Sentences with phrase «form white light»

The red, blue and green colours combine to form white light.

This is because light from the sun contains a range of colours all with different wave lengths that when together form white light.

Not exact matches

You know they love their white liberal MASTER, to think for themselves, to form their own opinion, to voice their concerns, and to bring black issues to light is not allowed.

The egg white helps form a light but crispy layer of flavor around the granola, and the sticky maple syrup allows it to develop clumps.

Oh, and in light of the news today that the world's last male northern white rhino has died, and in accordance with the Canucks» form of the last few seasons, I propose Vancouver changes its team's name to Extinction.

After the second pulse of light reaches its maximum, the bright white fireball forms the cap of the mushroom cloud.

It was a randomised double - blind trial, in which subjects were exposed to one of three forms of radiation a couple of times a week for six weeks: two different wavelengths of ultra-violet light, or full - spectrum white light.

For nearly a century, scientists had assumed Jupiter's weather worked like Earth's, with light zones forming around updrafts just as white clouds condense around rising currents here.

The researchers can also use the printer to project a range of white, gray or black shades of light to form and cure a component into a solid.

DEEP DEVELOPMENT Diamonds (dark grey) begin to form from minerals containing iron and magnesium (white) and from carbon - oxygen compounds called carbonates (light grey) in a scanning electron microscope image.

It's a type of charge that borrows a naming convention from our understanding of visible light because it comes in three forms that must be combined to form a neutral state — similar to the way the three primary colors of light (red, green, and blue) combine to form «neutral» white light.

Traditionally, researchers age a great white (Carcharodon carcharias) by tallying the alternating light and dark bands that form on the animal's vertebrae as it grows, similar to rings on a tree.

We have probably all seen the experiment: when white light passes through a prism it splits to form a rainbow.

Add soft lighting in the form of a clear, handblown glass lamp with a white linen shade and antique bronze finish.

An off - white linen drum shade adds refinement.Inspired by art, form, and function, Regina Andrew redefines modern style with lighting, furnishings, and accessories.

A light blue and white stripe runs down the form - fitting shirt, which has cropped sleeves and a button - down front.

Aviators, Striped tees / light sweaters, Navy in a variety of forms, dark boot - cut jeans, pencil skirts, nude pumps, crisp white button - downs, a chunky link bracelets / necklaces, men's necklace, penny loafers (and driving moccasins!)

At the center: a woman who calls herself Bride, whose stunning blue - black skin is only one element of her beauty, her boldness and confidence, her success in life; but which caused her light - skinned mother to deny her even the simplest forms of love until she told a lie that ruined the life of an innocent woman, a lie whose reverberations refuse to diminish... Booker, the man Bride loves and loses, whose core of anger was born in the wake of the childhood murder of his beloved brother... Rain, the mysterious white child, who finds in Bride the only person she can talk to about the abuse she's suffered at the hands of her prostitute mother... and Sweetness, Bride's mother, who takes a lifetime to understand that «what you do to children matters.

The local priest, surfacing from a week - long binge, lit beeswax tapers to Innocent of Irkutsk, the saint who in the 1720s had repaired the road to China and was now about to bring civilization to Prigorodnaia in the form of a ribbon of macadam with a freshly painted white stripe down the middle.

A versatile light that leaves your hands free, the black HL60R Headlamp from Fenix is characterized by its bright white light output, dual low - power red lights, and a compact, durable form factor.

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What is more romantic than watching the African sunset from a white beach, looking out over the city lights form Table Mountain or enjoying a wine tasting at a beautiful wine farm?

Discover how to make a regional specialty called white rose cakes: light and fluffy dumplings that form the crown jewel of the town's culinary culture.

That exhibition thematized the relationship between Liu's paintings and his three - dimensional sculptural forms via explicit formal echoes: Black - and - white geometric paintings were adroitly paired with rectilinear pseudotopiary sculptures in which bands of foliage were interspersed with horizontal neon lights, while the oscillating static playing on stacked TV sets chimed with the abstract canvases as well.

In the entirety of the small exhibition, black forms stand against white ground, with a couple of works that incorporate light or reflective elements.

