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Ethan Thomas paylaşılan bir bağlantı
2025-07-10 11:00:54 -

Ah, "Lies of P" et son nouveau DLC "Overture" ! Qui aurait pensé que l'assemblage d'armes pouvait devenir une compétition pour le titre de "l'arme la plus bizarre de l'année" ? On dirait que les développeurs se sont levés un matin et ont décidé que les joueurs avaient besoin de quelque chose d'unique, comme un fouet combiné à un grille-pain. Oui, parce que rien ne crie "je suis un chasseur de monstres" comme des armes qui semblent sorties tout droit d'un cauchemar surréaliste. Si vous avez oublié de "snag" ces merveilles, ne vous inquiétez pas, il vous reste encore

Ah, "Lies of P" et son nouveau DLC "Overture" ! Qui aurait pensé que l'assemblage d'armes pouvait devenir une compétition pour le titre de "l'arme la plus bizarre de l'année" ? On dirait que les développeurs se sont levés un matin et ont décidé que les joueurs avaient besoin de quelque chose d'unique, comme un fouet combiné à un grille-pain. Oui, parce que rien ne crie "je suis un chasseur de monstres" comme des armes qui semblent sorties tout droit d'un cauchemar surréaliste. Si vous avez oublié de "snag" ces merveilles, ne vous inquiétez pas, il vous reste encore

KOTAKU.COM

Did You Forget To Snag Lies Of P's New DLC Weapon?
Lies of P impressed us in 2023 with its fun and innovative weapon assembly system, which resulted in some of the most bizarre weapon creations in the Soulslike genre. With Lies of P: Overture, the game’s first and only major DLC, that trend continues

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The Architect’s Newspaper paylaşılan bir bağlantı
2025-06-15 06:49:43 -

Christian Marclay explores a universe of thresholds in his latest single-channel montage of film clips

DoorsChristian Marclay
Institute of Contemporary Art Boston
Through September 1, 2025Brooklyn Museum

Through April 12, 2026On the screen, a movie clip plays of a character entering through a door to leave out another. It cuts to another clip of someone else doing the same thing over and over, all sourced from a panoply of Western cinema. The audience, sitting for an unknown amount of time, watches this shape-shifting protagonist from different cultural periods come and go, as the film endlessly loops.

So goes Christian Marclay’s latest single-channel film, Doors, currently exhibited for the first time in the United States at the Institute of Contemporary Art Boston.. Assembled over ten years, the film is a dizzying feat, a carefully crafted montage of film clips revolving around the simple premise of someone entering through a door and then leaving out a door. In the exhibition, Marclay writes, “Doors are fascinating objects, rich with symbolism.” Here, he shows hundreds of them, examining through film how the simple act of moving through a threshold multiplied endlessly creates a profoundly new reading of what said threshold signifies.
On paper, this may sound like an extremely jarring experience. But Marclay—a visual artist, composer, and DJ whose previous works such as The Clockinvolved similar mega-montages of disparate film clips—has a sensitive touch. The sequences feel incredibly smooth, the montage carefully constructed to mimic continuity as closely as possible. This is even more impressive when one imagines the constraints that a door’s movement offers; it must open and close a certain direction, with particular types of hinges or means of swinging. It makes the seamlessness of the film all the more fascinating to dissect. When a tiny wooden doorframe cuts to a large double steel door, my brain had no issue at all registering a sense of continued motion through the frame—a form of cinematic magic.
Christian Marclay, Doors, 2022. Single-channel video projection.
Watching the clips, there seemed to be no discernible meta narrative—simply movement through doors. Nevertheless, Marclay is a master of controlling tone. Though the relentlessness of watching the loops does create an overall feeling of tension that the film is clearly playing on, there are often moments of levity that interrupt, giving visitors a chance to breathe. The pacing too, swings from a person rushing in and out, to a slow stroll between doors in a corridor. It leaves one musing on just how ubiquitous this simple action is, and how mutable these simple acts of pulling a door and stepping inside can be. Sometimes mundane, sometimes thrilling, sometimes in anticipation, sometimes in search—Doors invites us to reflect on our own interaction with these objects, and with the very act of stepping through a doorframe.

Much of the experience rests on the soundscape and music, which is equally—if not more heavily—important in creating the transition across clips. Marclay’s previous work leaned heavily on his interest in aural media; this added dimension only enriches Doors and elevates it beyond a formal visual study of clips that match each other. The film bleeds music from one scene to another, sometimes prematurely, to make believable the movement of one character across multiple movies. This overlap of sounds is essentially an echo of the space we left behind and are entering into. We as the audience almost believe—even if just for a second—that the transition is real.
The effect is powerful and calls to mind several references. No doubt Doors owes some degree of inspiration to the lineage of surrealist art, perhaps in the work of Magritte or Duchamp. For those steeped in architecture, one may think of Bernard Tschumi’s Manhattan Transcripts, where his transcriptions of events, spaces, and movements similarly both shatter and call to attention simple spatial sequences. One may also be reminded of the work of Situationist International, particularly the psychogeography of Guy Debord. I confess that my first thought was theequally famous door-chase scene in Monsters, Inc. But regardless of what corollaries one may conjure, Doors has a wholly unique feel. It is simplistic and singular in constructing its webbed world.
Installation view, Christian Marclay: Doors, the Institute of Contemporary Art/Boston, 2025.But what exactly are we to take away from this world? In an interview with Artforum, Marclay declares, “I’m building in people’s minds an architecture in which to get lost.” The clip evokes a certain act of labyrinthian mapping—or perhaps a mode of perpetual resetting. I began to imagine this almost as a non-Euclidean enfilade of sorts where each room invites you to quickly grasp a new environment and then very quickly anticipate what may be in the next. With the understanding that you can’t backtrack, and the unpredictability of the next door taking you anywhere, the film holds you in total suspense. The production of new spaces and new architecture is activated all at once in the moment someone steps into a new doorway.

All of this is without even mentioning the chosen films themselves. There is a degree to which the pop-culture element of Marclay’s work makes certain moments click—I can’t help but laugh as I watch Adam Sandler in Punch Drunk Love exit a door and emerge as Bette Davis in All About Eve. But to a degree, I also see the references being secondary, and certainly unneeded to understand the visceral experience Marclay crafts. It helps that, aside from a couple of jarring character movements or one-off spoken jokes, the movement is repetitive and universal.
Doors runs on a continuous loop. I sat watching for just under an hour before convincing myself that I would never find any appropriate or correct time to leave. Instead, I could sit endlessly and reflect on each character movement, each new reveal of a room. Is the door the most important architectural element in creating space? Marclay makes a strong case for it with this piece.
Harish Krishnamoorthy is an architectural and urban designer based in Cambridge, Massachusetts, and Bangalore, India. He is an editor at PAIRS.
#christian #marclay #explores #universe #thresholds

Christian Marclay explores a universe of thresholds in his latest single-channel montage of film clips
DoorsChristian Marclay Institute of Contemporary Art Boston Through September 1, 2025Brooklyn Museum Through April 12, 2026On the screen, a movie clip plays of a character entering through a door to leave out another. It cuts to another clip of someone else doing the same thing over and over, all sourced from a panoply of Western cinema. The audience, sitting for an unknown amount of time, watches this shape-shifting protagonist from different cultural periods come and go, as the film endlessly loops. So goes Christian Marclay’s latest single-channel film, Doors, currently exhibited for the first time in the United States at the Institute of Contemporary Art Boston.. Assembled over ten years, the film is a dizzying feat, a carefully crafted montage of film clips revolving around the simple premise of someone entering through a door and then leaving out a door. In the exhibition, Marclay writes, “Doors are fascinating objects, rich with symbolism.” Here, he shows hundreds of them, examining through film how the simple act of moving through a threshold multiplied endlessly creates a profoundly new reading of what said threshold signifies. On paper, this may sound like an extremely jarring experience. But Marclay—a visual artist, composer, and DJ whose previous works such as The Clockinvolved similar mega-montages of disparate film clips—has a sensitive touch. The sequences feel incredibly smooth, the montage carefully constructed to mimic continuity as closely as possible. This is even more impressive when one imagines the constraints that a door’s movement offers; it must open and close a certain direction, with particular types of hinges or means of swinging. It makes the seamlessness of the film all the more fascinating to dissect. When a tiny wooden doorframe cuts to a large double steel door, my brain had no issue at all registering a sense of continued motion through the frame—a form of cinematic magic. Christian Marclay, Doors, 2022. Single-channel video projection. Watching the clips, there seemed to be no discernible meta narrative—simply movement through doors. Nevertheless, Marclay is a master of controlling tone. Though the relentlessness of watching the loops does create an overall feeling of tension that the film is clearly playing on, there are often moments of levity that interrupt, giving visitors a chance to breathe. The pacing too, swings from a person rushing in and out, to a slow stroll between doors in a corridor. It leaves one musing on just how ubiquitous this simple action is, and how mutable these simple acts of pulling a door and stepping inside can be. Sometimes mundane, sometimes thrilling, sometimes in anticipation, sometimes in search—Doors invites us to reflect on our own interaction with these objects, and with the very act of stepping through a doorframe. Much of the experience rests on the soundscape and music, which is equally—if not more heavily—important in creating the transition across clips. Marclay’s previous work leaned heavily on his interest in aural media; this added dimension only enriches Doors and elevates it beyond a formal visual study of clips that match each other. The film bleeds music from one scene to another, sometimes prematurely, to make believable the movement of one character across multiple movies. This overlap of sounds is essentially an echo of the space we left behind and are entering into. We as the audience almost believe—even if just for a second—that the transition is real. The effect is powerful and calls to mind several references. No doubt Doors owes some degree of inspiration to the lineage of surrealist art, perhaps in the work of Magritte or Duchamp. For those steeped in architecture, one may think of Bernard Tschumi’s Manhattan Transcripts, where his transcriptions of events, spaces, and movements similarly both shatter and call to attention simple spatial sequences. One may also be reminded of the work of Situationist International, particularly the psychogeography of Guy Debord. I confess that my first thought was theequally famous door-chase scene in Monsters, Inc. But regardless of what corollaries one may conjure, Doors has a wholly unique feel. It is simplistic and singular in constructing its webbed world. Installation view, Christian Marclay: Doors, the Institute of Contemporary Art/Boston, 2025.But what exactly are we to take away from this world? In an interview with Artforum, Marclay declares, “I’m building in people’s minds an architecture in which to get lost.” The clip evokes a certain act of labyrinthian mapping—or perhaps a mode of perpetual resetting. I began to imagine this almost as a non-Euclidean enfilade of sorts where each room invites you to quickly grasp a new environment and then very quickly anticipate what may be in the next. With the understanding that you can’t backtrack, and the unpredictability of the next door taking you anywhere, the film holds you in total suspense. The production of new spaces and new architecture is activated all at once in the moment someone steps into a new doorway. All of this is without even mentioning the chosen films themselves. There is a degree to which the pop-culture element of Marclay’s work makes certain moments click—I can’t help but laugh as I watch Adam Sandler in Punch Drunk Love exit a door and emerge as Bette Davis in All About Eve. But to a degree, I also see the references being secondary, and certainly unneeded to understand the visceral experience Marclay crafts. It helps that, aside from a couple of jarring character movements or one-off spoken jokes, the movement is repetitive and universal. Doors runs on a continuous loop. I sat watching for just under an hour before convincing myself that I would never find any appropriate or correct time to leave. Instead, I could sit endlessly and reflect on each character movement, each new reveal of a room. Is the door the most important architectural element in creating space? Marclay makes a strong case for it with this piece. Harish Krishnamoorthy is an architectural and urban designer based in Cambridge, Massachusetts, and Bangalore, India. He is an editor at PAIRS. #christian #marclay #explores #universe #thresholds

