There is, in underwater life, a captivating otherness, and these images from the Underwater Photographer of the Year competition bring it forth with admirable clarity.
The first photograph captures a clownfish parent keeping vigil over the moment when the eggs it had tended so carefully begin to hatch. A scene which, according to the judges, they had never encountered before...

Dressed in red, barricaded behind a mask crowned with feathers as red as the dress itself, the visual artist Cirenaica Moreira (Havana, 1969) waited, seated on a stool, for the attendees of the performance—scissors in hand—to cut the hearts fastened to the dry, gilded branches she held.

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...

A beautiful vista of Havana Bay, framed by the large window beside the entrance, catches the first-time visitor at once. Nothing more is needed for the restless collector of unrepeatable instants: views that do not tolerate staging—views that do nothing but awaken the desire to contemplate them, to capture them, to possess them. A coffee becomes an invitation for the newcomer. We already have something in common.

Forty years ago, the American photographer Nan Goldin published what is now widely regarded as one of the most influential photobooks in contemporary art. That is the view of Jacqui Palumbo—journalist, editor, and producer specializing in art and culture—who covered this event for CNN. Titled The Ballad of Sexual Dependency, the book documents Goldin’s life in New York City’s East Village throughout the 1970s and 1980s, with forays into Chicago, London, and Mexico City.

The latest issue of Australian Science Illustrated—issue 121, February—brings a great deal of interesting material. It is not a journal as serious as Science; it is, rather, a popular-science magazine. It seems aimed at a broad, family readership. Still, its articles are intelligent and very well written. It publishes features on science in general and technology, with a clear preference for content on outer space, medicine, archaeology, and nature.

Salgado is indispensable to twentieth-century photography. His unmistakable images of vast crowds working—fighting to survive the world’s violence—remain permanently fresh in the memory of those of us who love the medium. So do his extraordinary photographs of the attempted assassination of Ronald Reagan, along with the work he produced while covering the conflicts in Rwanda and the Balkans, among many others. Broadly speaking, he documented the hard life of workers—many of them migrants—embedded in large projects across the planet.

Edgar Su won the top prize at the World Sports Photography Awards 2026 with this photograph of Carlos Alcaraz in full action. Amateur Photographer, in its January 27, 2026 issue, reports the award and reproduces the image.
The photograph is titled Carlos’ Shadow Hits a Ball and was taken during an actual match. One could easily swear it was shot in a studio, so precise is it that it unsettles.

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...

Richard Hoare presents Edge of Light | Journeys Across a Frontier at Messum’s (London). From 7 to 30 January 2026, Messum’s (David Messum Fine Art) brings together a selection of recent works by the British painter, conceived along the Atlantic edge. The gallery frames this territory as a threshold: a place where sea and horizon blur, and light seems to force its way through skies that are dense, unstable, and perpetually in flux.

Over the past few days, we at The Annex Gallery have received the first copies of Rafael Zarza. Toda la corrida artística (The Full Artistic Bullfight). The essay was written by Hamlet Fernández Díaz, a faculty member of UNIPAM’s Graduate Program in Education. He holds a Doctor of Science in Art and a postdoctoral degree in Education, and he currently works as a professor, researcher, and art critic. His name is widely recognized across the Spanish American cultural ecosystem...

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.

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.

An international raffle organized by the French foundation Recherche Alzheimer is offering participants the chance to win an original Picasso valued at roughly €1 million by purchasing a €100 ticket. The drawing will take place at Christie’s in Paris on April 14, 2026, with up to 120,000 tickets available online to raise research funds.

Martin Parr —that improbable alchemist of the everyday, the British photographer who redrafted the grammar of documentary practice— has died at 73 in his home in Bristol. News of his passing triggered an immediate wave of tributes. Colleagues, critics, and institutions across continents have emphasized the extent to which his work unsettled and renewed the documentary impulse from the 1980s onward.

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. Diop combines staged portraiture, historical references and questions of identity and representation.

I met Mark at Annex Gallery, where he is working as an intern. Before I knew he made photographs, and therefore counted as an artist, I thought of him simply as someone who always needed a drink bottle within reach. One of those insulated flasks used by athletes or hydration fanatics that seemed to follow him more faithfully than his own shadow. I also knew, before seeing a single picture, that he supported Barça, a very popular club in this ecosystem and reason enough to label him an “irreconcilable enemy.”

The Art Academy of Cincinnati and Annex Gallery have maintained a close relationship over the years. In 2017, the Academy hosted the first international exhibition of the Bridge Not Walls project, and since then, collaborations, visits, and mutual support have become a steady tradition. Annex has followed the Academy’s programs with interest, and new joint projects are already in discussion.