Martin Parr, the British documentary photographer who captured the peculiarities of the nation with clarity and hilarity, has died aged 73. He had been diagnosed with cancer in May 2021.
A statement from the Martin Parr Foundation on Sunday said: “It is with great sadness that we announce that Martin Parr died yesterday at home in Bristol.
From his home town of Los Angeles, the architect designed a career around defying what was predictable
In Frank Gehry’s world, no building was left untilted, unexposed or untouched by unconventional material. The Canadian-American architect, who died in his Los Angeles home at 96, designed a career around defying what was predictable and pulling in materials that were uncommon and, as such, relatively inexpensive.
Gehry collaborated with artists to turn giant binoculars into an entryway of a commercial campus, and paid homage to a writer’s past as a lifeguard by creating a livable lifeguard tower. And while dreaming this up, he transformed American architecture along the way.
He made buildings that looked like slouching drunks and quarrelling couples but it was the Spanish museum that secured his ‘starchitect’ status – a creation that became something of a curse
Frank Gehry once had a cameo in The Simpsons in which he designed buildings by scrunching up pieces of paper. There was a bit more to it than that, but from Prague to Panama City, his scrunched contours were instantly recognisable, expressed in an exuberant parade of buildings that cranked and slumped as if hit by a wrecking ball, or crashed and whirled like dervishes, defying laws of gravity and structural logic. Though Gehry, who has died aged 96, came of age in the era of modernism, it was as if he were physically incapable of drawing a straight line.
In his prime, Gehry’s architecture was a rebuff to modernist imperators such as Mies van der Rohe and his po-faced injunction, “less is more”. The American postmodern theorist and architect Robert Venturi turned it on its head, quipping “less is a bore”. It summed up the maximalist Gehry perfectly.
How the photographer captured this split image of sardine fishermen taken from above
Freelance photographer Ahmad Mansour was visiting Al Max, a fishing neighbourhood in Alexandria, Egypt, when he took this image on his mobile phone. Mansour was there with friends, documenting the area and the fishermen who resided there.
“The sun was bright and it was very loud; the water was running strongly and the men were shouting,” Mansour says. “I climbed a small building to reach this vantage point above the men with the sardines. I love the top view angle; I’d been inspired by another image that was split that way and it suited the colours to balance them like this, too.”
Zaghari-Ratcliffe made clothes for her daughter while waiting for her eventual release. Now, the idea of creativity as a form of resistance is the theme of a new collaboration between London’s Imperial War Museum and the fabric department of Liberty.
When Nazanin Zaghari-Ratcliffe returned home to London after six years of arbitrary detention in Iran, she brought back with her a small patchwork cushion. Pieced together from scrap material and made with the single sewing machine available in the prison, it was the product of a communal craft circle.
“It’s something very, very precious to me,” she said. So precious, in fact, that she has worked on a new collaboration between London’s Imperial War Museum (IWM) and the fabric department of Liberty, creating three new prints that explore experience as a prisoner.
Frank Gehry, one of the most influential and distinctive talents in American architecture, died on Friday at his home in Los Angeles following a brief respiratory illness, his chief of staff confirmed. He was 96.
Gehry, the most recognizable American architect since Frank Lloyd Wright, was one of the first to embrace the potential of computer design, and pioneered a distinctively exuberant style of bravura power, whimsical and arresting collisions of form. His most famous work remains the Guggenheim Museumin Bilbao, a fantastical, titanium-clad composition on the Nervión Riverwhich received international acclaim upon its opening in 1997, heralding a new era of emotive architecture.
Russian airstrikes in Kyiv, floods in Colombo, the cold moon in Gaza and Trump at the World Cup draw: the past seven days as captured by the world’s leading photojournalists
The British Museum is infused with Sufi spirit, Henry VIII’s storied Ottoman dagger gets its own show, Rego’s art is renewed and a Fabergé sets a new record – all in your weekly dispatch
Henry VIII’s Lost Dagger A curious quest for the Tudor tyrant’s lost, highly phallic dagger in the house where modern gothic began.
• Strawberry Hill House, London, until 15 February
The coffee brand Lavazza engaged Alex Webb, a contemporary street photographer from the Magnum Photos agency, for its 2026 calendar, which explores the rich tapestry of elements that make up the Italian lifestyle
Wonderful art, amazing design and beautiful locations have drawn our tipsters to chapels, churches and cathedrals from Norway to Bulgaria
• Tell us about a great charity challenge you’ve taken part in – the best tip wins a £200 holiday voucher
The Tromsøysund parish church, commonly called the Arctic Cathedral, in Tromsø is a modernist delight. The simple, elegant exterior that reflects the surrounding scenery and evokes traditional Sami dwellings is matched by an interior that has the most comfortable pews I have ever sat on. The stunning glass mosaic titled the Return of Christ at one end may not be to everyone’s taste, but to me had power and majesty. Exiting this magnificent building after an organ recital to be met by the northern lights flickering overhead was awe-inspiring. Bruce Horton
The Florida-based art gathering is spearheaded this year by artists from Brazil, Mexico, Argentina and Panama
Whether it’s literally bringing Panamanian soil to Miami, or subverting the messages of Mexican religious cults by appropriating their iconography into tile murals dripping with sexual innuendo, Latin American artists at Art Basel Miami Beach this year are finding ways to reinvent their cultural heritage as surprising and fantastic pieces of art.
