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Leonora in the Morning Light review – pioneering British artist who fled convention for the surrealists

A new biopic titled *Leonora in the Morning Light* chronicles the life of British surrealist painter Leonora Carrington, who fled her aristocratic upbringing in London to join the surrealist circle in Paris. The film, adapted from Elena Poniatowska's biographical novel, follows Carrington from her affair with the older Max Ernst through her mental health crisis in Spain and eventual settlement in Mexico, where she created art on her own terms. Olivia Vinall portrays Carrington with a fierce, uncompromising spirit, though the film is criticized for uneven storytelling and clunky dialogue.

Haegue Yang’s Constellations for a Divided Korea

Haegue Yang's exhibition "Star-Crossed Rendezvous" at the Museum of Contemporary Art in Los Angeles features two large-scale Venetian blind installations that explore themes of division, exile, and reunification. The works draw on the arbitrary 1945 division of Korea by U.S. military officers and the life of composer Isang Yun, who was tortured and imprisoned by South Korean authorities. One installation mirrors and inverts a cube of white blinds inspired by Sol LeWitt, while the other uses colored blinds, projections, and Yun's "Double Concerto" to create a fragmented, shadow-filled meditation on longing and separation.

The In-Between Worlds of Larissa Borteh

Hyperallergic reviews Larissa Borteh's solo exhibition "In the Wind" at Devening Projects in Chicago, featuring a dozen oil paintings that blur the line between still life and ethereal abstraction. The works, including "Glass House" (2025) and "Tending and Receiving" (2026), use thinned, viscous oil paint to create tactile surfaces that evoke plants in decay, ghosts, deities, or dreamlike visions. The review highlights Borteh's distinctive merging of image and elongated mark, reminiscent of fingerpainting, and her exploration of the spectrum between legibility and opacity.

Un grand spectacle, un petit récit

The article reviews the latest immersive exhibition at the Atelier des Lumières in Paris, titled "Renaissance. De Vinci, Raphaël, Michel-Ange." Set in a former foundry, the show uses 360-degree projections, lasers, and artificial fog to create a technically impressive visual spectacle. However, the narrative focuses solely on three Renaissance masters—Leonardo da Vinci, Raphael, and Michelangelo—leaving the historical and artistic context underexplored. The critic notes that the 50-minute presentation includes long contemplative pauses without commentary, which weakens its educational potential.