The Easel

10th February 2026

Prisoner of war

Alice Inggs | The World of Interiors | 6th February 2026

McCullin, for decades a war photographer, brought defining images of 20th century conflicts to British breakfast tables. As he tells it, that career was harrowing and, at times, left him feeling he had been “stealing from people’s lives by taking their images”. Nowadays he takes moody landscape images of Somerset and serene studies of Roman sculptures. These are arresting images but, observes one writer, “it is in proximity to devastation and death that McCullin’s work feels most alive.”

3rd February 2026

William Eggleston: The Last Dyes at David Zwirner

J Scott Orr | Whitehot Magazine | 17th January 2026

Eggleston caused a furore when his first show at New York’s MoMA featured colour photography. The rich colours he used commonly appeared in advertising, causing critics to call his work garish and an affront to fine art photography. At issue was a Kodak dye process (long since discontinued) that created colours so intense that images “acquired dimension”. Says one artist, Eggleston’s work was “one of the most perfect combinations of medium and subject in the entire history of art.”

The Woman Who Immortalized the Bauhaus

Alice Rawsthorn | Aperture | 23rd January 2026

The Bauhaus is usually portrayed as a mostly male affair. Lucia Maholy arrived at the school as the wife of renowned artist Maholy-Nagy and became its unofficial resident photographer. Her “immaculately composed” still lifes of design objects defined a “radically new style of industrial photography”, while her “dispassionate” images of the school’s architecture still define our perceptions of the institution. Those images were later taken and used without attribution, making them famous but not her.

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