, the mechanized process of the jacquard loom gives each tapestry a unique color scheme and compresses Richter's signature scrapes and layered compositions, creating a form in between painting and photography.

One must carefully navigate the tight spaces between five separate «island» forms that compose the installation; black panels emphasizing different degrees of depth punctuate those with elaborate color and pattern.

Ignoring the traditional distinction between naturalistically depicted and abstracted figures, the sensuous color and bold, sinuous contours of these elusive and lyrical paintings play on the tension between figurative references and abstract forms.

Although she is often labeled a Minimalist, Truitt's integration of painting and sculpture, her use of color, and her dedication to the relationship between meaning and form differentiate her work from that movement.

Hovering between representation and abstraction, Rivera's landscapes and still lives are characterized by vibrant color, subtle brushwork, and attention to the inherent beauty of organic forms and materials.

Diane Ayott, by contrast, attempts to erase any distinction between foreground and background, thereby creating an orchestrated relationship in which her use of color and geometric forms interacts with viewers and constantly draws attention from the surface deep into the structure of the work and then seamlessly back again.

Six full - color illustrations are given to each artist included: Brian Calvin, Anna Sew Hoy, Ron Nagle, Michael Reafsnyder, James Richards and Patrick Wilson — all of whom collapse the fictitious distinctions between art and craft, painting and ceramics, form and function, leisure and labor, still life and real life, confounding the boundaries between each.

He paints geometric patterns, manipulates color, and his distinctive painterly expressions with vertical lines, diagonals and triangular forms and curves appear to be grasping for the borderline between representation and abstraction.

Confounding the difference between emptiness and form, Citrus 6906 shows us that color is neither contained in a space, nor applied to the surfaces of its walls.

By contrast, the labels at the New Museum accord with my experience by allowing whatever referential features may be there to remain at the level of suggestion by focusing on form and process («Composed along a central axis, each work is charged with a magnetic asymmetry; delineations between colors are blurred in the process of melting the powdered enamel pigment into glass») and by relying on Müller's biography (her work with a genderqueer collective) to prompt viewers to wonder what exactly gender might have to do with what we see in her paintings — if anything at all.

Tony Delap, Modern Times III, 1966 Wood, fiberglas and lacquer, 32 x 84 x 38 inches March 7 — April 4, 2009 Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the -LSB-...]

«Donald Judd: Paintings» Institute of Contemporary Art Miami OPENS: April 5 The fourteen rarely seen works on view here, all created between 1959 and 1961, shed light on a crucial point in the artist's experimentation with form and color, effectively presaging the three - dimensional works for which he is best known.

Through mastery of line, color, and pattern, Jaray's work expresses intangible spaces that exist between forms, interiors, and exterior worlds, using repetition as means to artistic originality and personal discovery.

These works anticipate concerns that he would pursue throughout his career — the effects of adjacency, the exploration of color through white, black, and gray, and the delicate balance between handcraft and industrial and mechanical form.

Whether painting, installation or something between, her work shows a great sense of how to mix different forms, colors, and materials.