Including: «Bell / Irwin / Wheeler,» Tate Gallery, London, England (1970); «Fractured Light — Partial Scrim — Eye Level,» Museum of Modern Art, New York (1970 - 1971); «Black Line Room Division + Extended Forms,» Whitney Museum of American Art, New York (1977/2013); «48 Shadow Planes,» Old Post Office, Washington DC (1983); «Two Running Violet V Forms,» Stuart Collection, UCSD, California (1983); «Ascending,» Musee d' Art Moderne deVille Paris, France (1994); «Double Diamond,» Musée d'Art Contemporain, Lyon, France (1997 - 1998); «1º 2º 3º 4º,» Museum of Contemporary Art San Diego (1997); «The Central Garden,» J Paul Getty, Los Angeles (1998); «Architecture and Grounds,» DIA Art Foundation, Beacon, New York (2003); «Primaries and Secondaries,» Museum of Contemporary Art San Diego (2007 - 2008); «Black on White,» J. Paul Getty Museum, Los Angeles (2011 - 2012); «Niagara,» Albright - Knox Art Gallery, Buffalo, NY (2012); «Hedge Wedge,» San Diego Federal Courthouse Building, San Diego (2012); «Double Blind,» Vienna Secession, Vienna (2013); «Miracle Mile,» Los Angeles County Museum of Art, Los Angeles (2013); «Primordial Palm Garden,» Los Angeles County Museum of Art (2010 - 2013).

Robert Motherwell (1915 - 1991) brought light to his paintings through the dualism of his monumental black ovoid forms set against a painted white plane in his Elegies to the Spanish Republic series for which he is most well - known.

The crescent forms are limned in a white edge that reminds me of the way photographers «solarize» their solid forms with a flick of the darkroom light switch.

Cream and White Form and Square Holes in White (2005) molds form and shadow with harsh lighting - it's connotations of cinematic artifice revealing the art studio as stForm and Square Holes in White (2005) molds form and shadow with harsh lighting - it's connotations of cinematic artifice revealing the art studio as stform and shadow with harsh lighting - it's connotations of cinematic artifice revealing the art studio as stage.

Its colours are hauntingly unresolved, its forms suggestive rather than finished, its light a white, blue and yellow beacon from beyond.

Yet it also recalls the emphasis on line, form, light, and darkness in the black - and - white photographic abstractions of Aaron Siskind (1903 — 1991) and Harry Callahan (1912 — 1999), who Rauschenberg would come to know — and, in Siskind's case, befriend — when they taught at Black Mountain during summer 1951.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

They include a small painting simply titled «# 1» (2000), in which we see a phallic armature moving from gray into light blue; another titled «# 2» (1995), in which a blue crescent bends around to become titanium white; a third, «# 4» (2000 — 1), in which a rising, two - pronged black organic shape ends in a touch of green and ultramarine at either end; and finally «# 5» (1991), in which a red finger - like form passes from black to crimson red.

Odutola's anonymous, monochromatic, white - on - white portraits reveal themselves to the patient viewer: the delicate details of hair and nape and head becoming perceptible as eyes adjust to the light, and grasp the forms and lines embedded in the monochromatic surfaces.

Scottish Mansion Time, 2015, printed image, plywood, wood, metal sheeting, victorian painting, lampshade, industrial lamp, deck chair, boxes, hammock, netting, hook, velvet, check fabric, wooden technical parts, mirrored card, mini whiskey bottles various whiskeys, paper, wooden forms, Magic Latern, chair, wooden elephant, metal rod, wood dye, varnish, large table with steel legs, 240V light fixtures and bulbs, LED strip warm white, fixings, 243 x 275 x 275 cm, 95 5/8 x 108 1/4 x 108 1/4 ins

Through the absolute white, black and the neon - light, an extremely important dialogue is created, regardless of the expression media and the forms in relation to the architecture of the space, leading the viewer to deeper thoughts and philosophical searches, in a poetic way. - Efi Michalarou

A child - like puppy - face motif also summons a primitive female form, and a white wall emerges as a textured surface only when the light renders shadows upon it — Black is interested in the alteration of the viewer's orientation and relationship to his works over time.

Most of the nearly 50 works in the LACMA retrospective can be related directly or indirectly to the crater project, beginning with Afrum (White), 1966, and Juke (Green), 1968, glowing, three - dimensional forms constructed entirely from projected light and ending chronologically with Breathing Light (2013), a Ganzfeld (complete field) environment of homogeneous illuminalight and ending chronologically with Breathing Light (2013), a Ganzfeld (complete field) environment of homogeneous illuminaLight (2013), a Ganzfeld (complete field) environment of homogeneous illumination.

Built with simple white paper, each form is defined by the way it reflects light.

Acrylic bands of blue and white curving out from the wall represent water in motion; glass beads covering a dune - shaped form create the shimmering effect of light on sand; hundreds of acrylic cubes in varying hues of violet are points of color that capture the light or atmospheric condition of a particular moment.

Juxtaposing pieces of light - colored canvas allowed him to define the edges of his forms and establish a sense of depth in largely white - on - white pictures.

