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  1.  4
    Pandemic Images and Gestalt Theory: Introspective Musings About a Series of Digital Art-Works.Roy R. Behrens - 2021 - Gestalt Theory 43 (3):309-322.
    Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”.
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  2.  16
    Assault of the Petulant: Postmodernism and Other FanciesSeeing Berger: A Revaluation of Ways of SeeingThe Naked ArtistHistoire de l'Art Et Lutte des Classes The Anti-Aesthetic: Essays on Post-Modern CultureThe Colors of Rhetoric: Problems in the Relation Between Modern Literature and PaintingThe Age of the Avant GardeClement Greenberg, Art CriticThe Tradition of the NewThe Anxious Object.John Adkins Richardson, Peter Fuller, Nicos Hadjinicolau, Hal Foster, Wendy Steiner, Hilton Kramer, Donald Kuspit, Harold Rosenberg, Suzi Gablik & Roy R. Behrens - 1984 - Journal of Aesthetic Education 18 (1):93.
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  3.  14
    Setting the Stage for Deception. Perspective Distortion in World War I Camouflage.Roy R. Behrens - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):31-42.
    During World War I, in response to substantial advancements in wartime surveillance, it became a common practice to rely on “vision specialists” to devise effective methods of fooling the enemy. These methods, collectively referred to now as camouflage, were designed by so-called camoufleurs, men who in civilian life had been trained as artists, graphic designers, architects, and theatre scenographers. Among the techniques they employed were perspective-based spatial distortions, of the sort that are also frequently used in theatrical set design, trompe (...)
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