Sentences with phrase «visual flatness»

In his recent photographic series, IMG (2012 --RRB-, Heishman creates minimalist glyphs made out of colored tape that generate a slippage between visual flatness and real - space dimensionality.

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

Love the Coopers certainly looks sleek enough (thanks to seasoned DP Eliot Davis), and Nelson, trying hard to avoid the visual flatness of so many studio comedies, directs with a rather aggressive touch.

Not exact matches

The visuals have been often described as «awesome,» but they weren't authentic or rich enough to keep my attention (maybe imitating the flatness of dreams, but who cares?).

This slacker spin on «Annie Hall» doesn't quite make up in verbal intelligence what it lacks in visual flair, saddled with sitcom rhythms and video flatness.

Some of that came from the movie's low - key visual design, but the general flatness of late Seventies film stock was a bigger culprit.

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

Bonnard's exploration of visual sensation thus involves flatness as a primary condition.

The question remains relevant in responding to the thinning effects of digital fatigue that increasingly condition our time — constantly updated information, the flatness of visual compression and image production, ever widening abstractions of finance, the atomizing nature of networked communication — distanceless aesthetics have indeed come to dominate swaths of contemporary life.

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

The main visual philosophy came very natural to making flatness, but, at the same time having some dimension...»

Without a visual anchor, viewers can only drift within the spaces in which grid and cross intermingle, uncomfortably caught between two - and three - dimensional spaces where boundaries between pictorial depth and surface flatness begin to get fuzzy.

The completely abstract painting rejected the visual vocabulary of representational painting in favor of emphasizing the flatness and materiality of the canvas.

The flatness which characterizes Yanai's paintings is used in certain visual - motor psychological tests as an indicator to characterize the inability to contain emotional events.

1 «Superflat» is a word coined by artist Takashi Murakami to link two - dimensionality in traditional Japanese paintings, known as Nihonga, from the 17th, 18th, and 19th centuries with the flatness in contemporary Japanese visual art and animation.

By refusing to adopt the «old values» of traditional art and asserting the flatness and objectivity of the canvas he was not rejecting completely the energetic brushstrokes of Abstract Expressionism, as is often suggested, but insisting on the development of the overall surface without relying on the illusionism that comes from the visual brushstrokes or the sense of depth that the inclusion of color might imply.

While Stella, once he broke from the mold of Greenbergian flatness, could equate presence only with volume and visual weight, Bonnefoi's response to the same strictures was an emphasis on thinness and on the absence of physical weight; an excess of both material and metaphorical lightness.