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Christian Marclay explores a universe of thresholds in his latest single-channel montage of film clips
Doors (2022) Christian Marclay Institute of Contemporary Art Boston Through September 1, 2025Brooklyn Museum Through April 12, 2026On the screen, a movie clip plays of a character entering through a door to leave out another. It cuts to another clip of someone else doing the same thing over and over, all sourced from a panoply of Western cinema. The audience, sitting for an unknown amount of time, watches this shape-shifting protagonist from different cultural periods come and go, as the film endlessly loops. So goes Christian Marclay’s latest single-channel film, Doors (2022), currently exhibited for the first time in the United States at the Institute of Contemporary Art Boston. (It also premieres June 13 at the Brooklyn Museum and will run through April 12, 2026). Assembled over ten years, the film is a dizzying feat, a carefully crafted montage of film clips revolving around the simple premise of someone entering through a door and then leaving out a door. In the exhibition, Marclay writes, “Doors are fascinating objects, rich with symbolism.” Here, he shows hundreds of them, examining through film how the simple act of moving through a threshold multiplied endlessly creates a profoundly new reading of what said threshold signifies. On paper, this may sound like an extremely jarring experience. But Marclay—a visual artist, composer, and DJ whose previous works such as The Clock (2010) involved similar mega-montages of disparate film clips—has a sensitive touch. The sequences feel incredibly smooth, the montage carefully constructed to mimic continuity as closely as possible. This is even more impressive when one imagines the constraints that a door’s movement offers; it must open and close a certain direction, with particular types of hinges or means of swinging. It makes the seamlessness of the film all the more fascinating to dissect. When a tiny wooden doorframe cuts to a large double steel door, my brain had no issue at all registering a sense of continued motion through the frame—a form of cinematic magic. Christian Marclay, Doors (still), 2022. Single-channel video projection (color and black-and-white; 55:00 minutes on continuous loop). Watching the clips, there seemed to be no discernible meta narrative—simply movement through doors. Nevertheless, Marclay is a master of controlling tone. Though the relentlessness of watching the loops does create an overall feeling of tension that the film is clearly playing on, there are often moments of levity that interrupt, giving visitors a chance to breathe. The pacing too, swings from a person rushing in and out, to a slow stroll between doors in a corridor. It leaves one musing on just how ubiquitous this simple action is, and how mutable these simple acts of pulling a door and stepping inside can be. Sometimes mundane, sometimes thrilling, sometimes in anticipation, sometimes in search—Doors invites us to reflect on our own interaction with these objects, and with the very act of stepping through a doorframe. Much of the experience rests on the soundscape and music, which is equally—if not more heavily—important in creating the transition across clips. Marclay’s previous work leaned heavily on his interest in aural media; this added dimension only enriches Doors and elevates it beyond a formal visual study of clips that match each other. The film bleeds music from one scene to another, sometimes prematurely, to make believable the movement of one character across multiple movies. This overlap of sounds is essentially an echo of the space we left behind and are entering into. We as the audience almost believe—even if just for a second—that the transition is real. The effect is powerful and calls to mind several references. No doubt Doors owes some degree of inspiration to the lineage of surrealist art, perhaps in the work of Magritte or Duchamp. For those steeped in architecture, one may think of Bernard Tschumi’s Manhattan Transcripts, where his transcriptions of events, spaces, and movements similarly both shatter and call to attention simple spatial sequences. One may also be reminded of the work of Situationist International, particularly the psychogeography of Guy Debord. I confess that my first thought was the (in my view) equally famous door-chase scene in Monsters, Inc. But regardless of what corollaries one may conjure, Doors has a wholly unique feel. It is simplistic and singular in constructing its webbed world. Installation view, Christian Marclay: Doors, the Institute of Contemporary Art/Boston, 2025. (Mel Taing) But what exactly are we to take away from this world? In an interview with Artforum, Marclay declares, “I’m building in people’s minds an architecture in which to get lost.” The clip evokes a certain act of labyrinthian mapping—or perhaps a mode of perpetual resetting. I began to imagine this almost as a non-Euclidean enfilade of sorts where each room invites you to quickly grasp a new environment and then very quickly anticipate what may be in the next. With the understanding that you can’t backtrack, and the unpredictability of the next door taking you anywhere, the film holds you in total suspense. The production of new spaces and new architecture is activated all at once in the moment someone steps into a new doorway. All of this is without even mentioning the chosen films themselves. There is a degree to which the pop-culture element of Marclay’s work makes certain moments click—I can’t help but laugh as I watch Adam Sandler in Punch Drunk Love exit a door and emerge as Bette Davis in All About Eve. But to a degree, I also see the references being secondary, and certainly unneeded to understand the visceral experience Marclay crafts. It helps that, aside from a couple of jarring character movements or one-off spoken jokes, the movement is repetitive and universal. Doors runs on a continuous loop. I sat watching for just under an hour before convincing myself that I would never find any appropriate or correct time to leave. Instead, I could sit endlessly and reflect on each character movement, each new reveal of a room. Is the door the most important architectural element in creating space? Marclay makes a strong case for it with this piece. Harish Krishnamoorthy is an architectural and urban designer based in Cambridge, Massachusetts, and Bangalore, India. He is an editor at PAIRS.

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Unity paylaşılan bir bağlantı
2025-05-30 14:34:33 -

Games made with Unity: May 2025 in review

A bunch of great games made with Unity dropped in May—across genres, budgets, and styles. Here’s a quick roundup of what shipped that anyone not still lost in Blue Prince should check out.IGF Awards
Huge congrats to all the IGF finalists, especially the games made with Unity that dominated the awards this year — including Consume Me, which took home three wins! Fresh off their Audience Award win at the IGF Awards, The WereCleaner team joined us on stream. Check it out:Made with Unity Steam Curator Page
Once again we sent out a clarion call for Unity staff to share which of your games they've been playing this past month. Be sure to see them all on our Steam Curator Page here:Working on a game in Unity? We’d love to help you spread the word. Be sure to submit your project.Without further ado, to the best of our abilities, here’s a non-exhaustive list of games made with Unity and launched in May 2025, either into early access or full release. Add to the list by sharing any that you think we missed.ActionShotgun Cop Man, DeadToast EntertainmentDeliver At All Costs, Studio Far Out GamesPipistrello and the Cursed Yoyo, Pocket TrapBullet HeavenBioprototype, Emprom GameBroventure: The Wild Co-op, Alice GamesTower of Babel: Survivors of Chaos, NANOOCards, dice, and deckbuildersMonster Train 2, Shiny ShoeInto the Restless Ruins, Ant Workshop LtdCasual, rhythm, and partyAmong Us 3D, Schell Games, InnerslothDunk Dunk, Badgerhammer LimitedIthya: Magic Studies, BlueTurtleKulebra and the Souls of Limbo, GallaBugtopia, Nocturnal GamesKabuto Park, Doot, ZakkuCity and colony builderPreserve, Bitmap GalaxyMEMORIAPOLIS, 5PM StudioDarfall, SquareNiteWorshippers of Cthulhu, Crazy Goat GamesCity Tales - Medieval Era, Irregular ShapesComedyPick Me Pick Me, OptillusionExperimental or surrealistENA: Dream BBQ, ENA TeamFPSBloodshed, com8com1 SoftwareGRIMWAR, BookWyrmNoga, Ilan ManorHorrorLiDAR Exploration Program, KenForestWhite Knuckle, KenForestThe Boba Teashop, Mike TenOut of Hands, Game RiverDarkwater, Targon StudiosManagement and automationBlacksmith Master, Untitled StudioLiquor Store Simulator, Tovarishch GamesAnimal Spa, Sinkhole Studio, Moonlab StudioToy Shop Simulator, PaperPixel GamesAlien Market Simulator, Silly Sloth Studios, Kheddo EntertainmentMetroidvaniaOirbo, ImaginationOverflowSteamDolls - Order Of Chaos, The Shady GentlemenNarrative and mysterydespelote, Julián Cordero, Sebastian ValbuenaDuck Detective: The Ghost of Glamping, Happy Broccoli GamesBeholder: Conductor, AlawarPlatformerPaperKlay, WhyKevBionic Bay, Psychoflow Studio, Mureena OyOnce Upon A Puppet, Flatter Than EarthPEPPERED: an existential platformer, Mostly GamesNinja Ming, 1 Poss StudioSeafrog, OhMyMe GamesPuzzle adventurePup Champs, AfterburnStrings Theory, Beautiful BeeKathy Rain 2: Soothsayer, Clifftop GamesPoco, WhalefallAxona, Onat OkeProjected Dreams, Flawberry StudioElroy and the Aliens, MotivitiLeila, Ubik StudiosTempopo, Witch BeamBOKURA: planet, ところにょりAmerzone - The Explorer's Legacy, Microids Studio ParisRoguelike/liteSavara, Doryah GamesVellum, Alvios GamesYasha: Legends of the Demon Blade, 7QUARKAn Amazing Wizard, Tiny GoblinsGarden of Witches, Team TapasRPGTainted Grail: The Fall of Avalon, QuestlineThe Monster Breeder, Fantasy CreationsYes, Your Grace 2: Snowfall, Brave At NightSandboxA Webbing Journey, Fire Totem GamesIslands & Trains, Akos MakovicsSimulationThe Precinct, Fallen Tree Games LtdLiquor Store Simulator, Tovarishch GamesDoloc Town, RedSaw Games StudioTales of Seikyu, ACE EntertainmentTrash Goblin, Spilt Milk Studios LtdSports and drivingThe Last Golfer, Pixel Perfect DudeTurbo Takedown, Hanging DrawStrategyTeenage Mutant Ninja Turtles: Tactical Takedown, Strange ScaffoldTower Dominion, Parallel 45 Games9 Kings, Sad SocketSurvivalDino Path Trail, Void PointerSurvival Machine, Grapes PickersOppidum, EP Games®That’s a wrap for May 2025. Want more Made with Unity and community news as it happens? Don’t forget to follow us on social media: Bluesky, X, Facebook, LinkedIn, Instagram, YouTube, or Twitch.
#games #made #with #unity #review

