Sentences with phrase «form and color seem»

Not exact matches

The space, color, and form inside the painting seem to subtly accept cues from outside the painting.

As simple meditations on form and color, her canvases are frequently compared to the easel - sized abstractions popular before Abstract Expressionism emerged, and at first glance they seem unremarkably mundane.

«Bushwick Open Studios really strives to give every working artist in Bushwick, regardless of their level of experience or success in the art world, an equal opportunity to show their work to a wider public,» said Hitchings, whose works include a series of pastel colored paintings in which forms and figures seem to bleed through the canvas like haunted photographs.

Nothing but clearly - organized, self asserting painted surfaces of non - objective / non-representational form and color, these pictures were so radically new that they seemed to many people to have announced the end of painting and, even perhaps, of art itself.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

His flamboyant use of color transforms these drawings on paper into the phantasmagorical, with form and gesture so lavish the works seem to glow.

Although Ronay has a form of color blindness, his exquisitely handcrafted sculptures, installations and reliefs combine vivid hues from across the spectrum that seem to vibrate and hum.

The blazing colors in Beverly Fishman's Untitled (Anxiety)[Zanax Bar] are sensuously arousing — they give a kind of knockout punch to the eye — and the four squares that form the rectangular bar seem to allude to Albers's Homage (s) to the Square even as they acknowledge Frank Stella's Protractor paintings by way of the curves of the two end squares, but all that art historical referencing seems beside the point of the irony built into the work, for Zanax is an anti-anxiety pill.

In Opposing # 15 by Frederick Hammersley, while the geometric forms seems to be in balance, the colors seem almost random, and are mainly primaries.

Color and line, contour and form — the building blocks of pictorial construction — were isolated to the point that they seemed to function independently, no longer constituents of a picture but whole entities in themselves.3

In Imprint (2006), within which two women seem to meld into one, malleable form, Yuskavage interprets the flat, illusionistic space of bas - relief sculpture through the use of close color and punctuations of extreme contrast at the points of human contact.

Whitney draws from the free - form creativity of jazz as well as the innovations of Italian and Egyptian architecture, making paintings so full of color they seem to burst at the seams.

At first glance these works may seem to exist outside the artists» usual production, but these investigations of symbol, form, and color are focused experiments that reveal how elemental concerns are manifested in the artists» broader explorations of abstraction and artistic identity.

Thick layers of paint in geometric forms unite with different colors in various mathematical patterns that seem equally strategic and haphazard.

Stella seems to judge his success by how many colors, forms, patterns and surfaces he can pack into one picture.

Metzinger argues that our daily perception of the world seems effortless, as a result of how the human brain produces a form of interface, a virtual reality to allow the experience of tactile objects, colors and duration.

Seeming like a new form of Realist painting, the cold impersonality of Johns» numbers, the self - evident logic of their systematic progression and the negation of any color through the artist's use of gray all appeared to deny the presence of the individual and seemed to present a new and wholly objective view of reality.

Adams's amalgamation of structure, line, and color places her in the strain of abstract painting that seems to have originated in New York in the mid-1980s, when Mary Heilmann began showing again after a long hiatus, and dates back earlier to Lee Krasner's paintings with floral forms.

Its analysis and interpretation of visual perception seemed to reflect the concerns of 19th - century Impressionists and also those of 20th - century modernists, who famously reduced the portrayal of their subjects to the most basic elements of form and color.

The idea of detached bodies floating in space, of different sizes and densities, perhaps of different colors and temperatures, and surrounded and interlarded with wisps of gaseous condition, and some at rest, while others move in peculiar manners, seems to me the ideal source of form.

Upon entry, you encounter what seems to be a family gathering, a collection of wooden pillars and wall - like forms, in different colors, upright and erect, as though they all the shared the same DNA that Americans prize as markers of wealth and good health.

The tumultuous forms and colors that have taken over Clarks» canvases seem even more unleashed, swelling and proliferating less like plants than like the clouds of a gathering storm.

Helen Frankenthaler, coming out of the abstract expressionist hotbed in New York in the early 1950s, always seemed to me to have something «wrong» about the color and form in her famed paintings.

The high achievement of his paintings lies in the nature of their seeming simplicity, a simplicity which belies their complexity and which arrives at clarifying painting's formal values of line, form, and color.

His paintings of unique animals and plants seem both darkly surreal and amusing as they pulsate with reverberating colors, exaggeration of form, and repetition of line.

Often considered the «grandfather» of Op Art, French - Hungarian artist Victor Vasarely began creating mind - bending paintings as early as the 1930s, leveraging his studies of science, color, and optics to produce images that seemed to move, swell, or change forms.

In both cases colors are tonally so close — wine - purple against deep rose, gray against lighter gray — that geometric form and background seem to fuse.

Mukherjee's particular use of patterning; deep, saturated colors; and organic, spiraling forms seem more akin to the experimental, «direct» techniques of filmmakers Len Lye, Oskar Fischinger, and James Whitney than to painterly precursors.

«I'm interested in painting as a hyperbolic gesture, one that interweaves wave - lengths of light color, and structure into a form both frozen and animated...» Sampson's work riffs on notions that Donald Judd and James Turrell's work explores, but his intuitive, less rigorous approach seems well - suited to our DIY times.

What cultural force is it that makes them seem to inhere in certain colors and forms?»

They include one of Barnett Newman's «zip» paintings, «Onement II,» with its vertical brick - red stripe slicing through a scarlet field; Mark Rothko's 1949 «Untitled,» an arrangement of abstract forms that foreshadows his iconic imagery of the 1950s; and Clyfford Still's «Number 5,» a vivid yellow canvas with splashes of color that seem to leap off its surface.

The technical freedom available to and implicit in abstraction would appear to offer entire worlds of possible production, but too much abstract painting today operates within carefully pre-determined formal codes of what abstraction ought to look like, which results in artwork that often uses color and form so as to conjure an aura of meaningfulness yet can not escape seeming quaintly derivative.