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Harmony Hammond, Voices, 2024 (24-316),

Two-color lithograph, Paper Size: 19 1/2 x 16 inches,

Collaborating Printer(s): Valpuri Remling and Arikah Lynne Conant

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Arturo de Frias, 'Galapagos'

Ocean Photographer of the Year

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Peter Wright, "Incised Mezcala," 2013,

Blown and carved glass, steel,

25 h × 8½ w × 6⅞ d in (63 × 22 × 17 cm)

The present work was inspired by the pre-Columbian stone carvings of the Mezcala people based in what is now the state of Guerrero in southwestern Mexico.

The culture existed roughly from 700 BC to 650 AD, and the artist's interest lies in how the people were able to create their stone carvings without metal tools, and how the resulting carvings were valued in their culture and those that proceeded them.

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Philippe Halsman, Morticia and Gomez Addams, c. 1964,

Unique Polaroid Type 52 Polapan print,

Image: 4½ h × 3½ w in (11 × 9 cm),

Sheet: 7⅝ h × 4⅜ w in (19 × 11 cm)

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Enrique Díaz Photography,

In 1940 Mexican photojournalist captured this stark and powerful image at the San Juan de los Lagos Fair in Jalisco, Mexico, documenting an intense act of religious devotion.

The photograph shows a female penitent engaged in an extreme form of auto-flagellation, a **voto** or votive penance performed in fulfillment of a promise or as an offering for divine favor.

Her crown of thorns deliberately mirrors the Passion of Christ, while her veil represents humility, modesty, and anonymity before God. Embedded in her chest is a *nopal* (cactus pad), a potent symbol of both physical suffering and Mexican cultural identity.

As she walks, a small pelt dish catches the blood from her wounds, turning her sacrifice into a tangible offering. This ritual connects deeply with longstanding traditions in which believers atone for sins or repay a *manda*—a promise made in exchange for a miracle—often to a saint or the Virgin Mary.

San Juan de los Lagos is a major pilgrimage site, revered for the Virgin of San Juan de los Lagos, one of the most venerated religious figures in Mexico.

Mr Díaz’s photograph preserves a moment that is at once deeply personal and profoundly cultural, illustrating how faith, sacrifice, and national symbolism intertwine in acts of devotion.

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Jasper Johns, "The Critic Sees," 1961,

Sculp-metal on plaster with glass,

3⅛ × 6½ × 2⅛ inches; 8 × 17 × 5 cm

Matthew Marks Gallery

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"Dengju" Mural by Fin DAC, Pont Delizy, Pantin, France,

Photo de Sofistic

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Laurence Demaison Art

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John Michael "Ozzy" Osbourne (3 December 1948 – 22 July 2025)

17 days before his death, Ozzy Osbourne stepped on stage one last time and helped raise over £140 million for charity in the process.

The Black Sabbath frontman, aged 76, made his final appearance at “Back to the Beginning”, a one-off charity concert in Birmingham on 5 July. Reuniting with bandmates Tony Iommi and Geezer Butler at Villa Park.

The show raised money for Cure Parkinson’s, Birmingham Children’s Hospital and Acorns Children’s Hospice, making it one of the highest-grossing charity gigs in history.

Ozzy had battled Parkinson’s for years, and the concert was widely seen as his way of giving back. Fans lucky enough to be there witnessed not just a final performance but a moment of music history.

He died on 22 July, peacefully at home in Birmingham. In true Ozzy style, his last act was loud, emotional and for a good cause.

Rest In Power !

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ImillaSkate !

Reconnecting with their ancestry while finding sisterhood through skateboarding, Imillaskate is an indigenous female skate collective based in the Bolivian city of Cochabamba – bonded through clothing as a symbol of cultural pride.

Finding their feet in the foothills of the Bolivian Andes, the young women join a rising number of cholitas, adopting the traditional pollera as a reclamation of indigenous heritage and the female strength carried through Aymara or Quechua traditions.

Travelling to Cochabamba, directors Rebecca Basaure and Mariano Carranza center the collective and their role in the community for short documentary ImillaSkate - The Cholita Skaters of Bolivia.

rebellionChallenging gender stereotypes through their contradictions, while making space for indigenous pride, the young women carve out a story of rebellion, reclamation, and radical joy against a landscape where racial prejudice and gender violence remain an ever-present concern. ...

Read more at nowness.com

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Mona Hatoum, Van Gogh's Back, 1995,

Photograph, colour, on paper,

Dimensionsimage: 600 x 403 mm

Collection: Tate

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Moki Cherry, “Breakfast at Tiffany’s” (1979),

Tapestry, textile appliqué, 100 x 100 cm,

Courtesy Cherry Cherry Archive, Estate of Moki Cherry

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Vase with spider, Japan,

Meiji period (late 19th-early 20th century),

Patinated bronze,

11 h × 5½ dia in (28 × 14 cm)

Courtesy: Wright20

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Once you reach 200 metres, you enter the twilight zone – where light is almost gone, plants cannot photosynthesize. This zone extends from 200 to 1,000 metres.

Further down is the midnight zone (1,000 – 4,000 metres), which is completely dark, cold and under enormous pressure.

Below that is the abyss (4,000 – 6,000 metres), then the hadal zone – deep trenches on the ocean floor, starting at 6,000 metres.

The deepest known point is the Mariana Trench, reaching a depth of 10,935 metres, deeper than Mount Everest is tall.

The deepest humans have ever dived in a scuba diving device is 332 metres, and in a submersible it is 10,935 metres, reaching the bottom of the Mariana Trench.

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Niki de Saint Phalle, "Hon - en katedral" (She - A Cathedral),1966,

In collaboration with Jean Tinguely and Per Olof Ultvedt

Image Courtesy of Hans Hammarskiöld Heritage.

© Hans Hammarskiöld

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Jana Sterbak, "Sisyphus Sport," 1997 - 2014,

Stone, leather straps and metal buckles

1 AP /5 + 1 AP

42.0 x 35.0 x 16.0 (cm) (16.5 x 13.8 x 6.3 (inch))

Courtesy: Barbara Gross Galerie