Games made with Unity: May 2025 in review
A bunch of great games made with Unity dropped in May—across genres, budgets, and styles. Here’s a quick roundup of what shipped that anyone not still lost in Blue Prince should check out.IGF Awards Huge congrats to all the IGF finalists, especially the games made with Unity that dominated the awards this year — including Consume Me, which took home three wins! Fresh off their Audience Award win at the IGF Awards, The WereCleaner team joined us on stream. Check it out:Made with Unity Steam Curator Page Once again we sent out a clarion call for Unity staff to share which of your games they've been playing this past month. Be sure to see them all on our Steam Curator Page here:Working on a game in Unity? We’d love to help you spread the word. Be sure to submit your project.Without further ado, to the best of our abilities, here’s a non-exhaustive list of games made with Unity and launched in May 2025, either into early access or full release. Add to the list by sharing any that you think we missed.ActionShotgun Cop Man, DeadToast EntertainmentDeliver At All Costs, Studio Far Out GamesPipistrello and the Cursed Yoyo, Pocket TrapBullet HeavenBioprototype, Emprom GameBroventure: The Wild Co-op, Alice GamesTower of Babel: Survivors of Chaos, NANOOCards, dice, and deckbuildersMonster Train 2, Shiny ShoeInto the Restless Ruins, Ant Workshop LtdCasual, rhythm, and partyAmong Us 3D, Schell Games, InnerslothDunk Dunk, Badgerhammer LimitedIthya: Magic Studies, BlueTurtleKulebra and the Souls of Limbo, GallaBugtopia, Nocturnal GamesKabuto Park, Doot, ZakkuCity and colony builderPreserve, Bitmap GalaxyMEMORIAPOLIS, 5PM StudioDarfall, SquareNiteWorshippers of Cthulhu, Crazy Goat GamesCity Tales - Medieval Era, Irregular ShapesComedyPick Me Pick Me, OptillusionExperimental or surrealistENA: Dream BBQ, ENA TeamFPSBloodshed, com8com1 SoftwareGRIMWAR, BookWyrmNoga, Ilan ManorHorrorLiDAR Exploration Program, KenForestWhite Knuckle, KenForestThe Boba Teashop, Mike TenOut of Hands, Game RiverDarkwater, Targon StudiosManagement and automationBlacksmith Master, Untitled StudioLiquor Store Simulator, Tovarishch GamesAnimal Spa, Sinkhole Studio, Moonlab StudioToy Shop Simulator, PaperPixel GamesAlien Market Simulator, Silly Sloth Studios, Kheddo EntertainmentMetroidvaniaOirbo, ImaginationOverflowSteamDolls - Order Of Chaos, The Shady GentlemenNarrative and mysterydespelote, Julián Cordero, Sebastian ValbuenaDuck Detective: The Ghost of Glamping, Happy Broccoli GamesBeholder: Conductor, AlawarPlatformerPaperKlay, WhyKevBionic Bay, Psychoflow Studio, Mureena OyOnce Upon A Puppet, Flatter Than EarthPEPPERED: an existential platformer, Mostly GamesNinja Ming, 1 Poss StudioSeafrog, OhMyMe GamesPuzzle adventurePup Champs, AfterburnStrings Theory, Beautiful BeeKathy Rain 2: Soothsayer, Clifftop GamesPoco, WhalefallAxona, Onat OkeProjected Dreams, Flawberry StudioElroy and the Aliens, MotivitiLeila, Ubik StudiosTempopo, Witch BeamBOKURA: planet, ところにょりAmerzone - The Explorer's Legacy, Microids Studio ParisRoguelike/liteSavara, Doryah GamesVellum, Alvios GamesYasha: Legends of the Demon Blade, 7QUARKAn Amazing Wizard, Tiny GoblinsGarden of Witches, Team TapasRPGTainted Grail: The Fall of Avalon, QuestlineThe Monster Breeder, Fantasy CreationsYes, Your Grace 2: Snowfall, Brave At NightSandboxA Webbing Journey, Fire Totem GamesIslands & Trains, Akos MakovicsSimulationThe Precinct, Fallen Tree Games LtdLiquor Store Simulator, Tovarishch GamesDoloc Town, RedSaw Games StudioTales of Seikyu, ACE EntertainmentTrash Goblin, Spilt Milk Studios LtdSports and drivingThe Last Golfer, Pixel Perfect DudeTurbo Takedown, Hanging DrawStrategyTeenage Mutant Ninja Turtles: Tactical Takedown, Strange ScaffoldTower Dominion, Parallel 45 Games9 Kings, Sad SocketSurvivalDino Path Trail, Void PointerSurvival Machine, Grapes PickersOppidum, EP Games®That’s a wrap for May 2025. Want more Made with Unity and community news as it happens? Don’t forget to follow us on social media: Bluesky, X, Facebook, LinkedIn, Instagram, YouTube, or Twitch. #games #made #with #unity #review

UNITY.COM

Games made with Unity: May 2025 in review
A bunch of great games made with Unity dropped in May—across genres, budgets, and styles. Here’s a quick roundup of what shipped that anyone not still lost in Blue Prince should check out.IGF Awards Huge congrats to all the IGF finalists, especially the games made with Unity that dominated the awards this year — including Consume Me, which took home three wins! Fresh off their Audience Award win at the IGF Awards, The WereCleaner team joined us on stream. Check it out:Made with Unity Steam Curator Page Once again we sent out a clarion call for Unity staff to share which of your games they've been playing this past month. Be sure to see them all on our Steam Curator Page here:Working on a game in Unity? We’d love to help you spread the word. Be sure to submit your project.Without further ado, to the best of our abilities, here’s a non-exhaustive list of games made with Unity and launched in May 2025, either into early access or full release. Add to the list by sharing any that you think we missed.ActionShotgun Cop Man, DeadToast Entertainment (May 1)Deliver At All Costs, Studio Far Out Games (May 22)Pipistrello and the Cursed Yoyo, Pocket Trap (May 28)Bullet HeavenBioprototype, Emprom Game (May 19)Broventure: The Wild Co-op, Alice Games (May 15)Tower of Babel: Survivors of Chaos, NANOO (May 19 – early access)Cards, dice, and deckbuildersMonster Train 2, Shiny Shoe (May 21)Into the Restless Ruins, Ant Workshop Ltd (May 15)Casual, rhythm, and partyAmong Us 3D, Schell Games, Innersloth (May 6)Dunk Dunk, Badgerhammer Limited (May 8)Ithya: Magic Studies, BlueTurtle (May 7)Kulebra and the Souls of Limbo, Galla (May 16)Bugtopia, Nocturnal Games (May 21)Kabuto Park, Doot, Zakku (May 28)City and colony builderPreserve, Bitmap Galaxy (May 15)MEMORIAPOLIS, 5PM Studio (April 30)Darfall, SquareNite (May 8)Worshippers of Cthulhu, Crazy Goat Games (May 22)City Tales - Medieval Era, Irregular Shapes (May 22 – early access)ComedyPick Me Pick Me, Optillusion (May 28 – early access)Experimental or surrealistENA: Dream BBQ, ENA Team (March 27)FPSBloodshed, com8com1 Software (May 22)GRIMWAR, BookWyrm (May 16)Noga, Ilan Manor (May 30)HorrorLiDAR Exploration Program, KenForest (April 2)White Knuckle, KenForest (April 17 – early access)The Boba Teashop, Mike Ten (April 21)Out of Hands, Game River (April 22)Darkwater, Targon Studios (April 22 – early access)Management and automationBlacksmith Master, Untitled Studio (May 15 – early access)Liquor Store Simulator, Tovarishch Games (May 2)Animal Spa, Sinkhole Studio, Moonlab Studio (May 13)Toy Shop Simulator, PaperPixel Games (May 16)Alien Market Simulator, Silly Sloth Studios, Kheddo Entertainment (May 25 – early access)MetroidvaniaOirbo, ImaginationOverflow (February 11 – early access)SteamDolls - Order Of Chaos, The Shady Gentlemen (February 11 – early access)Narrative and mysterydespelote, Julián Cordero, Sebastian Valbuena (May 1)Duck Detective: The Ghost of Glamping, Happy Broccoli Games (May 22)Beholder: Conductor, Alawar (April 23)PlatformerPaperKlay, WhyKev (March 27)Bionic Bay, Psychoflow Studio, Mureena Oy (April 17)Once Upon A Puppet, Flatter Than Earth (April 23)PEPPERED: an existential platformer, Mostly Games (April 7)Ninja Ming, 1 Poss Studio (April 10)Seafrog, OhMyMe Games (April 15)Puzzle adventurePup Champs, Afterburn (May 19)Strings Theory, Beautiful Bee (Console release)Kathy Rain 2: Soothsayer, Clifftop Games (May 20)Poco, Whalefall (May 20)Axona, Onat Oke (May 28)Projected Dreams, Flawberry Studio (May 29)Elroy and the Aliens, Motiviti (April 2)Leila, Ubik Studios (April 7)Tempopo, Witch Beam (April 17)BOKURA: planet, ところにょり (April 24)Amerzone - The Explorer's Legacy, Microids Studio Paris (April 24)Roguelike/liteSavara, Doryah Games (May 6)Vellum, Alvios Games (May 2)Yasha: Legends of the Demon Blade, 7QUARK (May 14)An Amazing Wizard, Tiny Goblins (May 22 – early access)Garden of Witches, Team Tapas (May 23 – early access)RPGTainted Grail: The Fall of Avalon, Questline (May 23)The Monster Breeder, Fantasy Creations (May 6)Yes, Your Grace 2: Snowfall, Brave At Night (May 8)SandboxA Webbing Journey, Fire Totem Games (May 19 – early access)Islands & Trains, Akos Makovics (May 29)SimulationThe Precinct, Fallen Tree Games Ltd (May 13)Liquor Store Simulator, Tovarishch Games (May 2)Doloc Town, RedSaw Games Studio (May 7)Tales of Seikyu, ACE Entertainment (May 21 – early access)Trash Goblin, Spilt Milk Studios Ltd (May 28)Sports and drivingThe Last Golfer, Pixel Perfect Dude (May 28)Turbo Takedown, Hanging Draw (March 3)StrategyTeenage Mutant Ninja Turtles: Tactical Takedown, Strange Scaffold (May 22)Tower Dominion, Parallel 45 Games (May 7)9 Kings, Sad Socket (May 23 – early access)SurvivalDino Path Trail, Void Pointer (May 9)Survival Machine, Grapes Pickers (May 7 – early access)Oppidum, EP Games® (April 25)That’s a wrap for May 2025. Want more Made with Unity and community news as it happens? Don’t forget to follow us on social media: Bluesky, X, Facebook, LinkedIn, Instagram, YouTube, or Twitch.

