Click here to submit a picture for publication in these online galleries and/or on the Guardian letters page
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© Photograph: Elke Lorenz
© Photograph: Elke Lorenz
© Photograph: Elke Lorenz
Little-known photographer John Baer captured everyday life before putting down his camera in 1954. His son discovered the images decades later after his death, and John Baer: The Extraordinary Ordinary / A Memoir in Photographs, 1945–1954 marks their first public release
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© Photograph: Photograph by John Baer
© Photograph: Photograph by John Baer
© Photograph: Photograph by John Baer
Sanlé Sory is said to have taken a million photographs over six decades, documenting rapid change in his home country. A new exhibition looks at the moment he embraced colour
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© Photograph: © Sanlé Sory, 2026. Courtesy of Tezeta
© Photograph: © Sanlé Sory, 2026. Courtesy of Tezeta
© Photograph: © Sanlé Sory, 2026. Courtesy of Tezeta
Tate Modern, London
From a Singapore construction worker to a loincloth-wearing Sri Lankan, this awe-inspiring and truly global exhibition finds epic beauty in the everyday
I don’t remember the last time I saw such a well-researched and truly globally representative exhibition that doesn’t patronise but quietly makes its case unapologetically, fearlessly and through sheer quality. Apart from being the first retelling of the international, pluralistic pictorialism movement, Tate’s new show allows for some refreshing encounters with unknown works for British audiences – around half of the works included here have never been shown in the UK. The effect is to radically deepen and widen our understanding not only of art history but the human impulses that drive us to make images in the first place.
We move seamlessly from the sudden shock of colour in three-colour carbon prints of flowers in a London garden in the 1920s to works born of the photographic salons, circles and clubs of Sydney, Hong Kong and Brazil. Historical moments collide; the epic emerges from the everyday. A man rows home across the Norfolk Broads, another works on a construction site in Singapore. None of it feels out of place. It all belongs. It is all extremely, almost ecclesiastically, beautiful.
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© Photograph: Yip Cheong Fun, Collection of National Gallery Singapore. © Andrew Yip Weng Kee.
© Photograph: Yip Cheong Fun, Collection of National Gallery Singapore. © Andrew Yip Weng Kee.
© Photograph: Yip Cheong Fun, Collection of National Gallery Singapore. © Andrew Yip Weng Kee.
The Guardian’s picture editors select photographs from around the world
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© Photograph: Murdo MacLeod/The Guardian
© Photograph: Murdo MacLeod/The Guardian
© Photograph: Murdo MacLeod/The Guardian
Take a nostalgic look back at how Australians used to holiday throughout the 1950s, 60s and 70s. A new book by Ian Collis features vintage caravans, seaside motels and charming snapshots of summer road trips past
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© Photograph: supplied
© Photograph: supplied
© Photograph: supplied
Backlash against content creators includes restricted hours for filming and even outright bans
Stand in any vaguely photogenic spot these days on holiday and the chances are you will come across people posing with raised phones and even ring lights. Some may be influencers with huge audiences on social media, others just overkeen Instagram users. With hotels and beauty spots now so overrun, however, bans on photography are coming into place.
The five-star Hotel du Cap-Eden-Roc in Antibes, known for its glamorous clientele, views of the Côte d’Azur and a stunning infinity pool, has brought in rules against photoshoots: no longer allowed without prior permission.
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© Photograph: imageBROKER.com/PR
© Photograph: imageBROKER.com/PR
© Photograph: imageBROKER.com/PR
A barrowful of family fun with gourds galore and even a pumpkin cannon at a patch on the Berwickshire coast
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© Photograph: Murdo MacLeod/The Guardian
© Photograph: Murdo MacLeod/The Guardian
© Photograph: Murdo MacLeod/The Guardian
The potter and presenter on a tricky childhood, his religious calling for clay, and cross-dressing as Adele
Born in London in 1965, Keith Brymer Jones is a potter, ceramic designer and TV judge. After a stint as lead singer of the punk band the Wigs, he became an apprentice at Harefield Pottery in London. He went on to set up his own company, and created pots and homewares for retailers including Conran, Habitat and Laura Ashley, before developing his signature Word range. He has been a judge on The Great Pottery Throw Down since it started in 2015. His new book, Firing Earth: An Unexpected History of Pots and Potters, is published on 22 October.
