Galliano was articulating those adolescent feelings of growing up and not quite fitting into your surroundings with girliness rendered in Polaroid-inspired sepia tones. In the press notes, it said that ?innocence is celebrated? but more than that, this was a collection for the misfits and mavericks out there ? perhaps an allusion to Galliano himself. Imperfections are also celebrated and again, there?s no better designer to bring forth beauty from unexpected places. 

Galliano?s debut ready-to-wear collection for the newly renamed Maison Margiela was a brilliant, bold and marginally unsettling study of character­; a spectacular unison of his renowned theatrical flair tailored to the masterful modernism and understatement of the house. ?I wanted it to look as if those girls had walked out onto the wrong runway,? he explained.

The first of Heron's 'stripe' paintings to be seen in public was Horizontal, one of those made in the extraordinary burst of March, 1957.

The implications of his own vehemence here are unequivocal: Heron was of the converted. In the clearest terms possible this is a critical acknowledgment of the significance at that moment in history of New York painting.

Again, a painting is not something which exists in order to convey meaning; on the contrary, 'meaning' is something which attache itself to that independent, autonomous object which is a picture' .

This play with two or three distinct types of pictorial space -- perspectival, atmospheric, relative -with varying registers of depth and shallowness -was to be a vital aspect of Heron's painting from now on, a functional dynamic in the complex visual music of his art. Colour and the arrangement of color-shapes; chromatic and tonal variations; the infinitely expressive repertoire of brushwork and over-painting, stroke and mark, impasto, scribble and wash; these were the other elements of a more complex kind of composition.

 Heron's commitment to the idea of the painting as an autonomous object, conterminous with the image it carried, had been confirmed by his idiosyncratic, and somewhat ambivalent, reading of recent American painting.

those army-green full of my memory about what my parents look like when I was a child -the customers they weared in army-green color

The film and each of its vignettes revolve closely around the theme of death. It was Kitano's intent to show death as neither good nor bad but a relative event. In an interview, Kitano stated, "The reason why modern Japanese and Westerners loathe the notion of death so much is beyond me. There really is no reason to loathe death," adding, "How you perceive this film can considerably differ depending on the position where you stand."

                                                              -contents from  National Theatre of Scotland. Retrieved 13 November 2015.

Ryan McGinley (born October 17, 1977) is an American photographer living in New York City who began making photographs in 1998. In 2003, at the age of 25, McGinley was one of the youngest artists to have a solo show at theWhitney Museum of American Art. He was also named Photographer of the Year in 2003 by American Photo Magazine.I n 2007 McGinley was awarded the Young Photographer Infinity Award by the International Center of Photography.

Christo Vladimirov Javacheff and Jeanne-Claude, were a married couple who created environmental works of art. Christo and Jeanne-Claude were born on the same day, June 13, 1935; They first met in Paris in October 1958. They then fell in love by creating art work together.

Although their work is visually impressive and often controversial as a result of its scale, the artists have repeatedly denied that their projects contain any deeper meaning than their immediate aesthetic impact. The purpose of their art, they contend, is simply to create works of art for joy and beauty and to create new ways of seeing familiar landscapes. Art critic David Bourdon has described Christo's wrappings as a "revelation through concealment." To his critics Christo replies, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain.

Christo self funchia

surrounded islands

wrapped trees