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2025-05-23 22:44:38 -

Let’s Talk About Pee-wee’s Playhouse

“Everything I did and wrote was based in love and my desire to entertain and bring glee and creativity to young people and to everyone,” Paul Reubens says in the newly released Max docuseries, Pee-wee As Himself. Reubens ascended to cultural ubiquity in the 1980s with his smash hit character, Pee-wee Herman. First as a live show, then in the Tim Burton film Pee-wee’s Big Adventure, and perhaps most lastingly, in the television series Pee-wee’s Playhouse that ran for five seasons, Reubens undeniably did just what he set out to. Visually, the show conveyed an off the wall giddiness that didn’t confine itself to typical television set design rules.The jagged-edged red door, the wagging-armed chair named Chairry, the beatnik jazz band’s brick wall alcove—an entire bustling world was contained in the walls of Pee-wee’s playhouse, from the very first episode. The walls and floor were painted with abstract patterns in a variety of colors, and tchotchkes abounded. From Chairry to the three flowers in the flowerbed to Magic Screen, the decorations were his friends and his friends were his decorations. His space was very much alive. “He’s a really imaginative person who doesn’t let other people make rules for him, so naturally his place would reflect his personality,’” Gary Panter, the show’s lead production designer, told the New York Times in a 1987 interview.Chairryand other Pee-wee’s Playhouse staples including Dirty Dog, Chicky Baby, and Cool Cat in the background.
Photo: Michael Ochs Archives/Getty ImagesPanter was an alt comic artist who’d designed the original stage sets for Reubens before Pee-wee made his jump to the screen. He worked with two other then-comic artists, Wayne White and Ric Heitzman, to flesh out the world further for the television series. While in retrospect, people might lump the Playhouse in with the rest of the ’80s postmodern milieu, the team had rules to avoid fitting too cleanly into that aesthetic. “Jokingly, we said, ‘Okay, no more ’80s new wavy stuff,” White says. “No flying triangles and squiggly lines.” The result was a surrealist explosion of color and pattern, a Pop Art take on a ’50s sitcom set.Laurence Fishburne appeared as Cowboy Curtis on the show.
Photo: John Kisch Archive/Getty ImagesGiven their punk-leaning backgrounds, their approach to creating the sets had a DIY sensibility. The first season of the show was filmed in a loft in SoHo, rather than on a soundstage in Los Angeles, and the team got crafty figuring out how to create the things they’d drawn up, rather than passing the designs off to fabricators to see them through. “We were downtown New York artists struggling to build the stuff in our apartments and little studios here and there,” White tells AD. “It was mostly sculptors and painters and cartoonists. It didn’t have that institutional network of showbiz builders like LA has, there were no scenic artists, no guys that build props, things like that.”This fact is surely part of what gives Pee-wee’s Playhouse its art-school-project sheen: despite its success, it truly was a passion project for those that worked on it. “Being trusted to do this stuff gave me just so much confidence and drive. It really supercharged my sense of being an artist,” says White. “I was 28 years old, and I was willing to do anything. We burned very brightly that first year.”Paul Reubens filming an episode of Pee-wee’s Playhouse.
Photo: John Kisch Archive/Getty ImagesFrom the start, Reubens let the production design team explore their wildest ideas. White’s comic stripsfeatured anthropomorphized items, making the jump to Chairry and co. not too far of a leap. “I didn’t have to changeat all,” White says. “I stepped right into another medium and it was a big lesson for me. You could take a vision or an idea or your imagination through all these different mediums, and they’re all really just the same.”Gary Panter and Paul Reubens.
Courtesy of HBOPanter, White, and Heitzman didn’t worry about notes or being penned in by the network or anyone else. They were free to explore, to create as many drawings and iterations of items as were needed, from which Reubens would pick the option that he thought worked best. Reubens was already a major star by the time that the show was picked up, so it was intimidating to work with him so loosely at first. Still, “Paul was so interested in what we're doing that he quickly just became a friend,” White explains. “It was easy to go along with quickly, because he was a weirdo artist like me.” Reubens’s comfortability with his own oddity is what made the show so spellbinding, even for the adults who were well outside of the target demographic. Each episode presented an opportunity to disappear into a world where strangeness was not only expected, but celebrated too. “I do remember being on set and that it was the most exciting thing I’d ever done,” Natasha Lyonne, who was in six episodes of the show as a child, says in the docuseries. “I think it felt like permission to be myself.”Paul Reubens and Chairry.
Courtesy of HBOFor much of Pee-wee Herman’s heyday, Reubens exclusively gave interviews in character. Though the new documentary thoroughly punctures that facade, the glimpses it offers into the Hollywood home that Reubens lived in from the mid-80s onward show that his personal taste wasn’t all that distant from the wacky world of Pee-wee. There were certainly no talking chairs, but still, the space was filled with color, pattern, and oodles of nostalgic memorabilia. Reubens also nurtured the wildlife that lived in the hills surrounding his house, spreading seeds for deer and crows, growing plenty of plants, and welcoming even the coyotes, wolves, and skunks of the area too. Though Pee-wee’s open door policy with his neighbors is a stretch further than Reubens’s, the nurturing relationship with these creatures certainly feels Pee-wee-esque.The Pee-wee’s Playhouse set.
Courtesy of HBODecades after the final episode of Pee-wee’s Playhouse aired, White cites the lasting brilliance of the sets to Reubens himself. “He is the nuclear reactor core of it all. Without him, none of this would have had the magic that it had,” White says. “The character of Pee-wee was so resonant with people and then it just radiated out from there. I give him most of the credit for creating the magic, and we just kind of floated along on it. It was such a strong character and such an enchanted world that it couldn't help and bring out the best of any artist.”
#lets #talk #about #peewees #playhouse

