Word: planar
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...committee cited Kedlaya's "progress on a tough problem involving outplanar partitions of planar graphs that has brought acclaim from experts, who emphasize that he has made more progress than many professionals who have tackled...
...program continued with Henri Dutilleux's Symphony No. 2 from 1959, "Le Double," for large orchestra and chamber orchestra. Here was a symphony embodying many of the most favored textures and planar forms in this decade's classical music. When one considers that Dutilleux, who walked onstage to accept an ovation after the performance, was once a contemporary of Shostakovich, the character of his work becomes all the more remarkable...
...space. The white has traces of black to reveal the underlying layers of the painting as well as to indicate the presence of the painter himself. High Street (1950) portrays a more complicated definiton of space less successfully through the application of black and white. The forms are more planar, and the white is cleaner; thus, the painting is pushed to its surface. These works are not the most appealing of Kline's efforts because they do not achieve the opticality and the ambiguous, real space which characterizes his work. However, they do succeed in demonstrating the creation of space...
...came along, his reputation was only a little enhanced by it. Davis had delved images from the commercial culture of America before the Pop artists were even born. The classic one is Odol, 1924, in which the bent- neck bottle of a mouth disinfectant is presented, plain and planar -- name brand, slogan and all -- as its own icon, the ancestor of Andy Warhol's Brillo boxes. But Davis' work was grounded in Cubism, as that of the later artists was not; the Cubist scheme of fragments of media culture and packaging (newspaper headlines, labels and so on), absorbed into...
...paint and dense with melancholy, or, in the area of abstraction, Erick Stenberg. In the 1960s and '70s, Stenberg's work was a prolonged meditation on constructivism and suprematism, the chief movements of the "classical" Russian avant-garde in the years just before and after the revolution: finely tuned planar constructions in a pale, deep space. Lately, in a way that parallels Malevich's return to peasant themes in the 1920s, Stenberg has deepened his color and turned to images of a remote village where he spends part of his time: bare roads, cottages, grave markers, religious symbols like...