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The Guardian
20-07-2025
- The Guardian
Prix Pictet 2025 shortlist for the theme ‘storm'
For her series, Acqua Alta a Venezia (High Water in Venice), Patrizia Zelano photographed encyclopedias, scientific treatises, and literary texts she saved from the waters during one of Venice's highest-ever recorded tides in 2019. The series is a four-step journey through the history of art. The first three photos take the viewer from antiquity to the Middle Ages, where books become relics. The second section features a book with water-like accordion pages. The volumes in the third section have become waves and stormy seascapes Photograph: Patrizia Zelano/Zamagni Arte, Rimini Hannah Modigh's Hurricane Season charts the lives of those in southern Louisiana, capturing an atmosphere of living on the verge of eruption and a sense that uncertainty, fear and anger bubble beneath the deceptively calm surface. Initially interested in the US state because of its violent history, Modigh wanted to investigate if this moves through generations. She came to realise that fear of hurricanes and the widespread undertone of aggression came from the same source, they were natural reactions to feelings of threat Photograph: Hannah Modigh In his series Alfredo Jaar documents the Great Salt Lake, Utah, which is being destroyed by excessive water extraction and has become what scientists have described as an 'environmental nuclear bomb'. A keystone ecosystem for the western hemisphere, sustaining rainfall and providing a habitat for 10 million migratory birds, it has lost 73% of its water since the mid-19th century, exposing toxic dust and driving salinity dangerously high. Without a dramatic increase in water flow, the lake risks disappearing, devastating Utah's public health, economy and environment Photograph: Alfredo Jarr Laetitia Vançon's series Tribute to Odesa is a personal tribute to the resilience and quiet defiance she encountered in Odesa, Ukraine, a city of strategic and symbolic importance. The war was present in the sea, in the air and in every story Vançon encountered. Turning her lens towards this space of tension, the simplest gestures – swimming, performing arts, returning to school or church, volunteering – took on a quietly heroic dimension. Her work became a portrait of the city through its people, who stayed in the face of the storm Photograph: Laetitia Vançon Belal Khaled's Hands Tell Stories series began while living in a tent outside the morgue at Nasser hospital in Gaza after his house was destroyed. The tent overlooked an area where bodies were being gathered after the morgue reached full capacity. Khaled began documenting hands. Through their scars, their stillness, their grip on life, the images tell stories no voice could carry – a collective narrative through individual details, making the hand a visual anchor for understanding reality. Each hand carries a meaning of survival, absence and the fragile persistence of life Photograph: Belal Khaled Marina Caneve's Are They Rocks or Clouds? series attempts to foresee a future catastrophe, a repeat of the floods and landslides that devastated the Dolomites in northern Italy in 1966. Avoiding revisiting the traditional sublime and monumental imagery of the mountain, the variations within the series are a metaphor for the stratification of the rocks that show the structure of mountains, revealing their geological epochs and their fragility, where at various points their slopes have collapsed Photograph: Marina Caneve Balazs Gardi's The Storm chronicles the post-election attack on the US Capitol. The aftermath of the 2020 presidential election had the feel of a gathering storm for Gardi. Navigating fumes and rubber bullets while chronicling the attack, he felt the storm had arrived and wondered how this would alter the US's founding principles. As a young photographer in his native Hungary, he witnessed how malicious propaganda helped to shape a recently liberated state. The Storm is a warning of how a privileged society can slide into an Orwellian dystopia Photograph: Balazs Gardi In the series Luciferines - Entre Chien et Loup (Between Dog and Wolf), Tom Fecht documents luciferines, cold-water plankton endangered by rising ocean temperatures whose bioluminescence occurs when millions of them are exposed to oxygen on the turbulent surface of the sea. Their sublime traces remain almost invisible to the naked eye and can only be captured entre chien et loup , a magical twilight moment when the first blue rays of daylight intersect with the remaining reflections of the moon Photograph: Tom Fecht/Laffanour I Galerie Downtown, Paris At the Vegetable Seller's, a piece from Baudouin Mouanda's series Le Ciel de Saison (Seasonal Sky) which recreates the 2020 lockdown floods in Brazzaville, Republic of the Congo, with those who experienced them. During the floods it was impossible to get into inundated streets. Mouanda instead gathered personal testimonies to reconstruct the desolation later. Residents brought their belongings and posed in a flooded basement to recreate the situations they faced Photograph: Baudouin Mouanda Camille Seaman's series The Big Cloud documents a thunderstorm called a supercell that can cause hailstones the size of a grapefruit, spectacular tornadoes and clouds up to 80km wide and 20km high that block out the daylight. It is important to remember the pain and destruction these storms inflicted on local people. Seaman's images speak to the duality of all things — there is no creation without destruction, a cloud can be beautiful, terrible or both Photograph: Camille Seaman The image is from Roberto Huarcaya's series Amazogramas . A storm discharges accumulated energy, not as mere destruction, but as a force seeking to restore balance. This image captures that essence: a 30 metre-long frame of an Amazonian palm lying on the bed of the Madre de Dios River. While Huarcaya and his team were exposing a 30-metre roll of photosensitive paper placed beneath the tree, a storm erupted. Four flashes of lightning imprinted their energy on to the scene and the paper. Nature had taken control Photograph: Roberto Huarcaya/Rolf Art, Buenos Aires In cold-war Japan, Takashi Arai heard first hand accounts from visiting hibakushas , survivors of Hiroshima or Nagasaki at school. The iconic mushroom cloud was rarely witnessed on the ground but photographed from above by the very bombers that carried out the attack – shaping Japan's visual memory retrospectively, and often through external perspectives. Arai methodically circles monuments and sites related to the nuclear history of Japan, the US, and the Marshall Islands, capturing hundreds of 6x6 cm daguerreotypes to produce a series – called Exposed in a Hundred Suns – of what he names 'micromonuments' Photograph: Takashi Arai
