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A version of Rubin's vase. The Rubin vase (sometimes known as Rubin's vase, the Rubin face or the figure–ground vase) is a famous example of ambiguous or bi-stable (i.e., reversing) two-dimensional forms developed around 1915 by the Danish psychologist Edgar Rubin.
Kiss and Tell is a Vancouver, British Columbia based performance and artist collective whose work is concerned with lesbian sexuality. In 1990, collective members Persimmon Blackbridge, Lizard Jones and Susan Stewart used the intense debates within the queer community around sexual practice in the early 1990s to create the photographic exhibition Drawing the Line.
Upon his retirement, Seedfeeder illustrated a woman blowing a kiss. [4]Seedfeeder's images received media coverage in numerous languages and publications. [7] In 2014, Gawker's Andy Cush published an article about Seedfeeder's "frank, graphic" illustrations, [7] and a companion gallery called "The Best of Seedfeeder, Wikipedia's Greatest Sex Illustrator", which he described as a collection of ...
In most Southern European countries, kissing is initiated by leaning to the left side and joining the right cheeks and if there's a second kiss, changing to the left cheeks. In some cases (e.g. some parts of Italy) the process is the opposite, you first lean to the right, join the left cheeks and then switch to the right cheeks.
The Kiss (German: Der Kuss) is an oil-on-canvas painting with added gold leaf, silver and platinum by the Austrian Symbolist painter Gustav Klimt. [3] It was painted at some point in 1907 and 1908, during the height of what scholars call his "Golden Period". [ 4 ]
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The cover image of the androgynous kissing couple was taken from the 1991 book Stolen Glances: Lesbians Take Photographs edited by Tessa Boffin and Jean Fraser. The photograph was taken by Tee Corinne and in its entirety shows a woman kissing an acquaintance in a wheelchair. [50] The Strokes – Is This It (2001)
Kissing Coppers is an example of stencil graffiti, which is a quick method for erecting images onto large surfaces, which for Banksy is necessary to keep his anonymity. [8] Due to the speed and ease of stencil graffiti, it is typically the message rather than the critical artistic design components that are most significant to the work. [8]