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Motherwell never dissembled about his sources. Not only was a sign for the human body like Figure in Black, 1947, with its mask's eyes staring from the bent trapezoid of a head, clearly derived from Picasso, but Motherwell would also write more knowledgeably about Picasso than most of his contemporaries, critics included. If the rectangular opening that kept appearing, as a promise of space beyond the picture plane, in painting after painting from the early '40s to the Open series of the late '60s and early '70s derived its authority from Matisse's Blue...

Author: /time Magazine | Title: Art: Master of Anxiety and Balance | 10/10/1983 | See Source »

Then somebody discovered that the same twin-trapezoid N, only in solid red, has been since last June the official logo of the Lincoln-based Nebraska Educational Television Network. NETV Art Director Bill Korbus, working on salaried time, had developed the design. Total additional cost: less than $100, says Korbus. "It's hysterical," chuckles NBC Newscaster Tom Snyder. "It's one of those things that happen when executives sit down to do something creative...

Author: /time Magazine | Title: Business: Peacock v. the Pea | 1/19/1976 | See Source »

...ship alongside Skylab (see diagram). As he does this, Kerwin or Weitz will lean out of the hatch and attach three newly designed clamps to the ship-two near Skylab's base, one on the telescope mount. The clamps will be used to anchor lines running to the trapezoid-shaped covering. As the lines are tightened, the shade will be pulled into its proper position like the spinnaker on a sailboat (the analogy especially pleases Conrad, who recently acquired a 34-ft. sloop). If this fails, the crew will try again after they have boarded Skylab. One possibility...

Author: /time Magazine | Title: Science: Skylab: The $2.5 Billion Salvage | 5/28/1973 | See Source »

...choreography is, appropriately, elbow-swinging and gymnastic (except for a nice, modest ballet by Debbie Coleman). The new Leverett House Old Library Theater, with its small scale and wood panelling, is quite cozy--one enters through the stage, which is attractively cluttered with Jack Hanick's set: bright, upended trapezoid canvases lining the staircases and covering exits. And Ken Kanter has done an efficient, unpretentious job of moving the actors on that stage. His is an "amateur" production in the best sense: everyone in it seems to be having a good time, and the warmth comes across. At times...

Author: By Michael Sragow, | Title: The Roar of the Greasepaint | 10/28/1971 | See Source »

...works as they evolve from 1959. The contrast between his Die Fahne Hoch (1959) and Ileana Sonnabond (1963) in gallery 11, makes the later work seem dead-pan in comparison to the more obvious monumentality of the earlier one. In time, however, the white lines of the magenta trapezoid come to life...

Author: By Robert E. Abrams, | Title: 3 Modern American Painters | 4/30/1965 | See Source »

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