The Sun
27-06-2025
- Entertainment
- The Sun
Emma Raducanu reveals she is studying ‘completely different' course as Wimbledon star hints at future career
EMMA RADUCANU wants to create another masterpiece at Wimbledon. At the most challenging time of her season, Raducanu will try to relax this fortnight by going for long walks 'to destress'. 2 2 And in her spare time at Wimbledon, she is reading books on art history as part of an online course. French 19th century painter Claude Monet, a master of the Impressionist era, is someone whose work she is starting to appreciate more. The world No.38 said: 'I'm just doing a course, I have a year to do it and it's good. It gives me something different to do. 'A lot of my subjects at school growing up were so quantitative – maths and economics. 'To do art history is completely different. You have to challenge your brain and ways of thinking that it wasn't used to. 'It's quite challenging. I actually quite like it. I have to learn so many broader topics. 'You have to pick apart and analyse every single thing in the painting. It's interesting. It's really fascinating. 'I have a greater appreciation for Monet and the Impressionist era. I didn't really take as much notice of that era of painting before. Now, I can appreciate what they're able to do. 'It's art history, and there's a section on the Renaissance and there's a section on sculptures and architecture as well. But I'm not at that part yet.' It is four years since Raducanu made history by winning the 2021 US Open as a qualifier for which she banked £1.8million. British world No719 qualifies for Wimbledon but is BANNED from claiming £66,000 prize money It has been a difficult year for the British tennis superstar, who has had mixed results on the court and some troublesome issues off it. Her coach Nick Cavaday, a long-term friend from her childhood, quit her set-up due to health reasons after the Australian Open in January. Then Raducanu was approached by a stalker that had followed her to Dubai, an episode that saw her burst into tears. And only last week she was crying again in public, this time at Eastbourne after receiving 'some pretty bad news'. Yet in spite of the trials and tribulations she has encountered, Raducanu approaches her fourth Wimbledon determined to smile throughout and live in the moment. Raducanu said: 'I want to really embody just having a good time and feel joy. 'I've recently realised that what we do is for such a short amount of time and it'll go before we know it. 'I was actually listening to Ana Ivanovic say the same thing. She said she wished she had enjoyed it more. 'Sometimes I want to go into the future and think: 'Oh, my god, am I going to regret not enjoying this moment?' 'I'm 22 now. So I'm kind of like living for that person, to not have any regrets to look back on. 'I want to bring joy to what I do and enjoy this time, because it's going to go by really fast.' Stepping on Wimbledon grass on Monday against British teenager Mimi Xu brings with it enormous pressure and expectation. But Raducanu, one of the most scrutinised female athletes on the planet, is relishing the return to the biggest stage. The Kent star said: 'It's a big occasion every year. Something that brings a lot of excitement, it brings a lot of buzz. 'And that buzz of winning at Wimbledon, honestly not much beats it. So I'm really looking forward to it. 'At the same time, you do feel a bit of pressure. You do feel a bit nervous but in a good way. 'If you're able to channel that and use it to focus yourself in the matches, then it's helpful, because sometimes if you're too loose, too relaxed, you're not as locked in on the court.' Wimbledon Ticket Options There are a range of ways to get into Wimbledon as one of the only major sporting events in the world that offer sought-after tickets on the day of the event... The Queue As one of the only major sporting events that allows guests to purchase tickets on the day of the event, demand is high. Each day a large queue forms of people wanting either a Grounds or Show Court ticket - with many even arriving the night before and camping to guarantee a place. Upon arrival, visitors are issued a Queue Card, which is numbered and dated and should be kept until a ticket has been purchased. While there is a limited number of entries, it is possible to remain in the queue and wait for people already inside to leave, with those tickets then becoming available. It is also possible to check the status of the queue on the Wimbledon website. This year, organisers are asking potential queuers to download the Wimbledon app and create a myWimbledon account. Show Tickets If you get to the front of the queue, then there are a limited number of tickets available for purchase for Centre Court and Courts 1, 2 and 3. Note that Centre Court tickets are available for the first 10 days of the tournament, the final four days were already pre-sold. Prices vary depending on the Court, seat and day of the event and will increase the further into the tournament you visit. For example, Centre Court rows A-T cost £105 on Day 1 and £315 on Day 14 (men's final). Grounds Pass A Grounds Pass costs £30 and allows visitors to watch matches on Courts 3-18 on unreserved seats, though there will also be a queue to get into Court 3. Ticket Resale From 3pm each day, tickets may become available from people who have left Wimbledon and made their seat available. A Grounds Pass is needed to join the virtual queue on the Wimbledon App. Tickets cost £15 for Centre Court or £10 for Courts 1/2. Hospitality There are a range of hospitality packages still available on the Wimbledon website. Hospitality packages offer guaranteed premium seating to major matches as well as fine dining experiences, complimentary drinks, a shuttle and concierge service. Hospitality packages can also be purchased via Seat Unique. Secondary Markets Sites such as StubHub offer tickets for the main courts for specific days and times. *Please note that StubHub and similar secondary ticket resale sites may list tickets above face value.