Sentences with phrase «like afterimages»

Jackson's Grape Drink Box (Anacostia Los Angeles Topeka McKinney) is a materially complex work that uses vernacular and technical materials to show the permeation of color and form into social life, and includes elements of photography that are embedded to look like afterimages.

Our lead effects designer did his best to make it look like an afterimage without any feeling of it being odd, and I think it came out pretty good.

The result is that in Super Street Fighter IV, to get that ninja - like afterimage we've used effects.

From one side, this piece recalls a ghost - like, paper version of the original house's façade, appearing like an afterimage that lingers in one's memory.

Neidich places the matching pigment on a piece of paper laid flat on the ground, then pulls a brush through it, leaving traces of color on the bristles like an afterimage.

Art & Antiques March 2015 When the Museum of Modern Art in New York mounted the exhibition «The Responsible Eye» in 1965, curator William Seitz could not have imagined that it's impact would persist, like an afterimage on the retina, 50 years later.

Not exact matches

Deliberately paced, bleak and a touch repetitive, «Afterimages» is a swan song from one of the greats, who, like his subject, leaves viewers with a treatise on how to look at the world.

Normally I don't like this setting on E Ink because it causes more ghosting and afterimages, but the screen refreshes fully on the InkBook when using inverted text so that's not a problem — every page looks clear.

In fact, the more you look at those pesky residual traces of red, blue and green, which at first glance look almost like Hippenstiel wiped them from his shoes, the more they register as an afterimage of the skull in the first painting.

Actually, the spectral realities glimpsed in the 1962 — 64 silk - screen paintings feel less like images than afterimages — traces left in the eye or mind when the original source is no longer there.

The result is paintings whose vibrating color space, where image and afterimage interact, recall the utopian optical constructivism of painters like Wojciech Fangor, as well as the meticulously Photoshopped, if blithely neutered, color field photography of younger artists like Cory Arcangel.

The work seeks to locate the possible effects or afterimages of an exhibition across two categories of imprints: on one hand, a kind of retinal persistence, a blur of works and texts that vie for preeminence in recalling the experience of the exhibition, and, on the other hand, the mode of the archive that exhibitions of contemporary art in general gesture towards, the database where they would like to register.

Skopik is the author of Photography and the Fifties» for an upcoming issue of History of Photography, The Idea of Photography» in the Spring 2002 issue of History of Photography, and No Place Like Home» in the July / August 2000 Afterimage.