Sentences with phrase «shadows on the white surfaces»

One of the most interesting pieces, a self - portrait, was turned on its side so that an arm like protuberance cast bold shadows on the white surfaces below.

Ultimately, however, it was Cage's emphasis on the action of light and shadow on the white surfaces of these paintings that had the greatest impact on shaping their interpretation by art historians.

Not exact matches

I learned soooooooooo much at the White on Rice couple's photography conference in Cali a few weeks ago (like how to use my camera in manual), how to embrace the shadows and darkness, how to make new surfaces (coming soon!)

It is possible that the «laws» of perception we have explored so far evolved primarily to deal with shadows and to distinguish them from «real» objects, which would also produce luminance differences in the visual scene as a result of differences in reflectance (for instance, a zebra's stripes or a white cat standing on a black surface).

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Since the 1950s, Ryman has used primarily white paint on a square surface — whether canvas, paper, metal, plastic, or wood — while harnessing the nuanced effects of light and shadow to animate his work.

Since the 1950s, Ryman has used primarily white paint on a square surface while harnessing the nuanced effects of light and shadow to animate his work.

Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while harnessing the nuanced effects of light and shadow to animate his work.

This series of black, grey and white abstract drawings have no shadows, no backdrops, nor perspective, underlining the ambiguity of how three dimensional compositions display on a flat surface.