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The framed stencil spray painting shows a girl reaching towards a heart-shaped balloon, while the gallery version featured spray paint and acrylic on canvas, mounted on a board.
In the gallery version we see interminable queues in the snow, the faces of passers-by, a cellist accepting a bouquet to thunderous applause at the end of a concert, a woman in a cramped kitchen preparing food.
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A big one, "America" is spelled out three times in neon in the final gallery, each version slightly different, none quite right.
A Conceptualist, Lawrence Weiner, has adhered to a wall in each gallery a version of one of his typical gnomic phrases, with stenciled letters spelling, "Encased by + Reduced to Rust".
Even the Zen-Puritan Long understood that his gnomic trails — map coördinates, numeric and textual itineraries — were too arid to hold the viewer's interest, and he took to bringing into the gallery shorthand versions of his original experience.
Philipsz's submission, a recording of her singing transplanted from underneath a Glasgow bridge into Tate Britain, fares slightly better – although in Ben Luke's opinion, "in the gallery, her versions of the Scottish lament Lowlands Away lack that sense of poetry and mystery".
In the first gallery, a giant version of Gilbert Baker's LGBT Rainbow Flag stands proud.
In the gallery, an edited version of the recordings plays from two large speakers, and small collage-drawings by Ms. Jones hang on the wall.
To the gallery's own version of The Card Players are added two of the four others that Cézanne made of the subject, one from the Metropolitan Museum in New York and another from the Musée d'Orsay.
The piece half-fills the small backroom of the gallery, a static version of a larger piece from the artist's Gratest Hits show at the Contemporary Arts Museum Houston earlier this year.
Monet's 1891 exhibition of 15 "Wheatstacks" at Durand-Ruel's gallery (three wintry versions are shown here) spawned countless copycat exhibitions of paintings made in series.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com