Let’s Talk About Pee-wee’s Playhouse
“Everything I did and wrote was based in love and my desire to entertain and bring glee and creativity to young people and to everyone,” Paul Reubens says in the newly released Max docuseries, Pee-wee As Himself. Reubens ascended to cultural ubiquity in the 1980s with his smash hit character, Pee-wee Herman. First as a live show, then in the Tim Burton film Pee-wee’s Big Adventure, and perhaps most lastingly, in the television series Pee-wee’s Playhouse that ran for five seasons, Reubens undeniably did just what he set out to. Visually, the show conveyed an off the wall giddiness that didn’t confine itself to typical television set design rules.The jagged-edged red door, the wagging-armed chair named Chairry, the beatnik jazz band’s brick wall alcove—an entire bustling world was contained in the walls of Pee-wee’s playhouse, from the very first episode. The walls and floor were painted with abstract patterns in a variety of colors, and tchotchkes abounded. From Chairry to the three flowers in the flowerbed to Magic Screen, the decorations were his friends and his friends were his decorations. His space was very much alive. “He’s a really imaginative person who doesn’t let other people make rules for him, so naturally his place would reflect his personality,’” Gary Panter, the show’s lead production designer, told the New York Times in a 1987 interview.Chairryand other Pee-wee’s Playhouse staples including Dirty Dog, Chicky Baby, and Cool Cat in the background. Photo: Michael Ochs Archives/Getty ImagesPanter was an alt comic artist who’d designed the original stage sets for Reubens before Pee-wee made his jump to the screen. He worked with two other then-comic artists, Wayne White and Ric Heitzman, to flesh out the world further for the television series. While in retrospect, people might lump the Playhouse in with the rest of the ’80s postmodern milieu, the team had rules to avoid fitting too cleanly into that aesthetic. “Jokingly, we said, ‘Okay, no more ’80s new wavy stuff,” White says. “No flying triangles and squiggly lines.” The result was a surrealist explosion of color and pattern, a Pop Art take on a ’50s sitcom set.Laurence Fishburne appeared as Cowboy Curtis on the show. Photo: John Kisch Archive/Getty ImagesGiven their punk-leaning backgrounds, their approach to creating the sets had a DIY sensibility. The first season of the show was filmed in a loft in SoHo, rather than on a soundstage in Los Angeles, and the team got crafty figuring out how to create the things they’d drawn up, rather than passing the designs off to fabricators to see them through. “We were downtown New York artists struggling to build the stuff in our apartments and little studios here and there,” White tells AD. “It was mostly sculptors and painters and cartoonists. It didn’t have that institutional network of showbiz builders like LA has, there were no scenic artists, no guys that build props, things like that.”This fact is surely part of what gives Pee-wee’s Playhouse its art-school-project sheen: despite its success, it truly was a passion project for those that worked on it. “Being trusted to do this stuff gave me just so much confidence and drive. It really supercharged my sense of being an artist,” says White. “I was 28 years old, and I was willing to do anything. We burned very brightly that first year.”Paul Reubens filming an episode of Pee-wee’s Playhouse. Photo: John Kisch Archive/Getty ImagesFrom the start, Reubens let the production design team explore their wildest ideas. White’s comic stripsfeatured anthropomorphized items, making the jump to Chairry and co. not too far of a leap. “I didn’t have to changeat all,” White says. “I stepped right into another medium and it was a big lesson for me. You could take a vision or an idea or your imagination through all these different mediums, and they’re all really just the same.”Gary Panter and Paul Reubens. Courtesy of HBOPanter, White, and Heitzman didn’t worry about notes or being penned in by the network or anyone else. They were free to explore, to create as many drawings and iterations of items as were needed, from which Reubens would pick the option that he thought worked best. Reubens was already a major star by the time that the show was picked up, so it was intimidating to work with him so loosely at first. Still, “Paul was so interested in what we're doing that he quickly just became a friend,” White explains. “It was easy to go along with quickly, because he was a weirdo artist like me.” Reubens’s comfortability with his own oddity is what made the show so spellbinding, even for the adults who were well outside of the target demographic. Each episode presented an opportunity to disappear into a world where strangeness was not only expected, but celebrated too. “I do remember being on set and that it was the most exciting thing I’d ever done,” Natasha Lyonne, who was in six episodes of the show as a child, says in the docuseries. “I think it felt like permission to be myself.”Paul Reubens and Chairry. Courtesy of HBOFor much of Pee-wee Herman’s heyday, Reubens exclusively gave interviews in character. Though the new documentary thoroughly punctures that facade, the glimpses it offers into the Hollywood home that Reubens lived in from the mid-80s onward show that his personal taste wasn’t all that distant from the wacky world of Pee-wee. There were certainly no talking chairs, but still, the space was filled with color, pattern, and oodles of nostalgic memorabilia. Reubens also nurtured the wildlife that lived in the hills surrounding his house, spreading seeds for deer and crows, growing plenty of plants, and welcoming even the coyotes, wolves, and skunks of the area too. Though Pee-wee’s open door policy with his neighbors is a stretch further than Reubens’s, the nurturing relationship with these creatures certainly feels Pee-wee-esque.The Pee-wee’s Playhouse set. Courtesy of HBODecades after the final episode of Pee-wee’s Playhouse aired, White cites the lasting brilliance of the sets to Reubens himself. “He is the nuclear reactor core of it all. Without him, none of this would have had the magic that it had,” White says. “The character of Pee-wee was so resonant with people and then it just radiated out from there. I give him most of the credit for creating the magic, and we just kind of floated along on it. It was such a strong character and such an enchanted world that it couldn't help and bring out the best of any artist.” #lets #talk #about #peewees #playhouse

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Let’s Talk About Pee-wee’s Playhouse
“Everything I did and wrote was based in love and my desire to entertain and bring glee and creativity to young people and to everyone,” Paul Reubens says in the newly released Max docuseries, Pee-wee As Himself. Reubens ascended to cultural ubiquity in the 1980s with his smash hit character, Pee-wee Herman. First as a live show, then in the Tim Burton film Pee-wee’s Big Adventure, and perhaps most lastingly, in the television series Pee-wee’s Playhouse that ran for five seasons, Reubens undeniably did just what he set out to. Visually, the show conveyed an off the wall giddiness that didn’t confine itself to typical television set design rules.The jagged-edged red door, the wagging-armed chair named Chairry, the beatnik jazz band’s brick wall alcove—an entire bustling world was contained in the walls of Pee-wee’s playhouse, from the very first episode. The walls and floor were painted with abstract patterns in a variety of colors, and tchotchkes abounded. From Chairry to the three flowers in the flowerbed to Magic Screen, the decorations were his friends and his friends were his decorations. His space was very much alive. “He’s a really imaginative person who doesn’t let other people make rules for him, so naturally his place would reflect his personality,’” Gary Panter, the show’s lead production designer, told the New York Times in a 1987 interview.Chairry (right of centre) and other Pee-wee’s Playhouse staples including Dirty Dog, Chicky Baby, and Cool Cat in the background. Photo: Michael Ochs Archives/Getty ImagesPanter was an alt comic artist who’d designed the original stage sets for Reubens before Pee-wee made his jump to the screen. He worked with two other then-comic artists, Wayne White and Ric Heitzman, to flesh out the world further for the television series. While in retrospect, people might lump the Playhouse in with the rest of the ’80s postmodern milieu, the team had rules to avoid fitting too cleanly into that aesthetic. “Jokingly, we said, ‘Okay, no more ’80s new wavy stuff,” White says. “No flying triangles and squiggly lines.” The result was a surrealist explosion of color and pattern, a Pop Art take on a ’50s sitcom set.Laurence Fishburne appeared as Cowboy Curtis on the show. Photo: John Kisch Archive/Getty ImagesGiven their punk-leaning backgrounds, their approach to creating the sets had a DIY sensibility. The first season of the show was filmed in a loft in SoHo, rather than on a soundstage in Los Angeles, and the team got crafty figuring out how to create the things they’d drawn up, rather than passing the designs off to fabricators to see them through. “We were downtown New York artists struggling to build the stuff in our apartments and little studios here and there,” White tells AD. “It was mostly sculptors and painters and cartoonists [working on the show]. It didn’t have that institutional network of showbiz builders like LA has, there were no scenic artists, no guys that build props, things like that.”This fact is surely part of what gives Pee-wee’s Playhouse its art-school-project sheen: despite its success, it truly was a passion project for those that worked on it. “Being trusted to do this stuff gave me just so much confidence and drive. It really supercharged my sense of being an artist,” says White. “I was 28 years old, and I was willing to do anything. We burned very brightly that first year.”Paul Reubens filming an episode of Pee-wee’s Playhouse. Photo: John Kisch Archive/Getty ImagesFrom the start, Reubens let the production design team explore their wildest ideas. White’s comic strips (like Miss Car, which was published in the East Village Eye prior to Pee-wee’s Playhouse) featured anthropomorphized items, making the jump to Chairry and co. not too far of a leap. “I didn’t have to change [my style] at all,” White says. “I stepped right into another medium and it was a big lesson for me. You could take a vision or an idea or your imagination through all these different mediums, and they’re all really just the same.”Gary Panter and Paul Reubens. Courtesy of HBOPanter, White, and Heitzman didn’t worry about notes or being penned in by the network or anyone else. They were free to explore, to create as many drawings and iterations of items as were needed, from which Reubens would pick the option that he thought worked best. Reubens was already a major star by the time that the show was picked up, so it was intimidating to work with him so loosely at first. Still, “Paul was so interested in what we're doing that he quickly just became a friend,” White explains. “It was easy to go along with quickly, because he was a weirdo artist like me.” Reubens’s comfortability with his own oddity is what made the show so spellbinding, even for the adults who were well outside of the target demographic. Each episode presented an opportunity to disappear into a world where strangeness was not only expected, but celebrated too. “I do remember being on set and that it was the most exciting thing I’d ever done,” Natasha Lyonne, who was in six episodes of the show as a child, says in the docuseries. “I think it felt like permission to be myself.”Paul Reubens and Chairry. Courtesy of HBOFor much of Pee-wee Herman’s heyday, Reubens exclusively gave interviews in character. Though the new documentary thoroughly punctures that facade, the glimpses it offers into the Hollywood home that Reubens lived in from the mid-80s onward show that his personal taste wasn’t all that distant from the wacky world of Pee-wee. There were certainly no talking chairs, but still, the space was filled with color, pattern, and oodles of nostalgic memorabilia. Reubens also nurtured the wildlife that lived in the hills surrounding his house, spreading seeds for deer and crows, growing plenty of plants, and welcoming even the coyotes, wolves, and skunks of the area too. Though Pee-wee’s open door policy with his neighbors is a stretch further than Reubens’s, the nurturing relationship with these creatures certainly feels Pee-wee-esque.The Pee-wee’s Playhouse set. Courtesy of HBODecades after the final episode of Pee-wee’s Playhouse aired, White cites the lasting brilliance of the sets to Reubens himself. “He is the nuclear reactor core of it all. Without him, none of this would have had the magic that it had,” White says. “The character of Pee-wee was so resonant with people and then it just radiated out from there. I give him most of the credit for creating the magic, and we just kind of floated along on it. It was such a strong character and such an enchanted world that it couldn't help and bring out the best of any artist.”

