Word: visualizer
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Vendler also speaks of the "patterning instinct" innate in human beings, which, she says, is ramified in many art forms--visual and musical as well as verbal. She comments that many mathematics students also take great pleasure in highly patterned musical forms, and that, when they turn to poetry, they often find it there as well, "Poetry is the most concise and highest form of verbal patterning that we do," she says...
Lichtenstein is a master of the economic image. During World War II, he made maps from aerial photographs, a job that required a kind of graphic distillation. This visual training has served him well, especially in his many paintings that have tersely targeted various artistic styles, including Impressionism, Cubism, Abstract Expressionism and now his new Chinese landscapes. These paintings exemplify visual frugality and can be read almost as mathematical equations, the sum of two disparate styles based on the following questions. First, how little information is required to make a Chinese landscape? And second, how little information is required...
...Landscape with Philosopher, jagged peaks climb to over nine feet, as Lichtenstein vertically stacks over 10 different dot screens. The most captivating moments are the points where the screens overlap, intersect or dissolve into one another. Here Lichtenstein again demonstrates his masterful visual economy, using the exact same dots to signify mist, mountain or perhaps both at the same time. This ambiguity leads to a spatial confusion and mystery as convincing and sophisticated as any of the real Song Dynasty paintings hanging in the galleries upstairs...
...relationship that mirrors the tiny scale of the figures in the Chinese paintings' infinite landscapes. Just as the miniature men are almost lost within the Song paintings, we are literally dwarfed by the immense scale of Lichtenstein's work and can never really hold the entire image in our visual field. Only by backing up as far as the gallery allows can we get a good look at the whole composition, but Lichtenstein jokes that we can never really possess nature...
...tiny scale transforms dried oranges, spotted seed pods, a papier mache mold of a sock, and a tower of Yardley soap boxes into intimate marvels. These laconic sculptures demand (and deserve) our thought and time, as do Orozco's elegant photographs which reveal his sensitivity to natural mysteries and visual puns, like a cluster of sleeping sheep in Common Dream, or a languid hose seeping water on the floor in Hose (Manguera Dormida). His small, subtle observations play beautifully off Vija Celmins' meticulous renderings of expansive night skies and the late Felix Gonzalez Torres' monumental billboard of transient footprints...