Sean Scully (b. 1945)(Elemental, Geometric Forms)- Wall Of Light White (1998, Dublin Gallery, The Hugh Lane) See also: Abstract Artists: Ireland.

A light - hearted response to an earlier all - man show called Larry's and followed by an all - gay group called Garry's, the six - years - old publication features a pile of pages pressed behind glass and showing the artists working, taking a shower and forming a human pyramid, all dressed in the same white t - shirts and denim shorts.

Darren Almond's To Leave a Light Impression at White Cube, Bermondsey, includes his photography series Fullmoon and Present Form, enthralling the audience across three large rooms.

The bright colors and blinking lights of Sanford Biggers's Smirk suggest carnival signs, while the form — broad red lips surrounding white teeth — alludes to the racist images of African Americans used in early 20th - century advertising.

2002 CAB Gallery Retrospective 1999 - 2001, Essor Gallery Project Space, London, UK Between Language and Form, Yale University Art Gallery, New Haven, Connecticut, US Amsterdam Revisited: Adam & Eve On Sex, Tolerance and other Dependencies, De Appel, Amsterdam, NL Reaction - A Global Response to 9/11, Exit Art, New York, US Art Aficionado Auction of Cigar Box Art, Birmingham Museum of Art, Birmingham, Alabama, US Just Remember: It's Vienna, Galerie Hubert Winter, Vienna, AT Welfare State International, London, UK Light & Shadows..., Galerie Anselm Dreher, Berlin, DE From the Observatory, Paula Cooper Gallery, New York, US Galerie Pietro Spartà, Chagny, FR Coolecção Onnasch: Aspectos da Arte Contemporânea, Museu Serralves / Museu Arte Contemporânea, Porto, PT Conceptual Art 1965 - 1975 from Dutch and Belgian Collections, Stedelijk Museum Amsterdam, NE DIN Art 4 - 560 Künstler und 1 Formular, Museum für Kommunikation, Hamburg, DE 2002 Benefit Silent Auction and Gala, White Columns, New York, US Parole, Parole, Parole, Galleria Civica di Arte Contemporanea, Trento, IT Water - Sand — Space, The International Art Exhibition: Sharjah Art Museum, UAE; Städtischen Galerie Wolfsburg, DE Private Views, London Print Studio Gallery, London, UK Collections, Stedelijk Museum, Amsterdam, NL Startkapital, K21 Kunstsmamlung Nordhein - Westfalen, DE 20 Years in Danish Art, Stalke Galleri & Galleri Kirke Sonnerup, DK The Artists» Memory, Stadtische Museen Jena, Kabinett im Stadtmuseen, DE Ideal Avalanche, The Pond, Chicago, Illinois, UK Pièes de Collection / Oeuvres Contemporaines, Une Proposition de Françoise et Jean - Philippe Billarant, Ecole Supérieure des Beaux - Arts de Nîmes, ESBAN @ Hôtel Rivet, FR Hors d'Oeuvre, Artist's Pages, Le Journal de l'art Contemporain en Bourgogne, No. 10, FR Frenetic Interferences a presentation of MEMORY / CAGE EDITIONS, Museum Store of The New Museum of Contemporary Art, New York, US Sens Giratoire Exposition Collective Peintures, Photographies, Installations PASSAGES, Centre d'Art Contemporain, Troyes, FR Ilona Ruegg, Kunsthalle Bern, Bern, CH Kunst und Schock Der 11, September und das Geheimnis des Anderen, Eine Austellung mit Bildern und Texten in Zusammenarbeit mit Lettre International, Haus am Lützoplatz, Berlin, DE Art Unlimited, Basel Art Fair, Basel, CH Les Horizons du Paysage, curated by François Montliau & Hubert Besacier, Maison de la Culture de Bourges, FR Ansammlungen von Ingrid Wald und Gerhard Jaschke («Freibord»), Sommerallerie, Unterretzbach, AT Out of Print Edição Esgotada, Museu Serralves, Museu de Art Contemporaneâ, Porto, PT De Concert, Oeuvres d'une Collection Privé, Frac des Pays de la Loire, FR What About Hegel (And You)-RRB-?

«Gibson's exploration of the interaction of light and form has secured his place in the history of black and white photography.»

He impressed pebbles into the dark pigment of his Night Blooming paintings (1951); the uninflected White Paintings (1951) became screens for light and shadow, responding to the conditions around them; and newspaper collage formed the ground of the series of black paintings (1951 — 53).

White Hole however ends the exhibition with a chance to look up at the heavens: blurred light - forms flit and swirl through a rounded skylight to brighten the arched ceiling of a dark room.

Ribbons of bright white articulate the folds of the curtain, while the cloth itself substantiates and gives form to the intangible light.