Her «Ladybug» (1957), which is now in MoMA's collection and was trotted out for its recent exhibition, is one of her signature works, with its tumble of thick or wiry, drippy strokes of orange, blue, turquoise, purple, and other colors surging in a pack emphatically toward
the left side of the canvas.
Not exact matches
The tentacle picture did a great job
of this as the woman was on 2/3
of the cover
leaving a white
canvas on the right and
side of the image.
Because
of limitations in eBooks, in order to create the 20em text
canvas on the right hand
side of the page, Scrivener decided fake it by simply increasing the
left hand margin.
The
left hand
side of the
canvas is taken up with white people cavorting and laying in the sun in a holidaying pose, while the other half is based on a photograph
of Haitian refugees arriving in Florida.
So he would work on one section, for instance the
left side, and then he would move over to the right
side of the
canvas, but not be able to see what he had just done on the
left.»
Canvas is stronger and more resilient; able to control its unruly contents, the canvas pyramid, al casb 4 (1967), can be left open at the top to reveal the sand inside and explain the slight sagging of the
Canvas is stronger and more resilient; able to control its unruly contents, the
canvas pyramid, al casb 4 (1967), can be left open at the top to reveal the sand inside and explain the slight sagging of the
canvas pyramid, al casb 4 (1967), can be
left open at the top to reveal the sand inside and explain the slight sagging
of the
sides.
Leaving her brush strokes visible, the edges
of her
canvases raw and allowing paint to drip down the
sides of her workswhile showing glimpses
of underpainting, Murray emphasizedher paintings as hand - built and hand - painted, reminding the viewer
of the physicality
of her process and the importance
of the formal aspects
of painting.
Leaving her brush strokes visible, the edges
of her
canvases raw and allowing paint to drip down the
sides of her works while showing glimpses
of underpainting, Murray emphasized her paintings as hand - built and hand - painted, reminding the viewer
of the physicality
of her process and the importance
of the formal aspects
of painting.
In a 1999 two - panel work, the
left - hand
side is covered with numbers, while the right - hand
canvas is a mirror image
of the first, with the numbers reversed.
His vertical stripes in the 1960s varied, from wide bands
of candy - colored hues to thin lines clustered on the
left and right
side of the
canvas, flanking a blank center.
In «Two Whites Over Antique Red Over Cadmium Red» (2013), the
left and right
sides of the
canvas are separated by what The New Yorker referred to as a «Newmanesque zip.»