* Cavaday will not be courtside but Mark Petchey – a respected TV analyst – will be in the stands, orchestrating her training plans and giving out orders. Raducanu axed Vladimir Platenik as coach after one match in Miami after it was revealed the Slovakian had previously branded the prospect of working with her as 'coaching suicide' in an interview. Working with people who knew her before she became mega famous is something she values. Trust is an important element when it comes to whom she lets into her inner circle having been burned in the past. Raducanu said: 'You're not going to feel so comfortable all the time. 'To have those moments where you maybe open up and you're honest and you show a bit of vulnerability, you kind of only want to do that with people you're close to and can trust. 'You don't want to do the same or go into the same detail, if it's someone you don't fully trust. 'Sometimes also maybe your behaviour isn't perfect, so for them to kind of know that it's not personal. 'You're just kind of carrying a certain amount, and you just need to let certain things out. It's very helpful to know they're not going to take it personally. 'In the past, I couldn't speak out really, because I didn't want what I said to kind of be shared and spoken and gossiped about. 'Because you know how Chinese whispers go. It's just exaggerated and things are twisted.'
The Guardian
20-06-2025
- Entertainment
- The Guardian
Research confirms that Samson and Delilah is a Rubens
Re your report (A £2.5m dud? Fresh doubt cast on authenticity of National Gallery Rubens, 15 June), I'd like to draw readers' attention to the recent publication of detailed art-historical and technical research on the National Gallery's website confirming the attribution of Samson and Delilah to Peter Paul Rubens. This extensive study, conducted by our curatorial and scientific teams using the latest imaging and analytical techniques, provides compelling evidence in support of the painting's authorship. It offers transparency around our research process and contributes meaningfully to the wider field of art-historical scholarship. Given the interest and debate this painting has attracted over the years, we hope this publication will be of value to scholars and the public FinaldiDirector, the National Gallery Have an opinion on anything you've read in the Guardian today? Please email us your letter and it will be considered for publication in our letters section.
New York Times
18-06-2025
- Entertainment
- New York Times
Vicki Goldberg Dies at 88; Saw Photography Through a Literary Lens
Vicki Goldberg, an influential photography critic and the author of a lauded 1986 biography of Margaret Bourke-White, the pioneering and colorful Life magazine photographer, died on May 29 in Manhattan. She was 88. Her death, at an assisted living facility, was caused by brain cancer, her son Eric Goldberg said. Though she was trained as an art historian, Ms. Goldberg began writing about photography in the 1970s, when the medium was having a renaissance after a postwar lull. At the time, said Mary Panzer, a historian of photography and an independent curator, 'much of the criticism was written by men and appeared in the photography press, such as Popular Photography and Modern Photography, and was directed at professionals, hobbyists and the eccentrics who considered photography something more than a collectible.' 'Goldberg,' she added, 'brought a broad education, insatiable curiosity and relentless ambition to her work. She showed us that photography was part of our social and cultural landscape.' Ms. Goldberg had a windfall in the case of Bourke-White. In 1973, two years after the photojournalist's death, 8,000 of her photographs and other artifacts were discovered under a stairway in her house in Darien, Conn. Bourke-White had burned most of her diaries, Ms. Goldberg told The New York Times in 1986, but had 'saved everything but the Kleenex,' including menus, receipts and Time Inc. memo pads. On one pad she'd written, 'Should I marry Erskine Caldwell?' (She and the novelist had a brief and stormy marriage.) Ms. Goldberg pored over the trove for an article in New York Magazine, and soon embarked on her Bourke-White biography. Want all of The Times? Subscribe.
Bloomberg
15-06-2025
- Business
- Bloomberg
Want to Get Ahead in the Age of AI? Skip College
Save This is Bloomberg Opinion Today, a space-as-document for Bloomberg Opinion's opinions. On Sundays, we look at the major themes of the week past and how they will define the week ahead. Sign up for the daily newsletter here. When people wonder what was behind my meteoric rise to the journalistic pinnacle of weekend newsletter writer, they often assume I must have gone to a prestigious journalism school (nope), studied finance or economics (nope), gained practical experience at a major Wall Street bank or interned for Jordan Belfort (nope, and if only). Rather, it comes down to my fateful decision to major in that noble if much mocked discipline, art history. Which helps explain why I didn't hit the roof when my daughter broke the news that we were sending her university a quarter million bucks so she could do the same. Before it's here, it's on the Bloomberg Terminal
