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A Boeing 747-400 wearing the Chelsea Rose livery takes off past two other 747s in the Chatham Dockyard livery, c. 2002. In 1997 British Airways (BA) adopted a new livery.One part of this was a newly stylised version of the British Airways "Speedbird" logo, the "Speedmarque", but the major change was the introduction of tail-fin art.
Free-Images.com – More than 12 Million Public Domain/CC0 stock images, clip-art, historical photos and more. Excellent Search Results. Commercial use OK. No attribution required. No login required. Good Free Photos – All public domain pictures of mainly landscape but wildlife and plants as well
The hunt to find rare car photos of early prototypes, hidden for decades, just got a little easier. ... Ford is revealing 100 new concept car images, including 45 new vehicles, to total 378 unique ...
Concept art is a form of visual art used to convey an idea for use in film, video games, animation, comic books, television shows, or other media before it is put into the final product. The term was used by the Walt Disney Animation Studios as early as the 1930s. [ 1 ]
The museum archivists also found that many of the images had never been seen, even by themselves, as much of the digitisation process had been automated. As a result, the Never Been Seen tool was created, both to promote the collections of the group and to bring items to the public that had never before been displayed. [1] [2]
Lost artworks are original pieces of art that credible sources or material evidence indicate once existed but that cannot be accounted for in museums or private collections, as well as works known to have been destroyed deliberately or accidentally or neglected through ignorance and lack of connoisseurship.
The idea of neo-conceptual art (sometimes later termed post-conceptual art) in the United States was clearly articulated by Tricia Collins and Richard Milazzo (working as a team called Collins & Milazzo) in the early and mid 1980s in New York City, [1] when they brought to prominence a whole new generation of artists through their copious writings and curatorial activity. [2]
Kosuth stresses the difference between concept and presentation in his writings (e.g., "Art after Philosophy", 1969 [2]) and interviews (see the quotation below). He tries to intimately bind the conceptual nature of his work with the nature of art itself, thus raising his instructions for the presentation of an artwork to the level of a ...