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Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic. [2] [3]
Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915. There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art .
Wall, after his previous studio work, decided to take pictures in the street, in 1982. These pictures, like his former works, would be staged, with actors. He took inspiration from an incident that he had witnessed, while walking on a street of Vancouver , of racial abuse, and decided to recreate it in a staged photograph.
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The street is not a blank canvas for the street artist. It has a character, a use, a history, a texture, a shape. Street art, as well as broader urban art, transforms the street or opens the dialogue. Justin Armstrong states graffiti is identified as an aesthetic occupation of spaces, whereas urban street art repurposes them. [45]
The "street" approach to style and fashion is often based on individualism, rather than focusing solely on current fashion trends. Using street style methods, individuals demonstrate their multiple, negotiated identities, in addition to utilizing subcultural and intersecting styles or trends.
Google Street View is a technology featured in Google Maps and Google Earth that provides interactive panoramas from positions along many streets in the world. It was launched in 2007 in several cities in the United States, and has since expanded to include all of the country's major and minor cities, as well as the cities and rural areas of many other countries worldwide.
An early theorist of snapshot aesthetic was the Austrian architectural critic, Joseph August Lux, who in 1908 wrote a book called Künstlerische Kodakgeheimnisse (Artistic Secrets of the Kodak) in which he championed the use of Kodak cameras like the Brownie.