Sentences with phrase «sense of surrealism»

New oil paintings on view are filled with dynamic figures that span reality (an upside down figure on a roller coaster) and a sense of surrealism (a figure lounging on the beach in red flips flops, atop clouds, with some body parts replaced by shapes).

Gomes plays some tricky games with sound and voiceover, and an understated sense of surrealism lurks around the edges of the film, most notably in the form of the many animals that populate the film.

Not exact matches

Any sense of realism - even magical realism - devolves into video - game surrealism seemingly overnight.

Ignored by most audiences, this is a subtle, sublime work that merges the best of Villeneue's craft — his arch, noir tendencies from Prisoners, his level of detail exhibited with Polytechnique, his sense of complexity beautifullly realized in Incendies, and even some of the morose surrealism of Enemy.

The sense of disconnection is what's at play in The Big Lebowski — the total failure of communication, the feeling of being stuck in time, and an analysis of The Big Sleep that suggests that it's had its major influence not on the mainstream detective thriller, but on surrealism and post-modernism.

Its wry sense of humor and surrealism reminded me of Palestinian filmmaker Elia Suleiman, who used a checkpoint as a microcosm in his 2002 film, Divine Intervention.

Despite a varied body of work, characterised by experimentation and a sustained and fruitful engagement with abstraction and surrealism, the exhibition reinforces the perception that Nash was a painter who only found a sense of purpose with the outbreak of war.

A sense of familiarity and surrealism is all at once present in his work, which has, in most recent years received much praise from the art public.

Her sense of Contemporary Art skillfully blends with a touch of surrealism.

Arthur Danto, reviewing the show in Norway for Artforum, suggested that a propensity for surrealism pervades this work, but that a raw sense of experimentation and a tangibly alternative outlook, both politically and qualitatively, also resounds throughout the exhibition.

As Amy Winter shows in her book about Paalen, Robert Motherwell, who had worked on Dyn and received, as he put it, his «post-graduate education in surrealism» from Paalen, gradually lost a sense of indebtedness to him.

By invoking seemingly antagonistic art - historical models — from the technological experiments of Russian constructivism to the base materialism of Bataillean surrealism and the cybernetic systems aesthetics of Jack Burnham, as well as the entropic geographies of Robert Smithson — «Foreign in a Domestic Sense» participates in contemporary discussions regarding the power of things and materials to operate beyond the scope and frame of the human, while insisting on an urgent geopolitical awareness about the conditions of Puerto Rico and kindred territories in the global south.

While neither expressed much interest in surrealism, Diebenkorn's automatism and Matisse's fields of color both find in art a sense of dreamlike suspension.

Moreover, Breton and the other surrealists had a strong sense of belonging to a unified avant - garde that comprised artists outside surrealism as well.

He experiments with elements of surrealism intermingled with abstracted gradients, evoking a sense of innocence in his desire to find a balance between life and death.