This photo was taken in our family home in Finchley. Socks, shorts and a T-shirt was my usual outfit for scabbing around in the garden aged 11. I was a complete and utter square.
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© Photograph: Pål Hansen/The Guardian
© Photograph: Pål Hansen/The Guardian
© Photograph: Pål Hansen/The Guardian
The Guardian’s picture editors select photographs from around the world
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© Composite: Getty
© Composite: Getty
© Composite: Getty
MYB Textiles Ltd is the last mill in the world weaving patterned Nottingham lace on traditional looms. Once there were 20 lace mills in the Irvine Valley towns of Newmilns and Darvel alone. The lace industry became the largest employer in the area for a time and flourished until the late 1970s when competition emerged from other European countries and Asia. Now the majority of their trade comes from the film, theatre, TV and entertainment industry
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© Photograph: Murdo MacLeod/The Guardian
© Photograph: Murdo MacLeod/The Guardian
© Photograph: Murdo MacLeod/The Guardian
The photographer was holidaying with his family when two shadows became a plaything for his young son
Gellért Gombai, his wife and two children spend much of the year at their home in Budapest, Hungary, but most of their summers in Alsóörs. “It’s a small holiday village on Lake Balaton, the largest in central Europe, so it’s often referred to as the Hungarian sea,” Gombai, a freelance photographer, says. “We go to the playground and beach most days, swim, and eat beach food, but even when I’m enjoying my holiday, I’m looking out for interesting moments to capture.”
On this particular day, the family had eaten hotdogs for lunch, before Gombai had taken the kids, Lóci and Janka, to the playground. “Lóci, who was five at the time, was jumping between two shadows – one from a changing room, and the other from a building’s roof,” he says. “I asked him to stay still for a few minutes while I got the shot, and he lay like this on the ground. He’s a big-hearted little clown; I’m so glad he’s my son.” When he showed the children, “Janka immediately asked me to take the same shot of her, which often happens. Lóci said it looked like he was among mountains, or as though a monster was about to eat him.”
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© Photograph: Gellert Gombai
© Photograph: Gellert Gombai
© Photograph: Gellert Gombai
From a body-building Arnie to a weeping Frenchman, these 39 groundbreaking images have upended assumptions about how men behave, dress and project power. Introduction by Luke Kennard
I have an image of myself in 2011, pushing my newborn son in a big red buggy because he would only nap when in motion. As I traversed the streets of suburban Birmingham, I felt observed, glanced at, commented on in a manner that ranged from pity to reproach to disproportionate admiration. Daft that it should be a remarkable sight, I thought, but there we go. Probably I’d have felt less self-conscious if I’d followed David Bowie’s example and – as in one of the images showcased here – worn what looks like a dress.
On depictions of men and women in art history, John Berger famously stated that “men act, women appear”. Men were portrayed demonstrating their physical power and readiness for action; to assert their dominance. Just turning that gaze around and using the lens to capture masculinity feels subversive, maybe even a little undermining.
