Word: visual
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...works are illuminated disks set against a white wall. Others in the group vary widely but are united by a common dedication to "cool" materials far divorced from the conventions of oil paint and bronze-plastics, neon, acrylics, Plexiglas, aluminum. They also share a preoccupation with a visual illusionism that plays with space and color to make the eye see beyond the surface of the work, perhaps inspired by the clear, bright light of Southern California (on its non-smog-gy days). The result, if not so divergent from similar work in the New York orbit as the Californians like...
...birth, Paris' Musée de L'Orangerie has mounted a retrospective of his works (see color opposite), which are displayed along with those of his brother-in-law and lifelong friend, Ker-Xavier Roussel. Both were contributors to the mighty explosion that was impressionism, but their visual worlds were quite different. Vuillard was essentially a realist, a chronicler of bourgeois life. Roussel, with his nymphs and gods, was a dreamer, trying to transplant classical Greece into the French landscape...
...SPACE ODYSSEY has as its key character a shining oblong object symbolizing a great extraterrestrial intelligence that has overseen mankind since the Pliocene age. Though it fails as drama, Stanley Kubrick's venture succeeds as dazzling visual...
...precast concrete beams that span 100 ft.; cable-hung roofs that carry across distances of 420 ft.; mass-production assembling techniques; and a rapidly expanding range of building materials, from glare-reducing glass and spun plastic to rust-sealing steel. Concrete used as a finished material is already giving visual variety to the city. "It is the most important change in the art of building since World War II," says Architect Marcel Breuer. "You can sculpt concrete, you can mold it, chisel it, increase the vocabulary of architectural expression...
There are no rules to be drawn from any of this, but film history supports one or two generalizations. Most of the great films transcend a primary level of visual reality, that of superficial "slice of life" recording and, aware of the magical power of the image to convey an absolute truth, move toward dramatic metaphor in subject and theme, in order to convey ideas that will affect us, living in the one reality film cannot reproduce. The meaning of great film exists ultimately not in the script mechanics but in the treatment of script mechanics by distinct camerawork...