From aerial footage of an Indian pilgrimage to portraits of Romanians in bear costumes, this year’s awards featured stunning images from the streets of 23 countries

Canadian Centre for Architecture, Montreal
The birth of the People’s Republic is seen as a time of drab buildings. But this dazzling show, featuring a factory in a cave and a denounced roof, tells a wildly different story

In 1954, an issue of Manhua, a state-sponsored satirical magazine in China, declared: “Some architects blindly worship the formalist styles of western bourgeois design. As a result, grotesque and reactionary buildings have appeared.”

Beneath the headline Ugly Architecture, humorous cartoons of weird buildings fill the page. There is a modernist cylinder with a neoclassical portico bolted on to the front. Another blobby building is framed by an arc of ice-cream cone-shaped columns. An experimental bus stop features a bench beneath an impractical cuboid canopy, “unable to protect you from wind, rain or sun”, as a passerby observes. “Why don’t these buildings adopt the Chinese national style?” asks another bewildered figure, as he cowers beneath a looming glass tower that bears all the hallmarks of the corrupt, capitalist west.

‘I wanted to make a perfect square with my body. My back hurt for days afterwards. People often want to know if the kitten is real’

I’ve thought a lot about the time I made this image. In my 20s, I was living in New York. Then I broke up with my long-term partner in 2019 and I sort of didn’t really know how to cope any more. I didn’t feel creative – my whole experience of living in New York was tied to that relationship, and I felt I needed to go somewhere else and start over. I moved to Austin, Texas – I thought I’d give it a go for a bit.

I was doing a lot of tinkering at home, and I started doing a lot more self-portraits and let my psyche run wild. At this point, in 2021, one of my friends, Mike, was living in a 1940s building in East Austin, with old popcorn ceilings, really cool mouldings and outlet covers and original details, including the fireplace. It was inspiring to be there.

David Gentleman’s brilliant career spans eight decades, from watercolour painting to tube station murals to drawing the Tottenham riots. Here his daughter, the Guardian journalist Amelia Gentleman, dispenses his invaluable advice

When we were children, my father, the painter David Gentleman, never offered much advice to me or my siblings. If we wanted to draw, he would hand out pencils and let us get on with it. He was encouraging, but never gave us instructions. If we were enjoying ourselves, more paper was available; but if we wanted to go and do something else, that was fine too. The idea of teaching people how to do things still makes him uncomfortable, so his latest book, Lessons for Young Artists, has come as a surprise to us all. At 95, he has attempted to distil everything he has learned about working as a painter since the late 1940s into clear advice. These lessons are not aimed exclusively at art students, or even at older people who want to paint, but are for anyone wondering how to build a life and career as a creative person.

I haven’t inherited his artistic talents, but I have picked up other important things from growing up with someone who has managed to spend the past eight decades earning a living from what he enjoys doing most. Over the past two years, as he wrote this book, I’ve spent hours in his Camden studio, talking about painting and drawing and helping him search for pictures to illustrate his ideas. Here are 10 things I’ve learned from a lifetime watching him work.

Moving from one avant garde movement to another during the 1920s, the American photographer’s work helps tell the story of the birth of modernism

Peter Hujar captured a queer Manhattan demi-monde that is now lost to Aids. Whishaw reveals what he learned playing the photographer in a minimalist film being hailed by some as a masterpiece

On 19 December 1974, the writer Linda Rosenkrantz went round to her friend Peter Hujar’s apartment in New York, and asked the photographer to describe exactly what he had done the day before. He talked in great detail about taking Allen Ginsberg’s portrait for the New York Times (it didn’t go well – Ginsberg was too performative for the kind of intimacy Hujar craved). He also described the Chinese takeaway he ate and how his pal Vince Aletti came round to have a shower. And he fretted about not being paid by Elle magazine.

So what did Ben Whishaw, who plays him in the new film Peter Hujar’s Day, do himself the day before? The actor, on a video call from his home in London, rubbing his hands through his hair in a worried manner, says he could probably describe it in “about five sentences”, but after some persuasion attempts to give a flavour. “I got home from filming and I got the chicken that I’d cooked the previous day and eaten half of and I finished it. Well, not finished it but continued eating it and then had a glass of wine and fell asleep at half past nine. Boring. But, um, maybe there’s no such thing as boring.”

From tender coming of age stories to images that question the meaning of home, Ed Alcock’s photography blurs the personal with the political