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© Photograph: Historical/Corbis/Getty Images
© Photograph: Historical/Corbis/Getty Images
© Photograph: Historical/Corbis/Getty Images
The Guardian’s picture editors select photographs from around the world
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© Composite: Shutterstock
© Composite: Shutterstock
© Composite: Shutterstock
This week’s best wildlife photographs from around the world
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© Photograph: Sean Smith/The Guardian
© Photograph: Sean Smith/The Guardian
© Photograph: Sean Smith/The Guardian
Nearly 50 years ago in inner-city Birmingham, photographers Derek Bishton, Brian Homer and John Reardon set up an impromptu studio in the street and invited their neighbours along. With no camera phones in 1979, long cable releases gave participants the power to decide how they wished to be seen and represented. The project’s original aim was to counter negative media images of Handsworth and its people. Now, in collaboration with Dewi Lewis Publishing, a Kickstarter fund has been set up to bring them together in book form
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© Composite: Derek Bishton, Brian Homer & John Reardon
© Composite: Derek Bishton, Brian Homer & John Reardon
© Composite: Derek Bishton, Brian Homer & John Reardon
This year’s London photography festival takes you from the colourful streets of Kolkata to the grim isolation units of Guantánamo Bay
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© Photograph: Ravi Madan
© Photograph: Ravi Madan
© Photograph: Ravi Madan
Amid economic sanctions and ongoing conflict, a new initiative is returning Iran’s artists to the international spotlight
When the call came early one morning, Tehran resident Elham Issari knew it must be urgent. The voice on the line was offering something precious. “Miss Elham,” he said excitedly, “I have a single tube of white paint! It’s overpriced and I know it’s overpriced but, if you want it, you have to buy it right now because there’s this other guy in this other city who wants it and you have to tell me within the next five minutes.”
The tube of white paint would have cost Issari 5m tomans (about $36), she recalls. “I was like, I don’t think so, because that’s overpriced, and the next thing you know is it’s 4am and I’m on YouTube watching how to make lead white in your backyard without getting lead poisoning.”
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© Photograph: Courtesy of the artist and Continuum: Artist Relief for Iran, presented by Duran Art Projects. © Aryan Dabbagh, 2021.
© Photograph: Courtesy of the artist and Continuum: Artist Relief for Iran, presented by Duran Art Projects. © Aryan Dabbagh, 2021.
© Photograph: Courtesy of the artist and Continuum: Artist Relief for Iran, presented by Duran Art Projects. © Aryan Dabbagh, 2021.
‘Karen is a Japanese dominatrix and “rope artist” who ties up her clients in a way that echoes how samurai bound their prisoners. Clients are mostly men with high-pressure jobs’
Ten years ago, my dad called to say he had found these amazing images hidden under piles of maps and stuff in an attic in our family home in Piemonte, northern Italy. He had come across a leather-bound album of 53 black and white photographs: portraits of Japanese “native types”, reflecting the 19th-century colonial way of representing people, cultures and views of Japan.
It turned out we had a treasure in our hands: it was an album of photographs by Felice Beato, the first foreign photographer to arrive in Japan in 1863 at the end of the Edo period and on the eve of the Meiji era.
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© Photograph: Giada Ripa
© Photograph: Giada Ripa
© Photograph: Giada Ripa
A selection of the winning images from this year’s competition across topics ranging from underwater to urban wildlife, and photojournalism to mammal behaviour. The overall winner is Federico Veronesi of Italy for his powerful image of an elephant carrying a dead calf
The winning photographs will be showcased at the Natural History Museum in London from 16 October 2026 until July 2027
© Photograph: NA/Wildlife Photographer of the Year 2026
© Photograph: NA/Wildlife Photographer of the Year 2026
© Photograph: NA/Wildlife Photographer of the Year 2026
As a new exhibition looks at how the pioneering photographer sparked a colour revolution, his son, William Eggleston III, explains his father’s unique approach
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© Photograph: Eggleston Artistic Trust. Courtesy Eggleston Artistic Trust and David Zwirner
© Photograph: Eggleston Artistic Trust. Courtesy Eggleston Artistic Trust and David Zwirner
© Photograph: Eggleston Artistic Trust. Courtesy Eggleston Artistic Trust and David Zwirner
Autograph, London
The three-person headline show looking at South American feminism is displayed alongside Charan Singh: Your Tongue in My Mouth, an intimate study of Indian trans communities
In the 1990s, the late Chicana artist Laura Aguilar was living with depression. A friend took her on a road trip to New Mexico, where Aguilar made some nude self-portraits in the mystical landscapes. Those photographs evolved into a pivotal series shot in desert environments across the American south-west, Aguilar’s notable 1996 Nature Self-Portrait – considered an early work of intersectional feminist art, before the word had entered academic discourse.
