The solo exhibition Amazonia, opening on May 22, brings together a body of work produced by Julia out of her sustained engagement with the Shipibo Indigenous community of the Peruvian Amazon. The show is structured around four groups of pieces and combines watercolor and ink on paper, embroidered textile work, installation, and cyanotype...

A few weeks ago I met Leticia Sánchez Toledo (Cabaiguán, Cuba, 1985). The friend of a friend who is turning into a friend. We are somewhere inside that passage.
The first time I saw her work was in her living room. Some paintings hung on the walls. Others rested on the floor, leaning against pieces of furniture, as though they had not quite finished deciding where to be...

The winner of the 2026 London Camera Exchange (LCE) Photographer of the Year competition is a retired teacher who captured the award-winning image while on holiday in Southeast Asia. The scene was shot in Hoi An, on Vietnam’s central coast, as she photographed a fisherman at work. The author notes that the moment in question sealed the playful end of the encounter and helped her stand out among more than 14,500 participants.

Persistently, and since the most remote antiquity, the moon has acted as a trigger for the human imagination. It has agitated artists and writers, the deranged of every kind, poets, philosophers, spiritual beings, night wanderers—but above all, lovers. Perhaps because it casts that faint light which outlines the features of the desired body: the point of light, the delicate glimmer that ignites along the maiden’s lower lip...

There are artists whose work is born of skill; others, of obsession; others still, of a wound. In Aaron Kent, all three converge. His practice resists reduction to any single discipline or stable technique. Although it may be inscribed, under a taxonomic logic, within the territories of ceramics, printmaking, or sculpture, the truth is that his work moves through far more uncertain zones.

I have developed a faint affection for photography competitions. I go through them with an almost childish curiosity, looking for the good photographs the jury overlooked and the bad ones it chose to reward. In the latest issue of Camera Craft, its sixty-ninth, for March and April of this year, some of the results are published from the competition that The Guild of Photographers organizes annually.

Everyone in Cincinnati’s artistic community knows Katherine Hurley. They have for a long time. In my own case, for just under ten years. And we all know her solid career and her exceptional body of work, delicate and subtle as few others.
I have always found it difficult to comment on the genre of landscape. Not because I do not like it, but because, when it reproduces what nature itself has taken millennia of patient execution to achieve...

Anyone who approaches Pedro Abascal’s photography and speaks with the author about the spontaneous nature of his scenes cannot help but think: he’s taking me for a fool. So accustomed have we become to an art of effects—an art frequently structured around spectacle, one that opportunistically deploys “the technological” to shield the fragility of its premises—that it feels like a deception when he claims he neither goes out hunting for images nor resorts to manipulation of any kind to produce photographs of such suggestive force...

In his dialogue with reality—understood as an expansive living nature, and therefore never still before the artist’s pretensions—Pedro Abascal, who requires the road as much as the camera for his vital labor, has come to discover the possibility of drawing through the lens.
When I was a child, we lived in Santa Isabel, one of my grandfather’s farms. We were surrounded by trees, animals, and ravines. At that time, I did not know how to measure distance in kilometers...