Word: visual
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...charm before his pain, then his white-hot hatred, are allowed to postulate. Similarly, flashes of grace appear, like epiphanies in the January snow. In church, after Marianne has been singed by Henrik's rage against his father, beams of sunlight burst through the window; it is the visual counterpart of the organ chord that greeted Marianne as she entered. Later there's a privileged moment when Karin is told of a career opportunity and the ecstasy of anticipation briefly floods her face, as radiant as that sunlit church. Bergman keeps energizing Saraband with such touchstones; he builds the edifice...
...made shaped wall reliefs and floor pieces, typically painted in a single color, or two or three adjoining forms, each a different color. They obeyed the minimalist law that art should be a thing that can be apprehended all at once, with no painterly composition and a minimum of visual intricacies. But resolute minimalists like Donald Judd and Robert Morris were also busy expelling from art anything that resembled meaning, any reference to biological form or emotional states outside the work. From the start Tuttle was different. He wanted people to associate things he made with things they knew...
...Hastings, Neb. ? Yuma, Col.," etc. It may be the first ever cartoon travelogue. King's interest in America's pastoral wilderness would become a recurring theme in the series, especially in the color Sunday strips. (The publisher intends to reprint them separately.) The color Sundays reveal King's extraordinary visual imagination, often incorporating entirely fanciful, dreamlike scenarios and bizarre layouts that counter the quotidian nature of the daily strip. Even so, the black and white dailies, reprinted at more than twice the size of today's average strip, reveal King's remarkable penmanship and eye for detail...
Buchloh plans to teach graduate seminars in postwar art, alternating between an American and a European focus. He will offer introductory lecture courses for undergraduates on visual modernity and modernism, with a special focus on the changing relationship between modernism and mass culture...
Spielberg makes a visual argument for the ugliness of the human character under pressure. The theft of a minivan; thousands of people left behind to die as tripods approach the ferry; and the descent into apparent madness by Ogilvy (Tim Robbins), one of Ferreira’s acquaintances during his flight from the aliens, all show how the instinct to survive can generate repulsive behavior...