London gallery Autograph first worked on an exhibition of Aguilar’s in 1997, the year after she made Nature Self-Portrait, so this is something of a homecoming, a generation on. Aguilar’s contours, folds, and crevices sometimes disappear into the barren desert landscapes, assimilating the shapes of boulders or trees; at other times, her body is incongruous, soft flesh that can’t be held by the harsh, barren conditions. These images capture the paradox of a body that is both hypervisible and ignored.
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© Photograph: © Laura Aguilar
© Photograph: © Laura Aguilar
© Photograph: © Laura Aguilar
French photographer Jean-Pierre Laffont spent two decades capturing demos, clashes and countercultural gatherings in America. ‘They dreamed of living in a better world,’ he says
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© Photograph: JP Laffont
© Photograph: JP Laffont
© Photograph: JP Laffont
The Guardian’s picture editors select photographs from around the world
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© Composite: AP
© Composite: AP
© Composite: AP
For several years, Chloe Kerleroux has been photographing African American cowboy communities in the southern US. Her work has mainly focused on trail rides: large gatherings where horses, music, dancing, family and community life come together. This year, she explored rodeo culture including at the Bill Pickett invitational in Atlanta
The image of the cowboy widely portrayed in westerns and popular culture has long been almost exclusively white. Yet Black cowboys hold an important place in the history of the American west. After the civil war and the abolition of slavery, many African Americans found work on ranches and on the great cattle drives westward. By the late 19th century, historians estimate about one in four cowboys were Black.
Among the Black figures who shaped this history was Bill Pickett. Born in Texas in 1870, he became one of the most celebrated Black cowboys and rodeo performers of his time, known in particular for popularising bulldogging, which would eventually give rise to modern steer wrestling.
After the national anthem, Josh, a member of the Outlaws Most Wanted, rides around the arena to a pounding hip-hop track as his teammates cheer him on at the Bill Pickett invitational rodeo in Conyers, near Atlanta, Georgia, on 2 August 2026
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© Photograph: Chloe Kerleroux
© Photograph: Chloe Kerleroux
© Photograph: Chloe Kerleroux
Photojournalist whose arresting images captured human disaster from Vietnam to Aberfan, and most notably in apartheid South Africa
On 21 March 1960, a crowd gathered outside a police station in a Transvaal township, part of a nationwide protest against apartheid pass laws used to control where black South Africans could live, work and travel. A young British photojournalist pushed his way to the front and took a few pictures of police across the fence who were standing atop their armoured personnel carriers. With nothing much happening, he turned back and headed for his car. Then – without warning – there was the sound of heavy gunfire.
The photographer, Ian Berry, who has died aged 92, captured images of the carnage, which soon became known around the world as the Sharpeville massacre. Dozens of demonstrators were killed, many shot in the back as they fled, and hundreds were injured in what turned out to be a turning point in the country’s history.
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© Photograph: Ian Berry/Magnum Photos
© Photograph: Ian Berry/Magnum Photos
© Photograph: Ian Berry/Magnum Photos
In Narromine – redubbed ‘Dollymine’ for the weekend – the country music star’s face is everywhere and a warm spirit of inclusivity is all-embracing
On a sporting oval in a rural Australian town 15,000km from Knoxville, Tennessee, dozens of Dolly Partons saunter down the runway as a boisterous crowd cheers and swats away flies with their cowboy hats.
As the sun begins to set, Jim Beams are flowing and music is blaring. One lucky punter is about to be crowned this year’s best-dressed Dolly, complete with sash, trophy and bragging rights.
The Narromine Line Dancers chat before performing for the crowd
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© Photograph: Carly Earl/The Guardian
© Photograph: Carly Earl/The Guardian
© Photograph: Carly Earl/The Guardian
The choir leader and presenter on not fitting in at his all-boys grammar, how synthesisers changed everything, and his ‘dithering’ start on TV
Born in London in 1975, Gareth Malone is a choirmaster and broadcaster. He began his career running youth and community choirs for the London Symphony Orchestra and first appeared on TV in 2006’s The Choir. He has since created choirs with Leicester schoolboys, Aylesbury prisoners, as well as the Military Wives, which produced the No 1 single, Wherever You Are. He lives in London with his wife and three children. His new live show, Sing-A-Long-A-Gareth: At the Movies, is on tour across the UK this autumn.
