Sentences with phrase «visual perception of a color»

Working with simple geometric forms, Albers sought to produce the effects of chromatic interaction, in which the visual perception of a color is affected by those adjacent to it.

Particularly concerned with the study of chromatic interaction, in which visual perception of a color is affected by those adjacent to it, Albers writes, «To this end, we study gradation by producing so - called grey steps, grey scales, grey ladders.

Not exact matches

At the outset there is an enhancement of visual perception; for instance, colors look more vivid, more intense than usual.

«Our work advances the study of perception by showing that sadness specifically impairs basic visual processes that are involved in perceiving color.»

People with chromesthesia are said to receive a double «whack» of input to color perception centers of the brain, from both visual and auditory stimuli.

Considerations such as visual perception, color, and the mechanisms of painting pervade the subsequent works on view.

Her almost tactile use of color heightens the visual experience of her work, and depending on the light source and viewing angle, different perceptions emerge.

Within the visual and temporal entanglements of my installations, perception slips between recognition and abstraction: from a sky, a topography, or a textile, into fields of color and pattern and back again.

Exploring how color and color perception have been codified, manipulated, and employed to dazzling effects by artists and designers from antiquity to present day, this exhibition brings together 190 objects — including texts on color theory, psychedelic posters, Pantone decks, and vivid, 3D - printed sculptures — that illuminate the endless visual possibilities of a polychromatic palette.

«Saturated: The Allure and Science of Color» Cooper Hewitt, Smithsonian Design Museum 2 East 91st Street OPENS: May 11 Exploring how color and color perception have been codified, manipulated, and employed to dazzling effects by artists and designers from antiquity to present day, this exhibition brings together 190 objects — including texts on color theory, psychedelic posters, Pantone decks, and vivid, 3D - printed sculptures — that illuminate the endless visual possibilities of a polychromatic palColor» Cooper Hewitt, Smithsonian Design Museum 2 East 91st Street OPENS: May 11 Exploring how color and color perception have been codified, manipulated, and employed to dazzling effects by artists and designers from antiquity to present day, this exhibition brings together 190 objects — including texts on color theory, psychedelic posters, Pantone decks, and vivid, 3D - printed sculptures — that illuminate the endless visual possibilities of a polychromatic palcolor and color perception have been codified, manipulated, and employed to dazzling effects by artists and designers from antiquity to present day, this exhibition brings together 190 objects — including texts on color theory, psychedelic posters, Pantone decks, and vivid, 3D - printed sculptures — that illuminate the endless visual possibilities of a polychromatic palcolor perception have been codified, manipulated, and employed to dazzling effects by artists and designers from antiquity to present day, this exhibition brings together 190 objects — including texts on color theory, psychedelic posters, Pantone decks, and vivid, 3D - printed sculptures — that illuminate the endless visual possibilities of a polychromatic palcolor theory, psychedelic posters, Pantone decks, and vivid, 3D - printed sculptures — that illuminate the endless visual possibilities of a polychromatic palette.

These pieces address a variety of themes including, color and visual perception, memory, information systems, and structural notions as well as concepts connected to political geography.

Op artists test the boundaries of visual perception, often by creating abstract compositions with bold colors that seem to vibrate and dynamic patterns that appear to pulsate.

Combining an interest in the nature of perception with investigations into the visual and psychological resonance of color, Richard Anuszkiewicz produces paintings whose vibrant colors and geometric shapes seem to pop and pulsate off of the canvas.

Alberss deeply analytical approach to the creation of a unique visual language was of paramount importance from his earliest days as a student and culminated in his revolutionary explorations of the properties and perceptions of color as seen in his seminal Homage to the Square series.

More importantly, these works demonstrate how these visionary artists maintained the rigor and discipline they brought to understanding visual perception by creating the illusion of three - dimensional space and motion using mostly line and color.

Its analysis and interpretation of visual perception seemed to reflect the concerns of 19th - century Impressionists and also those of 20th - century modernists, who famously reduced the portrayal of their subjects to the most basic elements of form and color.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Most of the artists featured in this exhibition explored issues of visual perception throughout their careers, using combinations of line, color interactions, and kinetics with diverse approaches and a variety of media to engage and challenge viewers mentally and visually.

His early Topology Series made of bent plywood and bright, neon colors exemplifies these concepts and transforms the viewer's visual perception.

Scientists now speculate that some human visual perception is evolving to begin to see outside the normal spectrum of light and color, much like bees or bats.

«This exhibition Sight Specific is a convergence of my ideas about color and visual perception.

Though ephemeral, the fullest expression of color arrives in the strategic placement of diffraction grating film decals on the gallery windows, conjuring of the visible light spectrum and illustrating the viewer's visual perception as limited to these colors.

One of Mike's major interests is the role colors play in the dynamics of composition and their effect on the visual perceptions of the observer, particularly as evidenced in the work of the color theorist Josef Albers and his seminal work «Theories of the Interaction of Color.&rcolor theorist Josef Albers and his seminal work «Theories of the Interaction of Color.&rColor.»

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

In a new show at Canada Gallery, Connors divides the gallery space into four mini white cubes that hold carefully selected groups of paintings that test the visual perception and emotive experience to color and form.

The elegant exhibition at David Zwirner, organized by Brenda Danilowitz, focuses on Albers» explorations into the myriad possibilities of the color grey and how the visual perception of one shade of grey is altered depending on the intensity of an adjacent shade and its spatial relation to it.

With his new paintings, Nitegeka moves further into abstraction, focusing in particular on the effect that the color black has on both the visual and emotional perceptions of his work.

The technique creates visual interest on the surface of the work, and can alter a viewer's perception of the individual colors.

Garth Weiser's linear compositions employ texture, color, and light to challenge the viewer's visual expectations and to explore the nature of perception.

And while Lynch's paintings and sculptures present a visual feast — Vanity (2016) offers a particularly alluring marriage of color and form, as if a Matisse cutout were beginning to morph and metastasize — there is still room for the young artist to delve deeper into questions of perception and mindfulness, particularly in an age of pervasive screens and quickening attention spans.»

Must have visual acuity near and far (20 inches to 20 feet), depth perception, field of vision, ability to focus on an object, ability to identify and distinguish colors

Assist in a wide range of optical procedures and perform - visual acuities, auto - refractions, ishira color vision, depth perception randot stereo test, retinal photography (visicam), setting phoropter, tonometry (tonopen), instill eye drops (dilation), and Humphrey visual field screenings (40 - 40, 24 - 2, 10 - 2)

• Assist the Optometrist in the examination and treatment of patients • Perform visual tests and procedures • Prepare patients and act as special surgical assistant in clinical procedures • Apply ocular dressings, perform suture removal, and obtain eye cultures • Record patient case history, conduct visual screening tests including pupillary testing, visual acuity, cover test, color vision and depth perception • Take ophthalmic photographs • Perform cyclic maintenance and calibration checks on clinic diagnostic equipment

The Associate is required to have close visual acuity including color, depth perception, and field of vision to perform an activity, such as assessing patients, preparing and analyzing data and figures; transcribing; viewing a computer terminal; or extensive reading.

About Blog On March 31st 2005, Peter Jacobs created a 9 by 12 inch collage using that day's local newspaper, and have continued that process without interruption every day since.They are paintings with paper, theatrical stages of abstracted color and rhythms, layers that imbue surreal narratives, symbolism hidden in humor, the irony of culture, and pure visual perception.