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Architectural Digest paylaşılan bir bağlantı
2025-05-21 13:31:12 -

Inside an Iconic Upper West Side Apartment Brimming With Personal Treasures

The Goizuetas, with three grown children and homes in Florida and Connecticut, have a veritable treasure-filled prior history, replete with some personal pieces that Dembo designed, measuredly, around. Consider the two guest bedrooms: “They were just white boxes,” says Dembo. But Elizabeth’s childhood bed proved to be a jumping-off point. “‘Wow, I’m going to design a whole room around this bed,’” the designer recalls, cast against a modernist, peach-nude wall mural from Fromental, a family heirloom desk, and bedside table imbue a layer of lineal history. Then, there’s a sculpture by Elizabeth’s brother Joe Thompson, titled Soho Cobbler, and crafted from shoes. Dembo placed it at the end of a hallway, a commanding location and a better-fitting one for a piece that had at first been placed in a closet in the primary bedroom.Collaboration was critical to the collectors. “A lot of the ideas that Hadas brought to the table, I wanted to wait and see how I felt about them for a while,” says Elizabeth, noting it took two years to procure bedroom chairs and a bit longer for the console. “She had a lot of great ideas which I originally rejected, and then we ended up going right back, full circle, to those ideas again, because it just takes me a little bit of time to ascertain if I really want something or not,” she says. “She understood very well what type of collector and person I am, and she waited.”The Pierre Abramovich sofa joins the couple’s vintage wood dining table, a Sergio Rodrigues hexagonal coffee, and a selection of antiques and vintage pieces that include Joaquim Tenreiro lounge chairs; a Charlotte Perriand Cansado Bench; Mies van der Rohe Cantilever chairs; and a 19th-century altar from Navarra, Spain. A second sofa, by Joaquim Tenreiro via R & Company, presides at left. The walls are clad in Dedar’s crepe wool fabric and limewash paint. The glass vase is by Thaddeus Wolfe; the Hombre silk pillows on the bench are by ABC Carpet & Home; and the glass bowl is by Jeff Zimmerman. A dramatic focal point of the dining area is the Deborah Thomas glass chandelier.
The open-plan living-dining area transformed into the true artistic axis of the home, providing ample room to showcase an array of photography, painting, sculpture, and period furnishings. Works by surrealist painter Roberto Matta, a sculpture by Elizabeth’s father, and a Pierre Abramovich sofa are at home here, along with a new favorite of the couple’s, a hexagonal coffee of marble and rosewood by Brazilian furnituremaker Sergio Rodrigues. For the couple, who have traveled frequently to Mexico, Rodrigues’s work had special resonance. “I really like the way that the Brazilian furniture echoes, a little bit, the furniture by Luis Barragán,” shares the homeowner.A dramatic focal point of the dining area, Deborah Thomas’s glass chandelier from R & Company, is crafted from broken glass bottles. “I love the humble origins of it, and the idea that the eyes can play tricks on you—let your imagination assume that it’s something else, something much more elevated, perhaps, than just broken-up bottles,” says Elizabeth. And a curation of antiques and vintage pieces comprising Joaquim Tenreiro lounge chairs, the Cansado bench by Charlotte Perriand, Mies van der Rohe Cantilever chairs, and a 19th-century altar from Navarra, Spain, form a thoughtful composition. “When it’s successful,” says Dembo, “it looks like it just happened, but when it’s not it looks too worked-over. Always, what I’m trying to do is to get a mix.”
#inside #iconic #upper #west #side

Inside an Iconic Upper West Side Apartment Brimming With Personal Treasures
The Goizuetas, with three grown children and homes in Florida and Connecticut, have a veritable treasure-filled prior history, replete with some personal pieces that Dembo designed, measuredly, around. Consider the two guest bedrooms: “They were just white boxes,” says Dembo. But Elizabeth’s childhood bed proved to be a jumping-off point. “‘Wow, I’m going to design a whole room around this bed,’” the designer recalls, cast against a modernist, peach-nude wall mural from Fromental, a family heirloom desk, and bedside table imbue a layer of lineal history. Then, there’s a sculpture by Elizabeth’s brother Joe Thompson, titled Soho Cobbler, and crafted from shoes. Dembo placed it at the end of a hallway, a commanding location and a better-fitting one for a piece that had at first been placed in a closet in the primary bedroom.Collaboration was critical to the collectors. “A lot of the ideas that Hadas brought to the table, I wanted to wait and see how I felt about them for a while,” says Elizabeth, noting it took two years to procure bedroom chairs and a bit longer for the console. “She had a lot of great ideas which I originally rejected, and then we ended up going right back, full circle, to those ideas again, because it just takes me a little bit of time to ascertain if I really want something or not,” she says. “She understood very well what type of collector and person I am, and she waited.”The Pierre Abramovich sofa joins the couple’s vintage wood dining table, a Sergio Rodrigues hexagonal coffee, and a selection of antiques and vintage pieces that include Joaquim Tenreiro lounge chairs; a Charlotte Perriand Cansado Bench; Mies van der Rohe Cantilever chairs; and a 19th-century altar from Navarra, Spain. A second sofa, by Joaquim Tenreiro via R & Company, presides at left. The walls are clad in Dedar’s crepe wool fabric and limewash paint. The glass vase is by Thaddeus Wolfe; the Hombre silk pillows on the bench are by ABC Carpet & Home; and the glass bowl is by Jeff Zimmerman. A dramatic focal point of the dining area is the Deborah Thomas glass chandelier. The open-plan living-dining area transformed into the true artistic axis of the home, providing ample room to showcase an array of photography, painting, sculpture, and period furnishings. Works by surrealist painter Roberto Matta, a sculpture by Elizabeth’s father, and a Pierre Abramovich sofa are at home here, along with a new favorite of the couple’s, a hexagonal coffee of marble and rosewood by Brazilian furnituremaker Sergio Rodrigues. For the couple, who have traveled frequently to Mexico, Rodrigues’s work had special resonance. “I really like the way that the Brazilian furniture echoes, a little bit, the furniture by Luis Barragán,” shares the homeowner.A dramatic focal point of the dining area, Deborah Thomas’s glass chandelier from R & Company, is crafted from broken glass bottles. “I love the humble origins of it, and the idea that the eyes can play tricks on you—let your imagination assume that it’s something else, something much more elevated, perhaps, than just broken-up bottles,” says Elizabeth. And a curation of antiques and vintage pieces comprising Joaquim Tenreiro lounge chairs, the Cansado bench by Charlotte Perriand, Mies van der Rohe Cantilever chairs, and a 19th-century altar from Navarra, Spain, form a thoughtful composition. “When it’s successful,” says Dembo, “it looks like it just happened, but when it’s not it looks too worked-over. Always, what I’m trying to do is to get a mix.” #inside #iconic #upper #west #side

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Inside an Iconic Upper West Side Apartment Brimming With Personal Treasures
The Goizuetas, with three grown children and homes in Florida and Connecticut, have a veritable treasure-filled prior history, replete with some personal pieces that Dembo designed, measuredly, around. Consider the two guest bedrooms: “They were just white boxes,” says Dembo. But Elizabeth’s childhood bed proved to be a jumping-off point. “‘Wow, I’m going to design a whole room around this bed,’” the designer recalls, cast against a modernist, peach-nude wall mural from Fromental, a family heirloom desk, and bedside table imbue a layer of lineal history. Then, there’s a sculpture by Elizabeth’s brother Joe Thompson, titled Soho Cobbler, and crafted from shoes. Dembo placed it at the end of a hallway, a commanding location and a better-fitting one for a piece that had at first been placed in a closet in the primary bedroom.Collaboration was critical to the collectors. “A lot of the ideas that Hadas brought to the table, I wanted to wait and see how I felt about them for a while,” says Elizabeth, noting it took two years to procure bedroom chairs and a bit longer for the console. “She had a lot of great ideas which I originally rejected, and then we ended up going right back, full circle, to those ideas again, because it just takes me a little bit of time to ascertain if I really want something or not,” she says. “She understood very well what type of collector and person I am, and she waited.”The Pierre Abramovich sofa joins the couple’s vintage wood dining table, a Sergio Rodrigues hexagonal coffee, and a selection of antiques and vintage pieces that include Joaquim Tenreiro lounge chairs; a Charlotte Perriand Cansado Bench; Mies van der Rohe Cantilever chairs; and a 19th-century altar from Navarra, Spain. A second sofa, by Joaquim Tenreiro via R & Company, presides at left. The walls are clad in Dedar’s crepe wool fabric and limewash paint. The glass vase is by Thaddeus Wolfe; the Hombre silk pillows on the bench are by ABC Carpet & Home; and the glass bowl is by Jeff Zimmerman. A dramatic focal point of the dining area is the Deborah Thomas glass chandelier. The open-plan living-dining area transformed into the true artistic axis of the home, providing ample room to showcase an array of photography, painting, sculpture, and period furnishings. Works by surrealist painter Roberto Matta, a sculpture by Elizabeth’s father, and a Pierre Abramovich sofa are at home here, along with a new favorite of the couple’s, a hexagonal coffee of marble and rosewood by Brazilian furnituremaker Sergio Rodrigues. For the couple, who have traveled frequently to Mexico, Rodrigues’s work had special resonance. “I really like the way that the Brazilian furniture echoes, a little bit, the furniture by Luis Barragán,” shares the homeowner.A dramatic focal point of the dining area, Deborah Thomas’s glass chandelier from R & Company, is crafted from broken glass bottles. “I love the humble origins of it, and the idea that the eyes can play tricks on you—let your imagination assume that it’s something else, something much more elevated, perhaps, than just broken-up bottles,” says Elizabeth. And a curation of antiques and vintage pieces comprising Joaquim Tenreiro lounge chairs, the Cansado bench by Charlotte Perriand, Mies van der Rohe Cantilever chairs, and a 19th-century altar from Navarra, Spain, form a thoughtful composition. “When it’s successful,” says Dembo, “it looks like it just happened, but when it’s not it looks too worked-over. Always, what I’m trying to do is to get a mix.”

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2025-05-20 22:13:10 -

Salvador Dalí's Surrealist Screenplay 'Giraffes on Horseback Salad' Was Never Made. Can A.I. Bring It to Life?