I was 15 and just coming into my own with my confidence, as you can tell by the double denim and the pose. The photo would have been taken at a party at my parents’ house in Bournemouth. When I wasn’t filling up guests’ drinks, I’d be playing some songs – it looks like I’m playing B flat major, so I suspect at this very moment it was Hey Jude.
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© Photograph: Courtesy of Gareth Malone
© Photograph: Courtesy of Gareth Malone
© Photograph: Courtesy of Gareth Malone
Artist Deana Lawson uses beauty supply store surveillance images to analyze power and personhood in her exhibition at the Gagosian in New York City
In her essay The Oppositional Gaze: Black Female Spectators, writer and philosopher bell hooks explains that the relationship between Black people and the act of “looking” has been traumatic since slavery. Black people, many of whom are still subject to the constant surveillance that originated during enslavement, have historically been punished with severe consequences, such as lynching, for looking back at those who subjugate them. Despite these risks, hooks writes, they rebelled by secretly looking at white people, as well as their surroundings, rejecting the white gaze as the singular framework of reality. We can, as bell hooks writes, “interrogate the gaze of the Other but also look back, and at one another, naming what we see”.
I thought of this analysis when I visited Edge Control, artist Deana Lawson’s latest photography exhibition at the Gagosian gallery in New York City. Edge control refers to the gels and pomades that slick the hairs along the edges of a Black woman’s hairline, but in Lawson’s exhibit, the phrase takes on an additional meaning. It’s at once a styling product for Black haircare devotees as well as a tool to examine the beauty industry, consumerism and how surveillance and race intersect.
Edge Control is on view at the Gagosian in New York City until 24 October
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© Photograph: Deana Lawson/Courtesy Gagosian
© Photograph: Deana Lawson/Courtesy Gagosian
© Photograph: Deana Lawson/Courtesy Gagosian
The photographer was walking home in London when he caught the attention of a pair of canine snoops
Walking home after dropping his little girl at school, Peter Crome sensed he was being watched. A former professional ballet dancer now living in London, he had supplemented his income with photography work for 20 years. “But since having my daughter, my Nikon gear has sat idly by,” he says. “I got so used to lugging my heavy equipment around with me, it’s been quite refreshing to go somewhere just with a phone and still come back with wonderful pictures. My iPhone has also been a blessing for keeping in touch with family back home in Sydney,” Crome adds.
The cause of his disquiet that day was, to his happy surprise, these two dogs. “It was such a comical moment,” he says. “They looked like two curtain-twitchers, though not very subtle ones. I liked how they were perfectly framed with the different layers of window frames, and the brickwork and hedge provided some pleasing textures, but it was the disapproving expression on their faces that made the photo for me.”
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© Photograph: Peter Crome
© Photograph: Peter Crome
© Photograph: Peter Crome
Bourse de Commerce, Paris
There are 700 works from François Pinault’s collection on display – more than half of them by Irving Penn – but it’s a blinkered selection and annoyingly didactic
‘Beware … of assuming the sterile attitude of the spectator, for life is not a spectacle” scream the words of Aimé Césaire – writ large and bold by Barbara Kruger, in a giant installation, The History of Tears, that fills Bourse de Commerce’s spectacular Rotunda. Kruger’s angry, menacing, viscerally charged work – words as images, and large-scale video clips of people seething with self-hate – is a thrilling setup for Remember Me, an exhibition that promises a take on 200 years of photography through 700 works by more than 70 artists drawn from the collection of the French billionaire François Pinault. That excitement quickly dissipates as the exhibition moves on.
This is the biggest photography show ever held at the Bourse de Commerce. Remember Me has two main problems: first, it tries to say too much with too few artists. For a start, nearly 450 of the 700 or so works are by Irving Penn. It leans heavily on classical, conventional approaches, styles and familiar names, and that creates a very obvious skew in the perception of what photography is, does, and how it is presented.
