The Guardian’s picture editors select photographs from around the world

Unfettered love for late photographer in France and elsewhere stands in contrast to occasional reservations in UK

The death of Martin Parr, the photographer whose work chronicled the rituals and customs of British life, was front-page news in France and his life and work were celebrated as far afield as the US and Japan.

If his native England had to shake off concerns about the role of class in Parr’s satirical gaze before it could fully embrace him, countries like France have long revered the Epsom-born artist “like a rock or a movie star”, said the curator Quentin Bajac.

Photographer Janette Beckman and curator Julie Grahame have organized a one-time fundraiser for the ACLU that showcases images of musicians who have recorded protest songs or are known for their activism. Forty-three photographers have donated images of 50 artists, from John Lennon to Nina Simone to Bad Bunny, and 100% of the profits will go towards the ACLU and their efforts to protect equality, freedom and rights. In addition to the images there is a playlist of songs for the fundraiser.

As the first learning-disabled artist to win the UK’s most prestigious art award, Kalu has smashed a ‘very stubborn glass ceiling’. Her facilitator reveals why her victory is so seismic – and the secrets of her party playlist

The morning after the Turner prize ceremony, the winner of the UK’s most prestigious art award, Nnena Kalu, is eating toast and drinking a strong cup of tea. Everyone around her is beaming – only a little the worse for wear after dancing their feet off at the previous night’s party in Bradford, and sinking “a couple of brandies” back at the hotel bar. I say hello to Kalu, offer my congratulations, and admire the 59-year-old’s beautifully manicured creamy pink nails. But the interview is with her facilitator, Charlotte Hollinshead, who has worked with the artist since 1999. Kalu has limited verbal communication skills; she has learning disabilities and is autistic.

As for Hollinshead, she is struggling to encapsulate the enormity of the win: for Kalu herself; for ActionSpace, the organisation that has supported her for 25 years; and for the visibility and acceptance of artists with learning disabilities within the wider art world. “It’s unbelievably huge,” she says. “I have to think back to where we started, when there was absolutely no interest whatsoever. I’d sit at dinner parties with friends in the art world. Nobody was interested in what I did, or who we worked with. We couldn’t get any exhibitions anywhere. No galleries were interested. Other artists weren’t interested. Art students weren’t interested. We have had to claw our way up from the very depths of the bottom.”

Ghana’s capital is a party and entertainment hub but members of the diaspora would do well to experience its spectacular art scene

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After more than 50 editions surfing across the waves of the global Black diaspora with Nesrine, this will be my final dispatch for the Long Wave, as I move on to a new role on the Opinion desk at the Guardian. I am heartbroken to be leaving, but I am so thankful to all of our readers for being so encouraging and engaged throughout the past year.

Any who, time to cut the sad music (this is my farewell tune of choice), as I have one more edition for you. In late autumn, I took my first trip to Ghana for Accra Cultural Week. While there, I visited the historic area of Jamestown, which was reflected in an exhibition by artist Serge Attukwei Clottey.

‘I was told not to go to St Charles as it was too dangerous. I went and was struck by how free the kids are. They’re not afraid of the region’s rattlesnakes’

I visited the Appalachian mountains for the first time in my mid-20s, after deciding I needed to get away from my inner circle in Sweden to find my way into photography. I felt I had to be by myself, just responding to things happening around me and not thinking about my daily life.

America played a big part in my family history, and the Appalachians called to me in particular because at that time, around 2006, I’d been listening to a lot of bluegrass music. I wanted to get closer to people who lived in the place where it originated – music has always been a big inspiration for me. While driving in the mountains with no particular destination in mind, I met a social worker who told me: “Whatever you do, don’t go to St Charles.” She said something about it being too dangerous, which made me curious.

Veteran set decorator Lauri Gaffin has spent a career dressing up films from indie classics to blockbusters. Her new photographic memoir takes us behind the scenes of this ever-changing job – and on the hunt for wolves’ penis bones

The closer you get to Kalu’s endless sinewy trails of old VHS tape, the harder it is to know where their forms stop and the space around them begins

• Nnena Kalu becomes first artist with a learning disability to win Turner prize

Nnena Kalu’s forms come at you with their almost alien unknowable presence. They bulge and bifurcate and multiply. The viewer gets caught up in all the roaring, spilling, snaggling details, and you begin to wonder about your own boundaries, the body’s beginnings and its endings. The closer you get to Kalu’s endless sinewy trails of old VHS tape, their spews of filigree plastic webbing, their bound-up, sometimes cable-tied suturings, the harder it is to know where their forms stop and the space around them begins. Their containment is precarious. So full of life and energy, you think they might burst.

Kalu’s art is so embodied, so sensuous, so much a trace of her constant, physical engagement, so much a negotiation between the body that made it and the bodies she creates, it becomes difficult to distinguish between the activity of making and the thing itself. This was true, too, in the figures Giacometti made in his room filled with plaster dust. But Kalu’s art is not reducible to anything we might call a technique, and comparisons with other artists are not much help.

