Word: colorism
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Dates: during 2000-2009
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...into the inkpot of black-and-white photography and by that means made it new again. So persuasive were his methods that because of him we tend to think of the national parks the way we think of the Great Depression, as something we can barely conceive of in color. He almost made us believe that the whole of creation comes in the palette of a cinder block - and to be glad about it. (See 10 things you didn't know about national parks...
Adams is so identified with black and white that most people would be surprised to learn that he started to shoot in color soon after Kodachrome was invented in the mid-1930s and that by the time of his death in 1984 he had produced nearly 3,500 color images. Though he allowed some of those pictures to be published in his lifetime, he never printed them himself, or at least not for the public. He didn't believe that the color processes of his day could produce results to compare with the rich visual deliberation, the fine-grained luxuriance...
...Stead, a newcomer to school committee politics, said he believes the key to closing the achievement gap is hiring more minority teachers, who could serve as desperately-needed mentors for students of color. Stead, who is black, has worked in the district as a principal and teacher for 34 years and considers himself to be one such role model...
...Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum joined HRO members onstage for “Nocturnes,” Claude Debussy’s electrifying trio of symphonic poems. Debussy’s orchestration plays with texture and tone just as impressionist painters manipulate light and color, and the ensemble demonstrated a remarkable talent for this tonal experimentation. From the mystic wind and high string introduction to offbeat trills and pizzicato sequences in the second movement, the orchestra adeptly drifted in and out of various keys and tonalities without losing its crucial sense of rhythmic grounding...
...instrumental use of female voices in the third movement complemented the ebb and flow of orchestral sound, adding yet another textural layer to existing pentatonic harmonies. The tonal color of the choir was concentrated in the high sopranos, whose vocalizations meshed seamlessly with the full orchestra to personify a tempestuous...