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Odili Donald Odita // ⓘ (born 18 February 1966) is a Nigerian American abstract painter who lives and works in Philadelphia, Pennsylvania. [1] His work explores color both in the figurative historical context and in the sociopolitical sense.
A toy kaleidoscope. A kaleidoscope (/ k ə ˈ l aɪ d ə s k oʊ p /) is an optical instrument with two or more reflecting surfaces (or mirrors) tilted to each other at an angle, so that one or more (parts of) objects on one end of these mirrors are shown as a symmetrical pattern when viewed from the other end, due to repeated reflection.
Sumopaint has web-based "paint" features similar in some respects to Pixlr. [4] It was originally created in 2008 by Sumo Limited. [5] Sumopaint has many of the same tools and features as Photoshop but is geared more towards illustration, whereas other software such as Photoshop is more suited for heavy image editing.
Tree branches seen through a teleidoscope. A teleidoscope is a kind of kaleidoscope, with a lens and an open view, so it can be used to form kaleidoscopic patterns from objects outside the instrument, rather than from items installed as part of it.
In 1998, Lane Twitchell was the recipient of a Rema Hort Mann Foundation grant. He is also a two-time winner of a New York Foundation for the Arts fellowship in Drawing (1999) and Craft (2003). In 1998, he participated in the Museum of Modern Art's (MoMA) P.S. 1 National Studio Program. [3]
Jen Stark (born 1983 in Miami, Florida) is a multi-media American artist who lives and works in Los Angeles, California. [1] Stark is best known for creating optical art using psychedelic colors in patterns and drips that mimic intricate motifs found in nature.
In March 2018, Hall published with Bittersweet Editions a debut comic narrative (also known as a graphic novel) called Kaleidoscope City. The book is an existentialist meditation in words and drawings on a year in the life of an unnamed protagonist who seeks meaning through art and city life following the end of a romance.
The new digital media raised questions about our knowledge of media history. The tactile qualities of optical toys that allow viewers to study and play with the moving image in their own hands, seem more attractive in a time when digital transformation makes the moving image less tangible. [1]
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