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© Photograph: © Irving Penn, Condé Nast Pinault Collection
© Photograph: © Irving Penn, Condé Nast Pinault Collection
© Photograph: © Irving Penn, Condé Nast Pinault Collection
The Guardian’s picture editors select photographs from around the world
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© Composite: Mike Blake/Reuters
© Composite: Mike Blake/Reuters
© Composite: Mike Blake/Reuters
The Turbine Hall gets haunted by sound art and the colossal air fair opens its doors, while Sherman champions the fantastic and the grotesque – all in your weekly dispatch
Tarek Atoui
Sound art inspired by everyday objects and the eerie harmonies of history provides the latest artistic intervention in Tate Modern’s biggest space. Read more here.
• Turbine Hall, Tate Modern, London, from 13 October to 11 April
© Photograph: Amer Ghazzal/Shutterstock
© Photograph: Amer Ghazzal/Shutterstock
© Photograph: Amer Ghazzal/Shutterstock
This week’s best wildlife photographs from around the world
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© Photograph: Gareth Fuller/PA
© Photograph: Gareth Fuller/PA
© Photograph: Gareth Fuller/PA
The Guardian’s picture editors select photographs from around the world
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© Composite: PA
© Composite: PA
© Composite: PA
A new exhibition curated by Edward Enniful looks back on the thrilling decade before smartphones, when art, music and fashion came together with a bang
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© Photograph: Eddie Otchere
© Photograph: Eddie Otchere
© Photograph: Eddie Otchere
Stills from Unmade Films is a series by Brent Lukey shot in the streets of Melbourne, Adelaide and Paris. The photographer and film-maker says the work draws on classic observational style and documentary cinema to explore how people engage with public spaces, and ‘the paths they seek and the places to pause’. The exhibition is showing at Dawn & Mabel’s in St Kilda, Melbourne, until 4 November
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© Photograph: Brent Lukey
© Photograph: Brent Lukey
© Photograph: Brent Lukey
A little exhibition of Daidō Moriyama at his artiest and strangest, like Warhol with added filth, is among the best on show in London’s free-entry commercial galleries this week
If it’s a crime to have a crush on an elderly avant garde Japanese street photographer then lock me up and throw away the key, because I have some seriously strong feelings for Daidō Moriyama. His ultra-confrontational, high contrast, aggressive take on photography just gets me blushing, what can I say.
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© Photograph: © Daidō Moriyama, Courtesy Hamiltons Gallery
© Photograph: © Daidō Moriyama, Courtesy Hamiltons Gallery
© Photograph: © Daidō Moriyama, Courtesy Hamiltons Gallery
What makes someone pick up a camera at a young age, and what can their images tell us? A new book and show explore why a child’s first photo could be as formative as their first record
What was the first photograph you took? Though most of us use cameraphones every day, few think about how the habit started or even why we choose the pictures we keep. Photography is one of the most popular hobbies in the world, typically picked up in childhood, but its impact – particularly pre-smartphone and digital imagery – has not been much studied. This lapse fascinates Annebella Pollen, professor of visual and material culture at the University of Brighton.
“My generation is used to being asked: ‘What was the first record you bought?’ Music is seen as a key part of identity formation, but what if something similar crystallises when we handle a camera?” she asks. “I certainly remember my first photos, because they coincided with me falling in love, as a 10-year-old, with a beautiful boy at school. I pursued him with my camera.”
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© Photograph: Collection, Mass Observation Archive, University of Sussex, 1991–1992.
© Photograph: Collection, Mass Observation Archive, University of Sussex, 1991–1992.
© Photograph: Collection, Mass Observation Archive, University of Sussex, 1991–1992.
Roman Manfredi took to the Neopolitan streets to photograph intimate portraits of locals who live outside binary gender expectations
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© Photograph: Roman Manfredi
© Photograph: Roman Manfredi
© Photograph: Roman Manfredi
The Ethiopian photographer Sosina Mengistu’s self-portraits draw on personal experience to reflect young people’s anxiety and frustration
This self-portrait is part of my project So I See Me, which I began in 2020 during the Covid-19 pandemic and continue to this day. The title reflects the central idea: using the camera to look at myself. But it also carries a subtle echo of my name, Sosina.
