Word: visualization
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Dates: during 1980-1989
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...apparently realistic transcription of raw nature. Typically, his spaces are shallow and entangled. You are on the forest floor, in a cavern of green and gray, gazing at an almost impenetrable screen of slender tree-trunks, fallen branches, brush, lichens and rocks. There is no horizon line to offer visual release: just more forest, dappled and blotched with light. The surface is not oppressively congested-for at his best, in paintings like Late Light, 1978, or Shadow, 1977, Welliver has a gift for surrounding every shape with air, drenching it in transparency-but it puzzles the eye. You can feel...
...accoutrements to the plot strike a visual chord. The costumes are exquisite, as are the wigs, the arrays of food, and the furnishings of the houses. Ranging from magnificent gardens to bleak deserts, director Carlos Diegues assaults us with a barrage of kaleidoscopic images. Even though these images never stop, no saturation point exists. Our eyes gladly devour these gorgeous pictures that affirm the gaudiness and materialism of Tijuco...
...wonderful cinematography serves as a visual stylization of Bob's world, containing as it does echoes of film noir as well as its own peculiar vision of Paris in the '50s. One of the most memorable shots is of the contrast in the still landscape of Montmartre at night. In the pitch black lower part of the frame only the sharply etched neon nightclub sign. "Pigalle," stands out, while above the dome of the Sacre Coeur cathedral is silhouetted against the mist. The music reinforces the fundamental contrast inherent in the film. It is magically distant and redolent of both...
...weeks ago, Aiissa Clements '85 was looking ahead to her first semester as a concentrator in Harvard's Department of Visual and Environmental Studies...
...signature, a monogram or an animal insignia, is sheer status, and they are correct. They further reason that unless you are grossly inept or the subject of peculiar conspiracies by your peers, almost no one ever sees your underwear. The act of communicating status through clothes relies on visual verification. If you can't see Mr. Jones's skivvies, they can't impress you. And if he whispered to you across the picket fence separating your lawns that he had draped on his chunky haunches a pair of underwear tattooed with the initials of some shrewd Frenchman, you would almost...