Sentences with phrase «like flatness»

I liked the flatness against my wrist, and it fits nicely.

Not exact matches

(both ingredients are crucial to avoiding flatness and may be why the texture was off — texture should be crispy yet soft JUST like a real cookie!)

(both ingredients are crucial to avoiding flatness and may be why the texture was off — texture should be crispy yet soft JUST like a real cookie!)

Like a desert mirage, this National Natural Landmark rises huge out of the barren, immense flatness of Oregon's high desert.

Neither of these stylistic elements are even slightly unique, and they themselves tend to go crippled under flatness that sometimes feels more like laziness, but that they have some degree of inspiration endears on an aesthetic level, while livening things up, with the help of a hopelessly misguided director who cloys, cloys and cloys, and then manages to work in a touch of touching charm.

In «Digging for Fire,» Swanberg forges diverse elements into a unity that retains loose ends, that keeps the foreground and the background together in what may look like a deceptive flatness.

As a result the movie feels delicate and presents certain flatness in its structure, like cracks that have been papered over and held together with superglue so that it may be sold to the public quick, before anyone notices that it's broken.

«A lot of the colors we used came out of the initial discussion Greta and I had of what Sacramento felt like,» said Jones, «which was lots of green, yellows, pinks, golds, pastel colors, like what you see in Wayne Thiebaud paintings, which really capture the color and the flatness and the beauty that is specific to Northern California.

It refers to the fact that when we make a statement like «I think the Earth is flat,» we can be wrong about Earth's flatness, but we can not be wrong about the «I,» the subjective self that is making the assertion.

Nah, idk what it is — maybe the lighting or the textures — , but for some reason even the standard awning platforms give me this weird sense of flatness, like they are cardboard cut - outs or something.

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

Fleetingly, you think that you see a concrete tower with an open flap like a dark window, or that you are gazing at the interior of a distorted, disintegrating stone sarcophagus — but then the illusion falters and the two - dimensional flatness of the image reasserts itself.

The paintings of the early 80s are quieter in terms of their sculptural dimension, tending back towards flatness, and yet the scribbly, jittery outlines of their shapes possess a comparable sensation of movement to those of 1971, like tectonic plates that have just begun to rub and unsettle.

While his unfussy, casual compositions share the pictorial flatness of AbEx, they are resolutely figurative; and while the cartoonish style foreshadowed Pop, Katz eschewed cultural icons for everyday folks, like his wife, Ada.

«I am attracted to related visual phenomena like positive and negative, pattern and randomness, color and grayscale, flatness and depth, representation and abstraction.

Like in Medieval tapestries, where there is tension between the pictorial depth and the flatness of the woven surfaces, my paintings hover in a similar duality.

As the flatness of the graffiti - like smile denies the illusion of depth presented by the scene, it makes a sly reference to the enigmatic grin captured in Leonardo da Vinci's famous portrait.

8 Rauschenberg's primary example of such layering, as put forward in his manifesto - like 1963 photo - essay «Random Order,» was «a dirty or foggy window,» the translucency of which at one and the same time emphasizes the flatness of the glass and allows one to see through it into depth.9 As though looking through a veil, such a situation «mak [es] what is outside appear to be projected on to the window plane.»

And in the hey day of Modernism, critics like Clement Greenberg pursued a narrative which saw Modernist painting as a «peculiar form of tunnel vision leading away from pictorial depth and compositional complexity towards flatness, all - overness and the absence of association.»

These vertical paintings compress the domed temple into animate flatness, like an arched stained - glass window.

Like Wood, Calder resisted perspective in many of his works, creating the illusion of flatness in three dimensions.

Realizing this limited value, artists such as Ewa Partum and Sanja Iveković have embodied this flatness in order to explode space, while others like Sondra Perry and Hank Willis Thomas have drawn attention to the history of the advertisement industry's adaptation of black bodies.

Though three - dimensional, Calder's work has an alluring, somewhat ironic flatness that allows the sculptures to appear like free - floating drawings in space.

For example, Berger uses intense, gestural bands of color in tandem, Brock suppresses color - laden smears and scrapes with a plastic mesh - like surface, and Nielsen - Fried's robust use of color, shapes, and compressed flatness brings an the component of optical illusion into the interaction of touch and sight.

These works are more like some form of sculptural relief than painting per se — they are certainly as far as you can get, physically and theoretically, from Clement Greenberg's notion (contemporary with these works) of «ineluctable flatness.»

By comparison, other California Hard Edge painters like Helen Lundeberg (1908 - 1999) and Lorser Feitelson (1898 - 1978) focused specifically on achieving flatness and simplicity of shape.

While artists like Andy Warhol and Roy Lichtenstein investigated the depths of flatness during the Pop Art craze of the 1960s, Pindell had already advanced to explorations of color, form, and structure in her works, testing the boundaries of rectangle - on - wall art.

Like the collages, it deftly combines flatness with dimensionality.

I like the visual flatness of my works when viewed from afar, but, upon closer observation, they reveal hundreds of stories and mysteries.

Like Action Painting, the artists treat the surface of a canvas or paper as a «field» of vision, without a central focus, and emphasize the flatness of the surface.

Once the dominant expression of both the historical and the neo-avant-garde, but now pursued only by a select few, the mode feels locked into an endless repetition of long - tired tropes like objecthood, flatness, and material specificity.

Artists like Katja Novitskova, who prints pictures of photogenic animals (giraffes, penguins) onto aluminum panels and stands them up in galleries, said in a talk last year that, these days, «there is no flatness.

The stripes and notches of the Copper and Aluminum works conspire to create relief - like mirages of projecting and receding planes, something the proponents of absolute flatness in painting — who relied on Stella as a touchstone — certainly did not have in mind.

Like the immigrant painter Arshile Gorky, with whom he shared a studio, De Kooning tried to synthesize the flatness of Cubism with the energy of Surrealism.

Though that's likely to seem like a boring formal conceit to some, in an age where we look at flat screens all day long, it's unsurprising that artists are trying to understand the depths of flatness.

But full - on flatness could be a misreading of how we actually interact with screens: looking at emails all day might seem like a very flat life, but when you're roaming the halls of a video game, you can become fully immersed.

Think of the light in Hopper's paintings or Caravaggio's, or even the flatness of light in early Renaissance painting, like in Piero della Francesca's.

The artist explores the concept of perception through his distorted, grid - like patterned paintings that juxtapose a layer of depth with flatness.

Like, Greenberg's formalism is about flatness.

Rae plays with modernist flatness so much — what's in front, what's behind, what's on the surface — she's come to look like an old - style modernist herself.

A few elements I've evinced from Smith's past exhibitions and around the city (including his painted - directly - on - the - wall installation at Deitch in Long Island City): gestural subject matter (fish, leaves, his name), seriality (in canvas size, subject matter, and hanging — like his 2011 show at Luhring Augustine featured panel grids), synthesized flatness and depth (the mixed - media compositions in his 2009 show Currents resembled large - scale flatbed scans, while neighboring canvases maintained every brushy, gloopy instance of Smith's hand).

Adults often behave as though our responsibilities have earned us a monopoly on the darker emotions, like anxiety, stress, depression or just that intangible flatness.