Sentences with phrase «if flatness»

Recent Exhibitions 2013 — Against Nature — Wave Hill, NY 2013 — Trouble Every Day — Vogt Gallery, NY 2013 — If color then also dimension; if flatness then texture, etc. — LMCC: Building 110, NY.

2013 Art Public: Only One Like You, curated by Nicolas Baume, Art Basel Miami Beach, Miami Beach, FL Pataphysics (A Theoretical Exhibition), Sean Kelly Gallery, New York, NY Body is Present, Berrie Center for Performing and Visual Arts, Ramapo College, NJ Hold on Her, (performance), Cleveland Museum of Art, Cleveland, OH All Good Things, SOMA Arts, San Francisco, CA Remainder, curated by Lauren Ross, Philbrook Museum of Art, Tulsa, Oklahoma The Lobby Project, City Center, New York, NY Sisyphus: Heroism of the Absurd, Arte Actual, Quito, Ecuador If Color, then also Dimension; If Flatness, then Texture, etc., LMCC at Governor's Island, New York, NY Object Focus: The Bowl, Museum of Contemporary Craft, Portland, OR Paint Things: Beyond the Stretcher, Decordova Sculpture Park and Museum, Lincoln, MA In Praise of Chance and Failure, Family Business, New York, NY There Is No Place Like Home, Paul Robeson Galleries, Rutgers, Newark, NJ Only as Signal Show, Southern Exposure, San Francisco, CA No Sun Without Shadow, Lu Magnus, New York, NY Unfolding Tales: Selections from the Contemporary Collection, Brooklyn Museum, Brooklyn, NY

Not exact matches

I wondered if the people who had the «flatness» problem were in the UK?

The movie is competently executed, if directed with standard comedy flatness.

Colours are more nuanced than they are in standard - def (if similarly prone to oversaturating), but the drop - off into black is a bit steep in shadowy areas of the image, and the 1.78:1, 1080p transfer is ultimately shackled by a certain flatness endemic to the sitcom style of DP Thomas Ackerman, late of Balls of Fury and Superhero Movie.

If Pollock and Kline proved influential, so too did the «flatness» of work by Barnett Newman — as did paintings by Jasper Johns, whose 1958 exhibition first inspired Stella to use his now - trademark stripes as a compositional tool.

If archives are to be reduced from book object to compact flatness in Kindles, computer screens, disks and hard drives, the fallacy is that more room is gained by a reduction of space via the reduction of the object.

If formalism once demanded flatness and purity, the surfaces are anything but flat, and both the images and the technique's echoes of weaving are anything but pure.

And if you look at the history of American art, it's an American art of flatness and distance.

In a time of flat paintings — mostly I'm referring to those that lack perspective, as if all that's shown on the canvas has been pressed up close to your eyes — I appreciate that the next course of action might be a transition from pure flatness to a somewhat flat, though highly layered space.

If Tintoretto and the other old masters were «acknowledging the picture plane» or «acknowledging two dimensionality» by creating an unbroken surface skin, and modernist painting, since the breaking up of the surface, initiated by Constable (according to Heron, quoted by Robin in a recent thread), has acknowledged the picture plane through flatness of the remaining fragments / pictorial planes, then maybe one way forward would be to discover new ways of acknowledging two dimensionality that do not involve flatness.

Put another way: If Kenneth Noland and co. were investigating different ways of acknowledging the frame, while taking the flatness - solution (for acknowledging the picture plane) for granted, maybe it is time to look at the other side of that equation.

Yet if the downturn of the solar cycle had caused the flatness, it means the flatness is temporary and that the longterm warming hasn't stopped.