Sentences with phrase «forms and colors across»

Celebrating form and color across time and media, Apfelbaum's selections include examples of American Art Pottery, functional commercial ware and international ceramics.

Not exact matches

Enough about the undies that you have to obsess over when wearing form - fitting midi dresses; let's eyeball the various ways bloggers from across the globe wear theirs, the diverse midi dress styles and color options so you can have an idea or two about what it is the look to go for.

Not long ago, we came across black - colored Lumia 822 and now we have found out that the handset will also show off a pristine white form factor.

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.

The vibrantly - colored swirling forms repeated across the surface of Reed's works recall handmade gestures, and simultaneously, reproductions of such gestures, while his palette evokes the technological light that emanates from televisions, monitors, and movie screens.

These experimentations ultimately helped form the ways he represented space and color across so many mediums.

For each painting, the color in a particular set of like - forms may remain identical; in others, a gradual change of hue, value, and intensity create visual movement across the composition.

Color becomes both the form and subject matter as they create almost topographical movements across the canvas.

Ceding varying degrees of aesthetic agency to programmatic procedures that give visual and linguistic form to statistics, sociocultural phenomena, and chance operations, he is best known for large, labor - intensive, colored - pencil - and - graphite drawings that creep and sprawl across their supports in accordance with eccentric, self - imposed directives.

But this show, which will offer ten works across a range of color and industrial materials, culled from institutions and private collections, is being touted as the «first - ever» exhibition devoted to Judd's work with this sculptural form.

«He is taking forms and images and laying color across them in a way that makes the paintings more abstracted,» Serota says.

Some, like Self - Contained Lavascape, are almost serene, as shapes and colors swirl across the plane, while others, like Volcano Dream — Destruction Dream, are violent tangles of forms that crack, twist, explode, and spew across the paper.

Delineated in high - key primary and secondary colors and sequenced horizontally across nine panels, they embodied the unifying thread here: abstraction as coded communication in pictographic form.

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.

According to him, space and time imply movement and the change of light: «As light moves across the object, the forms and the color appear to change with the rearrangement of the shadows.

Rothko / Sugimoto extends Pace's ongoing series of two - artist exhibitions that initiate dialogues between artists working across time periods, geography, and mediums, following such significant exhibitions as de Kooning / Dubuffet: The Women (1990); Mondrian / Reinhardt: Influence and Affinity (1997); Bonnard / Rothko: Color and Light (1997); Willem de Kooning and John Chamberlain: Influence and Transformation (2001); Dubuffet and Basquiat: Personal Histories (2006); Josef Albers / Donald Judd: Color and Form (2007); and Ad Reinhardt and Tony Smith: A Dialogue (2008 — 9).

Misshapen circles and enigmatic forms expand across the gallery walls in a grid, creating tension between their exuberant colors and rigid organization.

Radiating a sense of barely contained energy, vivacity, and joy, Sam Francis's distinctive work uses bold primary colors and jewel - like tones, abstract forms splattered, dripped, and drizzled across the surface of the canvas.

Working in mixed media, fiber, and ceramics (respectively) their work comes together across mediums through shared textures, colors, and forms that often arise from experimentation and are inspired by the world around them.

Evident across all of these works, however, is the artist's uniquely sensitive treatment of the human form and her constantly evolving experimentation with color and texture.

Petersen's irregular geometric forms overlap one another with rhythmic energy, punctuated by linear elements, which zip across the surface, articulating the larger masses of color while providing movement and direction.

These works border on the musical, as forms and colors echo brightly and rhythmically across the surface of the paper.

The resulting site - specific interventions effect a vivid and energetic transformation upon their host spaces, introducing areas of vibrant color, varied textures and precise patterns and forms that travel up walls, around corners, out windows and across lawns.

With thirteen paintings on the walls and one very large painting folding across the floor, Moreland explores line, color and form with a fresh approach.

Her paintings evoke what she calls «color desire,» as the fluidity of the forms engage us in seeking color resolutions across the pictorial field, while drawing us to the different spaces that the colors occupy and the ways they attract and repel each other.

No longer limited to Europe and America, abstract artists from across the globe are expressing and communicating in the language of line, form, color, and gesture.

A couple of early paintings here show how much he was in its sway, particularly «Susanna and the Elders» (1953), a de Kooning-esque romp of bold, energetic forms in black and white marching diagonally across the canvas, attended here and there by tiny licks of flamelike color.

These groupings of work reveal an artist whose keen sensitivity to colors and forms enables unlikely pairings and a unique ability to reinvent, refine and reimagine ideas across years of work.

His color, now blazing, now gently softened, now sounding in resonant combinations, is the source of both form and light, holding within its brilliant transparencies darker gradations which convey limitless depth, at the same time allowing the white light of the canvas to shimmer through to the surface... slashing oranges cut across the pink and blue of partially squared area -LSB-...] with the more complex imagery of Queen II and III, in which figures with ritual connotations are implied in rich color schemes of red, blue, green and ocher with white.

In 1924 he formed Gruppe K with Hans Nitzschke; after meeting Arp and van Doesburg, he joined De Stijl the following year, and began to produce paintings featuring small units of color placed sparingly across monochrome backgrounds.

A saving grace is provided in the form of Color Modes under Display settings that let you toggle across Vivid, Contrast and Warm tones — a handy option this.

The sound embodies the very best qualities available from the thin membranes of planar magnetic drivers, carving out every secret, each lonesome detail, and every rushing burst of form and color from your most complex music, stretched across a sprawling soundstage.