The Mexican artist Renata Petersen, originally from Guadalajara, has outfitted her Art Basel booth with three collections that may at first appear disconnected – intricate murals made from tiles and covered slogans and iconography, 80 chrome-blown glass works that look slightly like chess pieces but are actually derived from sex toys, and ceramic vases sporting carefully arranged motifs. For Petersen, these works spring from a childhood lived with her anthropologist mother, where she learned to look at cults and other religious movements with a detached eye.
As the band celebrate their 60th anniversary, a California exhibition draws attention to the unique psychedelic artwork that has long told their story
Artist Bill Walker is one of those guys who always seems to be in the right place at the right time. Having met Phil Lesh, the Grateful Dead bassist and avant-garde classical composer, as a student at Nevada Southern University (now the University of Nevada, Las Vegas), Walker was invited in 1967 to make an album cover for the band’s second album, Anthem of the Sun. This experience led to an epic LSD and ayahuasca trip in the Valley of Fire outside Las Vegas over New Year’s Eve and when Walker returned to San Francisco, he painted Anthem of the Sun, complete with figures he came across in the desert.
The Anthem of the Sun painting visually demonstrates the intense innovation that happened in the psychedelic revolution, when music was electrified and LSD became central to the burst of culture that defined the 1960s. The Grateful Dead encapsulated this spirit in their music and came to be considered the most American band of all time for being at the center of the psychedelic movement and its transition from the Beat generation that preceded it.
The imposing concrete buildings that defined British postwar architecture held a vision of the future – but many fell into disrepair. A new book finds the finest examples
Artist who once draped Barbican in brightly coloured fabric says he is humbled by recognition in ArtReview rankings
The Ghanaian artist Ibrahim Mahama has become the first African to be named the most influential figure in the art world in ArtReview magazine’s annual power list.
Mahama, whose work often uses found materials including textile remnants, topped the ranking of the contemporary art world’s most influential people and organisations as chosen by a global judging panel.
‘When I saw him leaning back on the floor, I said, “Donato, please don’t move!” Then I jumped on a ladder and shot him from above’
This image is part of a series commissioned by the Italian Paralympic Committee. They asked me to photograph the country’s leading athletes before the 2024 Paralympic Games in Paris. I probably covered 30 different people over three days – I’m a quick shooter. I started out photographing on film, which is still my preferred medium. Even when I’m shooting digitally, I’m very selective and take care with every click.
On a logistical level, it was much easier for me to work in a studio, though that was something I don’t usually choose to do. I’m more of an outside photographer: I like to go on location or shoot people in a park.
It contains enough steel to go round the world twice – and even has a fake breeze to flutter the stars-and-stripes flag in its lobby. If this $4bn colossus is just the first of a new breed of bulky supertalls, is Britain next?
Among the slender needles and elegant spires of the Manhattan skyline, a mountainous lump has reared into view. It galumphs its way up above the others, climbing in bulky steps with the look of several towers strapped together, forming a dark, looming mass. From some angles it forms the silhouette of a hulking bar chart. From others, it glowers like a coffin, ready to swallow the dainty Chrysler building that trembles in its shadow. It is New York’s final boss, a brawny, bronzed behemoth that now lords it over the city with a brutish swagger.
Fittingly, this is the new global headquarters of JP Morgan, the world’s biggest bank. The firm enjoys a market capitalisation of $855bn (£645bn), more than Bank of America, Wells Fargo and Citigroup’s combined, and it looks as if it might have swallowed all three inside its tinted glass envelope. Last year, for the first time, it made more than $1bn a week in profits. Chairman and chief executive Jamie Dimon likes to boast of its “fortress balance sheet”, and he now has an actual fortress to go with it – built at a cost, he revealed at the opening, of around $4bn. He has certainly made his mark. It would be hard to design a more menacing building if you tried.
In her portraits from an overcrowded Venezuelan detention centre, Ana María Arévalo Gosen captures the frustration of women desperate for news from their lawyers and families
This photograph was taken inside the Poli-Valencia detention centre, where I began to understand what imprisonment means for women in Venezuela. The room had once been an investigation office, converted into a cell after authorities decided to move the women out of the main area, where they had been held alongside male detainees.
When I returned a year later, the space had been transformed. The women had made it their own, covering the walls with names, phrases and small drawings of hearts, even taping up a poster of the Colombian singer Maluma. What had once been a sterile office now held traces of their presence, their effort to hold on to a sense of identity in a place meant to erase it.
Jack Lueders-Booth has been racing, repairing and photographing motorbikes for decades. His new book captures those people who crave the risk and romance of the road
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