Salvador Dalí’s Surrealist Screenplay ‘Giraffes on Horseback Salad’ Was Never Made. Can A.I. Bring It to Life?
The Dalí Museum is collaborating with an advertising agency to “reawaken” the Spanish artist’s failed script, which studio executives rejected nearly 90 years ago

A still from the Giraffes on Horseback Salad trailer
Goodby Silverstein & Partners

In 1937, Salvador Dalí conceived of a movie that would star the Marx Brothers against a bizarre, romantic dreamscape filled with animals and fire. But when the Spanish artist brought his drawings and notes for Giraffes on Horseback Salad, as he called it, to Metro-Goldwyn-Mayer, the studio decided it would be impossible to produce.
Now, nearly 90 years later, Dalí’s abandoned film is finally coming together—produced not by MGM, but by artificial intelligence.
The Dalí Museum in Florida is partnering with Goodby Silverstein & Partners, a San Francisco-based advertising agency, to bring the project to life using Dalí’s surviving notes and Google’s A.I. tools. While the film is still in development, a trailer was released on YouTube in April.
“Salvador Dalí said that he would be remembered for the words he wrote even more than for his paintings,” says Hank Hine, director of the Dalí Museum, in a statement. “This technology, in the respectful hands of artists, allows Dalí’s imagined world, locked in language, to erupt into visibility.”

Giraffes on Horseback Salad, Inspired by Salvador Dalí's Screenplay | Official Trailer
Watch on

Best known for his melting clocks in the painting The Persistence of MemorySurrealist artist and filmmaker. Working with the Spanish director Luis Buñuel, he wrote the screenplays for several Surrealist films, including An Andalusian Dogand The Golden Age.
In 1936, Dalí met Harpo Marx in Paris, where the American comedian was in the midst of a publicity tour. Even though they didn’t speak the same language, the two men quickly connected. Dalí began working on Giraffes on Horseback Salad with the Marx Brothers in mind. In 1937, he flew to the United States to pitch the idea.
Harpo’s son, Bill Marx, was a small child when he stumbled upon a copy of the script. As he told NPR’s Peter Breslow in 2019, “I started reading it, and I really couldn’t make heads or tails of it.”
The story follows a Spanish businessman named Jimmy who falls in love with a faceless “Surrealist woman” who “draws him into her universe, one that is vibrant, chaotic and boundless,” according to the Dalí Museum. “But as their worlds begin to merge, so does the conflict—blurring the line between imagination and destruction. Like Dalí’s own time, it is a story where beauty and chaos collide, where the limits of reality are shattered, and where creation and annihilation go hand in hand.”

Salvador Dalí in 1936, around the time he met Harpo Marx

Bettmann via Getty Images

When Dalí and Harpo pitched the idea to MGM producer Louis B. Mayer, the meeting “did not go well,” according to Josh Frank and Tim Heidecker’s 2019 graphic novel adaptation of the script.
The studio rejected the script for its impracticality, while Groucho Marx rejected it for lack of humor, saying, “It won’t play,” per NPR’s Etelka Lehoczky.
Could Giraffes on Horseback Salad play for a 21st-century audience? The new film pulls from Dalí’s surviving notes and sketches.
“Bringing this vision to life required not only advanced technology, but also a deep understanding of Dalí’s artistic language,” says the museum in the statement. “Every surreal element had to be carefully reconstructed to reflect his original intent, ensuring that what was once fragmented and forgotten now comes together as a cohesive cinematic experience.”

The new film was announced in early April.

Goodby Silverstein & Partners

However, Ben Davis, a critic for Artnet, writes that the new A.I. interpretation is full of “chintzy sub-sub-Surrealist imagery” that has “little to do with Dali’s original vision.” For example, Dalí’s script says the face of the “Surrealist woman” is never revealed. But in the new trailer, as a narrator says “Surrealist woman,” a female face fills the screen.
Davis cites visual errors in the trailer—like a misshapen human ear, a harp string passing through a finger and incorrect Roman numerals on a clock—and argues that “the madcap feeling of Dalí’s idea … has been processed into something with the feeling of a vacuous fashion shoot.”
Giraffes on Horseback Salad isn’t the first collaboration between the Dalí Museum and Goodby Silverstein & Partners. Last year, they announced a project called “Ask Dalí,” a functional replica of the artist’s famous lobster telephone at the museum. When visitors picked up the phone, they could speak with an A.I. version of Dalí, which was trained on old writings and archival audio. In late 2022, the two groups released “Dream Tapestry,” which generated Surrealist art based on visitors’ descriptions of their dreams. The new film is their latest attempt to build on Dalí’s work through emerging technology.
“Dalí imagined a film so surreal, so untethered from convention, that it couldn’t exist in his lifetime,” says Jeff Goodby, the agency’s co-chairman, in the statement. “We’ve been able to help bring that vision to life—not as a replica, but as a reawakening.”

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#salvador #dalí039s #surrealist #screenplay #039giraffes

Salvador Dalí's Surrealist Screenplay 'Giraffes on Horseback Salad' Was Never Made. Can A.I. Bring It to Life?
Salvador Dalí’s Surrealist Screenplay ‘Giraffes on Horseback Salad’ Was Never Made. Can A.I. Bring It to Life? The Dalí Museum is collaborating with an advertising agency to “reawaken” the Spanish artist’s failed script, which studio executives rejected nearly 90 years ago A still from the Giraffes on Horseback Salad trailer Goodby Silverstein & Partners In 1937, Salvador Dalí conceived of a movie that would star the Marx Brothers against a bizarre, romantic dreamscape filled with animals and fire. But when the Spanish artist brought his drawings and notes for Giraffes on Horseback Salad, as he called it, to Metro-Goldwyn-Mayer, the studio decided it would be impossible to produce. Now, nearly 90 years later, Dalí’s abandoned film is finally coming together—produced not by MGM, but by artificial intelligence. The Dalí Museum in Florida is partnering with Goodby Silverstein & Partners, a San Francisco-based advertising agency, to bring the project to life using Dalí’s surviving notes and Google’s A.I. tools. While the film is still in development, a trailer was released on YouTube in April. “Salvador Dalí said that he would be remembered for the words he wrote even more than for his paintings,” says Hank Hine, director of the Dalí Museum, in a statement. “This technology, in the respectful hands of artists, allows Dalí’s imagined world, locked in language, to erupt into visibility.” Giraffes on Horseback Salad, Inspired by Salvador Dalí's Screenplay | Official Trailer Watch on Best known for his melting clocks in the painting The Persistence of MemorySurrealist artist and filmmaker. Working with the Spanish director Luis Buñuel, he wrote the screenplays for several Surrealist films, including An Andalusian Dogand The Golden Age. In 1936, Dalí met Harpo Marx in Paris, where the American comedian was in the midst of a publicity tour. Even though they didn’t speak the same language, the two men quickly connected. Dalí began working on Giraffes on Horseback Salad with the Marx Brothers in mind. In 1937, he flew to the United States to pitch the idea. Harpo’s son, Bill Marx, was a small child when he stumbled upon a copy of the script. As he told NPR’s Peter Breslow in 2019, “I started reading it, and I really couldn’t make heads or tails of it.” The story follows a Spanish businessman named Jimmy who falls in love with a faceless “Surrealist woman” who “draws him into her universe, one that is vibrant, chaotic and boundless,” according to the Dalí Museum. “But as their worlds begin to merge, so does the conflict—blurring the line between imagination and destruction. Like Dalí’s own time, it is a story where beauty and chaos collide, where the limits of reality are shattered, and where creation and annihilation go hand in hand.” Salvador Dalí in 1936, around the time he met Harpo Marx Bettmann via Getty Images When Dalí and Harpo pitched the idea to MGM producer Louis B. Mayer, the meeting “did not go well,” according to Josh Frank and Tim Heidecker’s 2019 graphic novel adaptation of the script. The studio rejected the script for its impracticality, while Groucho Marx rejected it for lack of humor, saying, “It won’t play,” per NPR’s Etelka Lehoczky. Could Giraffes on Horseback Salad play for a 21st-century audience? The new film pulls from Dalí’s surviving notes and sketches. “Bringing this vision to life required not only advanced technology, but also a deep understanding of Dalí’s artistic language,” says the museum in the statement. “Every surreal element had to be carefully reconstructed to reflect his original intent, ensuring that what was once fragmented and forgotten now comes together as a cohesive cinematic experience.” The new film was announced in early April. Goodby Silverstein & Partners However, Ben Davis, a critic for Artnet, writes that the new A.I. interpretation is full of “chintzy sub-sub-Surrealist imagery” that has “little to do with Dali’s original vision.” For example, Dalí’s script says the face of the “Surrealist woman” is never revealed. But in the new trailer, as a narrator says “Surrealist woman,” a female face fills the screen. Davis cites visual errors in the trailer—like a misshapen human ear, a harp string passing through a finger and incorrect Roman numerals on a clock—and argues that “the madcap feeling of Dalí’s idea … has been processed into something with the feeling of a vacuous fashion shoot.” Giraffes on Horseback Salad isn’t the first collaboration between the Dalí Museum and Goodby Silverstein & Partners. Last year, they announced a project called “Ask Dalí,” a functional replica of the artist’s famous lobster telephone at the museum. When visitors picked up the phone, they could speak with an A.I. version of Dalí, which was trained on old writings and archival audio. In late 2022, the two groups released “Dream Tapestry,” which generated Surrealist art based on visitors’ descriptions of their dreams. The new film is their latest attempt to build on Dalí’s work through emerging technology. “Dalí imagined a film so surreal, so untethered from convention, that it couldn’t exist in his lifetime,” says Jeff Goodby, the agency’s co-chairman, in the statement. “We’ve been able to help bring that vision to life—not as a replica, but as a reawakening.” Get the latest stories in your inbox every weekday. #salvador #dalí039s #surrealist #screenplay #039giraffes

