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An icon of a camera in black and white only. Date: 30 November 2006: Source: DarkEvil, based on en:Image:Camera icon.gif which is free. Author: DarkEvil: Permission
By 1976 the White Cube aesthetic was being criticised by Brian O'Doherty as a modernist obsession. [1] In Inside the White Cube: The Ideology of the Gallery Space, [3] he argued that in an easel painting the frame was the window through which one saw the world, and that required a wall for context. When the frame is gone and the wall is white ...
Pictorialism is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of creating an image rather than simply recording it.
In photography, bokeh (/ ˈ b oʊ k ə / BOH-kə or / ˈ b oʊ k eɪ / BOH-kay; [1] Japanese:) is the aesthetic quality of the blur produced in out-of-focus parts of an image, whether foreground or background or both. It is created by using a wide aperture lens.
The creepypasta showed an image exemplifying a liminal space—a hallway with yellow carpets and wallpaper—with a caption purporting that by "noclipping out of bounds in real life", one may enter the Backrooms, an empty wasteland of corridors with nothing but "the stink of old moist carpet, the madness of mono-yellow, the endless background ...
In African Art in Motion, African art scholar and Yale professor Robert Farris Thompson turns his attention to cool in both the African and African-American contexts: . The mind of an elder within the body of the young is suggested by the striking African custom of dancing "hot" with a "cool" unsmiling face.
The site's consensus reads, "Exuberant and bittersweet, Not Fade Away is a coming-of-age story set to a British Invasion beat that occasionally meanders but mostly charms." [3] Keith Uhlich of Time Out New York named Not Fade Away the second-best film of 2012, citing it as proof that Chase's work on The Sopranos was "no fluke". [4]