Chair of 2025 judging panel says win ‘begins to erase that border between the neurotypical and neurodiverse artist’

• Nnena Kalu’s embodied, sensuous art makes her a worthy Turner prize winner

Nnena Kalu has won the 2025 Turner prize for her colourful drawings and sculptures made from found fabric and VHS tape, becoming the first artist with a learning disability to take home the £25,000 prize.

Alex Farquharson, chair of the jury and director of Tate Britain, said the win by the British-Nigerian represented a watershed moment for the international art world.

With a sharp eye and saturated colours, Parr’s photographs revealed the world in all its eccentric glory. Here, his friends, peers and collaborators pay tribute to a master

Grayson Perry, artist
I’ve never really been a fanboy, but the first time I saw Martin Parr I ran up and drunkenly hugged him. I said: “I love you Martin Parr!” I couldn’t help it. He was a hero of mine. And over the years he became my best artist friend.

Over 120 years ago, a monumental work recording more than 500 species of tree in Britain and Ireland was published. A new version focuses on the pioneering images it contained

The work of surgeon and artist Joseph Maclise is the focus of a show at the Thackray Museum of Medicine in Leeds

It is an image of an unnamed black man with his eyes closed and his innards exposed. Drawn with care and precision, the image may be the only anatomical drawing of a black body made during the Victorian age.

Now it is part of a new exhibition that focuses on the work of Joseph Maclise, a surgeon and artist whose work – including his 1851 atlas Surgical Anatomy – made the human anatomy accessible to the general public, and who was the brother of the celebrated artist Daniel Maclise.

‘I handed a guy a starting pistol for a stick-up scene. But instead he reached into his car and took out the sawn-off shotgun you see in the movie’

I was part of the New York graffiti artists the Fabulous 5, who were primarily known for painting whole subway cars on the Lexington Avenue line. Lee Quiñones was the group’s Michelangelo. I’d been running with Jean-Michel Basquiat and wanted to take graffiti art into art spaces. I thought that an underground independent film could tell our story in the way we wanted.

Inside Presence, the Icelandic-Danish artist’s epic new show in Brisbane, what you see changes based on where you stand or how you look – crucial when it comes to tackling the climate crisis

I gasp as it comes into view: an enormous sun looming above, its surface roiling with what looks like thousands of tiny atomic explosions. It seems to notice me as well: when I stop, it stops too. It’s both awe-inspiring and unnerving.

In the mirrors around the glowing orb, I spot Icelandic-Danish artist Olafur Eliasson – globally renowned for large-scale installations that challenge your sense of perception – posing for selfies with the crowd.

A brilliantly human photographer, he celebrated the overlooked, finding beauty in cheese sandwiches at a church fete or people queuing for ice cream at the beach – all while poking fun at Britishness

• Martin Parr dies aged 73
• Martin Parr: the photographer’s career in pictures

Martin Parr looked like “a naff birdwatcher”, according to his editor Wendy Jones. His appearance was so unassuming that he told me during a recent public talk, that while he was taking pictures during a recent seaside trip, some passersby remarked that he was “a bit like Martin Parr”. Unbothered by glitz and glamour, for more than five decades Parr purposefully pursued the most boring things he could find – he was unapologetic about the excitement he saw in a perfect cup of tea, a plate of beans on toast, or a woman filling up her car at a petrol station. He also knew that, with time, these supposedly dull things would become interesting.

Parr took delight in looking, without flattery, at the things you thought you already knew. In a Parr picture, beauty is not always graceful – the overflowing rubbish at New Brighton beach, the cucumber and cheese sandwiches wrapped in clingfilm at Shalfleet church fete (with the sign, please do take ONE cherry tomato). He made the mundane magnificent with his panache for saturated colours and surprising compositions. He was masterful at capturing the unexpected and unchoreographed interruptions that reveal the unpolished truth of the ordinary moment. He understood that the fluorescent glow of a chip shop could be as revealing as a cathedral; that the colour of a plastic beach bucket could anchor the entire mood of a nation; that the way a stranger holds a sandwich or an ice-cream speaks of class, of longing, of place, of the small stories that batter or buoy us daily. This radical attentiveness – this celebration of the overlooked – is what made Parr one of the most human photographers of our time.

Painting of Enlightenment figure, whose constitution for the island inspired revolutionaries in US, is up for auction

Thirty years ago, a painting by the British artist Sir William Beechey was sold as “portrait of a man”.

The anonymous buyer, however, knew precisely who the unnamed man in the picture was: Pascal Paoli, the 18th-century Corsican independence leader and icon of the Enlightenment.

From sunbathers to Conservative clubs, Parr’s images were often in vivid colour with more than a dash of humour

• Martin Parr: the photographer’s career in pictures

• ‘There’s something very interesting about boring’: Martin Parr on his life in pictures

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.