When the pandemic started, I was in my final year of an engineering degree at the University of Gondar in Ethiopia. I was excited to graduate and begin the next chapter of my life, then everything suddenly came to a halt. Thinking the travel restrictions would only last for a short time, I decided to stay with my uncle in Bahir Dar in the north rather than travel back to my home town, Asosa, more than 450 miles to the west. I ended up stuck there for eight months.
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© Photograph: Sosina Mengistu
© Photograph: Sosina Mengistu
© Photograph: Sosina Mengistu
Jaafar Ashtiyeh was covering violence against olive farmers when settlers set upon him with the butts of their rifles
Armed Israeli settlers beat a photographer in the presence of Israeli soldiers, hospitalising him, as he covered worsening settler violence against olive farmers in the occupied West Bank.
Jaafar Ashtiyeh, a 58-year-old veteran photographer for Agence France-Presse in Palestine, was assaulted by a group of settlers, who beat him with the butts of their rifles, despite him being marked as press. He was assaulted in view of about a dozen armed Israeli soldiers.
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© Photograph: John Wessels/AFP/Getty Images
© Photograph: John Wessels/AFP/Getty Images
© Photograph: John Wessels/AFP/Getty Images
Click here to submit a picture for publication in these online galleries and/or on the Guardian letters page
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© Photograph: Ariane Crane
© Photograph: Ariane Crane
© Photograph: Ariane Crane
For generations, professional photographers have captured the country’s pupils in all their awkward glory. But an increasing number of parents are using AI to avoid paying them
Name: School photos.
Age: Around since Victorian times.
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© Photograph: South_agency/Getty Images
© Photograph: South_agency/Getty Images
© Photograph: South_agency/Getty Images
Tate Britain, London
The Young British Art of the 1990s was brash and macabre but also intelligent and emotional. This breathlessly superficial show reduces it to a stylish pose
Jake and Dinos Chapman were dismissed by some even in the 1990s as overgrown adolescents selling shock for its own sake, and yet it is their work that brings this dismally shallow show closest to a moment of depth. Their sculpture Great Deeds Against the Dead, based on a print of Napoleonic war atrocities by Goya, is a display of dismembered, bleeding nude corpses hung on a tree. It asks questions about war and art, the representation of pain, whether art can have a moral purpose. The best British art of the 1990s was like that, coming on as brash, vulgar, macabre, yet also unexpectedly intelligent and emotional. Unfortunately this show is neither.
You’d think Tate Britain would want to do justice to a decade in which these Millbank premises played a starring role, staging the Turner prize in the years when bisected cows, concrete houses and elephant dung got the nation arguing. At the start of the 1990s no one thought Britain was a leader in contemporary art. By the millennium, we were better known for new art than new novels.
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© Photograph: Jake and Dinos Chapman/Jake and Dinos Chapman. All Rights Reserved, DACS Images
© Photograph: Jake and Dinos Chapman/Jake and Dinos Chapman. All Rights Reserved, DACS Images
© Photograph: Jake and Dinos Chapman/Jake and Dinos Chapman. All Rights Reserved, DACS Images
He has shot everyone from Madonna to Rihanna, Kate Moss and Frank Ocean. Now Walker has turned his lens on the activists, artists, writers, models and everyday heroes of gay life
Six years ago, Tim Walker was walking in the Highbury Fields area of London when he came across a plaque on the side of a building. In 1970, at these now-converted public toilets, Louis Eakes, chairman of the Young Liberals, was arrested for importuning following a “pretty police” entrapment in which male officers posed as would-be sex partners.
It was here, the plaque told the photographer, that the first ever gay rights demonstration in Britain had taken place, organised by the Gay Liberation Front, in protest at Eakes’s arrest. But Walker was jolted by the date: 27 November 1970. It was the day he was born. So he wondered: “Who were those people out marching that day? Where are they now?”
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© Photograph: Courtesy Tim Walker
© Photograph: Courtesy Tim Walker
© Photograph: Courtesy Tim Walker
© The New York Times
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