For professional reasons—and for many others—I tend to download and archive magazines devoted to specialized subjects. Among them, a very considerable number are dedicated to photography. The regular ones—that is, those almost always available—number around thirty-five. I suspect that most of them are sponsored by major manufacturers of professional and semi-professional cameras.

It is 18 degrees in Cincinnati right now—remarkably close to the record high for a December 26: 20 degrees Celsius, registered in 2016. No snow. It would be tempting to invoke climate change if I were looking for a quarrel, but I’ve just come off several days of snow. I lack serious arguments to do so. Snow is beautiful, as are snow-covered landscapes—especially when the sun is out and the air stands still.

Sargon of Akkad’s grandson was born hunchbacked. His grandfather had raised the first known empire, anchored in the lands of ancient Mesopotamia. He was fond of the boy, and let him do whatever he pleased. When he strode peacock-proud through the palace corridors, the servants—because of his short stature—bowed as he passed.

Trying to find something even mildly interesting on the platforms for a quiet December night, I stop at what appears to be the latest cinematic version of the mythical Superman. I read that it was written and directed by James Gunn and released last July, just this past summer. I also note that it has enjoyed a favorable reception from both critics and audiences.

Three and a half years after her death, Paula Rego’s work continues to unfold an uneasy power, resistant to domestication. A recent exhibition at Cristea Roberts Gallery in London brings together a group of prints produced between 2005 and 2007, during the final phase of the artist’s career. Far from any pacifying reading, these works confirm that time does not soften the strangeness of her universe; on the contrary, it sharpens it, making it harder to evade.

Margate is a coastal town in southeastern England. Located in the county of Kent, on the shores of the North Sea, it forms part of the Thanet district and lies approximately 120 kilometres east of London.
Directly facing the sea stands Turner Contemporary, a contemporary art centre designed by David Chipperfield Architects and inaugurated in 2011...

An energetic, tall man with a spirited, deep, gravelly voice arrived at Yovani Bauta’s two-story Ironsides Miami studio in 2010. It was there that Yovani allowed me to use a small space to create my paintings. That intrepid man was Sergio Garcia.
Judging from their greeting, these two Cuban contemporary artists had been friends for quite some time...

Australian photographers Peter Eastway and David Evans, founders of the International Landscape Photographer of the Year award, have launched the inaugural edition of the Aerial Photographer of the Year. This international competition is devoted exclusively to images captured from the air—using drones, airplanes, helicopters, or hot air balloons—and seeks to encompass the widest possible range of aerial photographic practices...

Over the past two weeks, I have seen this photograph reproduced again and again across an overwhelming number of news outlets. I cannot say it impresses me from a technical standpoint—far from it. And yet it unsettles me in a way very little manages to these days. It is likely to be chosen among the year’s most striking images. Even if it isn’t, it already belongs to my private selection.

A truism, almost an embarrassment, is that we know far fewer people than we pretend to—fewer artists still, and far fewer careers. I read that the influential British photographer Martin Parr, a central figure in contemporary photography and a prominent member of Magnum Photos, has died at 73 in his home in Bristol. I didn’t know him, and if I ever saw one of his images, I erased it, discarded it without ceremony.

Philately was one of the small devotions of my childhood. I inherited hundreds of stamps from my father. I could never say whether he collected them himself or simply bought them for my brother and me. Among all of them, one in particular held my gaze with disproportionate insistence: a reproduction of The Sleeping Gypsy, the 1897 painting by Henri Rousseau that I finally saw years later at the MoMA.

Capture is an Australian magazine I download—only occasionally—when the cover manages to earn it. Not out of bad habit, but because it is, almost always, more of the same. It is a publication devoted to professional and emerging photography, broadly acknowledged as one of the field’s established editorial platforms. It offers technical analyses, equipment reviews, practical guides, and reports on international trends. It also covers competitions such as The Capture Awards and Australasia’s Top Emerging Photographers.

About 300 viewers attended the opening of "Double Homage" at the Favarola Museum at St. Thomas University in Miami before Miami Art Week got underway, but it is still on view. This posthumous exhibition features a series of drawings by Frank Izquierdo, created as an homage to the 18th-century Austro-German sculptor Franz Xaver Messerschmidt.

Picking up the thread of the previous text, the RPS has bestowed its Centenary Medal on British photographer Susan Derges (London, 1955), in recognition of her sustained contribution to the medium. Derges is known for her camera-less work and for direct experiments with light, water and vegetation. Since the late 1980s she has developed series in which she submerges photosensitive paper in rivers such as the Taw, near her home in Devon...

Senegalese photographer Omar Victor Diop has received the Royal Photographic Society (RPS) Award for Achievement in the Art of Photography. It is a distinction granted each year to an artist in recognition of a notable personal achievement in the art of photography or moving image. It is not a lifetime award, but a prize for a group of works or for a particularly significant result.