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Salvador Dalí's Surrealist Screenplay 'Giraffes on Horseback Salad' Was Never Made. Can A.I. Bring It to Life?
Salvador Dalí’s Surrealist Screenplay ‘Giraffes on Horseback Salad’ Was Never Made. Can A.I. Bring It to Life? The Dalí Museum is collaborating with an advertising agency to “reawaken” the Spanish artist’s failed script, which studio executives rejected nearly 90 years ago A still from the Giraffes on Horseback Salad trailer Goodby Silverstein & Partners In 1937, Salvador Dalí conceived of a movie that would star the Marx Brothers against a bizarre, romantic dreamscape filled with animals and fire. But when the Spanish artist brought his drawings and notes for Giraffes on Horseback Salad, as he called it, to Metro-Goldwyn-Mayer, the studio decided it would be impossible to produce. Now, nearly 90 years later, Dalí’s abandoned film is finally coming together—produced not by MGM, but by artificial intelligence. The Dalí Museum in Florida is partnering with Goodby Silverstein & Partners, a San Francisco-based advertising agency, to bring the project to life using Dalí’s surviving notes and Google’s A.I. tools. While the film is still in development, a trailer was released on YouTube in April. “Salvador Dalí said that he would be remembered for the words he wrote even more than for his paintings,” says Hank Hine, director of the Dalí Museum, in a statement. “This technology, in the respectful hands of artists, allows Dalí’s imagined world, locked in language, to erupt into visibility.” Giraffes on Horseback Salad, Inspired by Salvador Dalí's Screenplay | Official Trailer Watch on Best known for his melting clocks in the painting The Persistence of MemorySurrealist artist and filmmaker. Working with the Spanish director Luis Buñuel, he wrote the screenplays for several Surrealist films, including An Andalusian Dog (1929) and The Golden Age (1930). In 1936, Dalí met Harpo Marx in Paris, where the American comedian was in the midst of a publicity tour. Even though they didn’t speak the same language, the two men quickly connected. Dalí began working on Giraffes on Horseback Salad with the Marx Brothers in mind. In 1937, he flew to the United States to pitch the idea. Harpo’s son, Bill Marx, was a small child when he stumbled upon a copy of the script. As he told NPR’s Peter Breslow in 2019, “I started reading it, and I really couldn’t make heads or tails of it.” The story follows a Spanish businessman named Jimmy who falls in love with a faceless “Surrealist woman” who “draws him into her universe, one that is vibrant, chaotic and boundless,” according to the Dalí Museum. “But as their worlds begin to merge, so does the conflict—blurring the line between imagination and destruction. Like Dalí’s own time, it is a story where beauty and chaos collide, where the limits of reality are shattered, and where creation and annihilation go hand in hand.” Salvador Dalí in 1936, around the time he met Harpo Marx Bettmann via Getty Images When Dalí and Harpo pitched the idea to MGM producer Louis B. Mayer, the meeting “did not go well,” according to Josh Frank and Tim Heidecker’s 2019 graphic novel adaptation of the script. The studio rejected the script for its impracticality, while Groucho Marx rejected it for lack of humor, saying, “It won’t play,” per NPR’s Etelka Lehoczky. Could Giraffes on Horseback Salad play for a 21st-century audience? The new film pulls from Dalí’s surviving notes and sketches. “Bringing this vision to life required not only advanced technology, but also a deep understanding of Dalí’s artistic language,” says the museum in the statement. “Every surreal element had to be carefully reconstructed to reflect his original intent, ensuring that what was once fragmented and forgotten now comes together as a cohesive cinematic experience.” The new film was announced in early April. Goodby Silverstein & Partners However, Ben Davis, a critic for Artnet, writes that the new A.I. interpretation is full of “chintzy sub-sub-Surrealist imagery” that has “little to do with Dali’s original vision.” For example, Dalí’s script says the face of the “Surrealist woman” is never revealed. But in the new trailer, as a narrator says “Surrealist woman,” a female face fills the screen. Davis cites visual errors in the trailer—like a misshapen human ear, a harp string passing through a finger and incorrect Roman numerals on a clock—and argues that “the madcap feeling of Dalí’s idea … has been processed into something with the feeling of a vacuous fashion shoot.” Giraffes on Horseback Salad isn’t the first collaboration between the Dalí Museum and Goodby Silverstein & Partners. Last year, they announced a project called “Ask Dalí,” a functional replica of the artist’s famous lobster telephone at the museum. When visitors picked up the phone, they could speak with an A.I. version of Dalí, which was trained on old writings and archival audio. In late 2022, the two groups released “Dream Tapestry,” which generated Surrealist art based on visitors’ descriptions of their dreams. The new film is their latest attempt to build on Dalí’s work through emerging technology. “Dalí imagined a film so surreal, so untethered from convention, that it couldn’t exist in his lifetime,” says Jeff Goodby, the agency’s co-chairman, in the statement. “We’ve been able to help bring that vision to life—not as a replica, but as a reawakening.” Get the latest stories in your inbox every weekday.

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2025-05-20 13:24:58 -

A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist

A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist
At London’s Tate Britain, a major retrospective takes a long look at the work of Margaret Ithell Colquhoun

Connections between the natural world, the divine and the erotic were a favorite theme for Colquhoun, who described Earth Process, 1940, as an “image from a half-conscious experience.”
Tate, presented by the National Trust 2016. © Tate. Photo © TateBritish artist and writer Margaret Ithell Colquhoun was a pioneer of Surrealist “automatism,” creating images from charcoal shavings or letting her unconscious take charge of a pen. Such methods had a “divinatory power,” she explained, comparing them to “the practices of clairvoyants who use … tea leaves and coffee grounds to set in motion their telepathic faculty.” While she traveled in the same circles as household names like Salvador Dalí, Colquhoun broke with Surrealism in 1940 to focus on the occult, a move that may have contributed to her relative obscurity by the time of her death in 1988.
This month, however, a major retrospective of Colquhoun’s work will open at London’s Tate Britain, after a stint at the museum’s Cornwall branch. It’s the first since her rediscovery by a new generation of artists drawn to her explorations of women’s sexuality, spirituality and the natural world. “Over the years I have followed the path blazed by Colquhoun,” writes the British artist Linder Sterling, in an essay about the show, and felt “her encouragement from beyond the grave.”

Gorgon, Ithell Colquhoun, 1946.

Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans

Ages of Man, Ithell Colquhoun, 1944.

Tate, Presented by the National Trust 2016, accessioned 2022 © Tate. Photo © TateAlcove, Ithell Colquhoun, 1946.

Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans

Subscribe to Smithsonian magazine now for just This article is a selection from the June 2025 issue of Smithsonian magazine

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A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist
A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist At London’s Tate Britain, a major retrospective takes a long look at the work of Margaret Ithell Colquhoun Connections between the natural world, the divine and the erotic were a favorite theme for Colquhoun, who described Earth Process, 1940, as an “image from a half-conscious experience.” Tate, presented by the National Trust 2016. © Tate. Photo © TateBritish artist and writer Margaret Ithell Colquhoun was a pioneer of Surrealist “automatism,” creating images from charcoal shavings or letting her unconscious take charge of a pen. Such methods had a “divinatory power,” she explained, comparing them to “the practices of clairvoyants who use … tea leaves and coffee grounds to set in motion their telepathic faculty.” While she traveled in the same circles as household names like Salvador Dalí, Colquhoun broke with Surrealism in 1940 to focus on the occult, a move that may have contributed to her relative obscurity by the time of her death in 1988. This month, however, a major retrospective of Colquhoun’s work will open at London’s Tate Britain, after a stint at the museum’s Cornwall branch. It’s the first since her rediscovery by a new generation of artists drawn to her explorations of women’s sexuality, spirituality and the natural world. “Over the years I have followed the path blazed by Colquhoun,” writes the British artist Linder Sterling, in an essay about the show, and felt “her encouragement from beyond the grave.” Gorgon, Ithell Colquhoun, 1946. Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans Ages of Man, Ithell Colquhoun, 1944. Tate, Presented by the National Trust 2016, accessioned 2022 © Tate. Photo © TateAlcove, Ithell Colquhoun, 1946. Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans Subscribe to Smithsonian magazine now for just This article is a selection from the June 2025 issue of Smithsonian magazine Get the latest Travel & Culture stories in your inbox. More about: Art Art History Artists Modern Art Surrealism #new #exhibition #brings #fresh #recognition

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A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist
A New Exhibition Brings Fresh Recognition to a Groundbreaking But Largely Forgotten Surrealist At London’s Tate Britain, a major retrospective takes a long look at the work of Margaret Ithell Colquhoun Connections between the natural world, the divine and the erotic were a favorite theme for Colquhoun, who described Earth Process, 1940, as an “image from a half-conscious experience.” Tate, presented by the National Trust 2016. © Tate. Photo © Tate (Sam Day) British artist and writer Margaret Ithell Colquhoun was a pioneer of Surrealist “automatism,” creating images from charcoal shavings or letting her unconscious take charge of a pen. Such methods had a “divinatory power,” she explained, comparing them to “the practices of clairvoyants who use … tea leaves and coffee grounds to set in motion their telepathic faculty.” While she traveled in the same circles as household names like Salvador Dalí, Colquhoun broke with Surrealism in 1940 to focus on the occult, a move that may have contributed to her relative obscurity by the time of her death in 1988. This month, however, a major retrospective of Colquhoun’s work will open at London’s Tate Britain, after a stint at the museum’s Cornwall branch. It’s the first since her rediscovery by a new generation of artists drawn to her explorations of women’s sexuality, spirituality and the natural world. “Over the years I have followed the path blazed by Colquhoun,” writes the British artist Linder Sterling, in an essay about the show, and felt “her encouragement from beyond the grave.” Gorgon, Ithell Colquhoun, 1946. Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans Ages of Man, Ithell Colquhoun, 1944. Tate, Presented by the National Trust 2016, accessioned 2022 © Tate. Photo © Tate (Joe Humphrys) Alcove, Ithell Colquhoun, 1946. Private Collection © Spire Healthcare, © Noise Abatement Society, © Samaritans Subscribe to Smithsonian magazine now for just $19.99 This article is a selection from the June 2025 issue of Smithsonian magazine Get the latest Travel & Culture stories in your inbox. More about: Art Art History Artists Modern Art Surrealism

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