The color and light burst from the photograph with otherworldly beauty.

Sunlight pokes past ominous looking clouds above the angular facade of the Indiana State Museum. Bronze sculptures of running deer burst through mist and golden-hued water of a fountain. The amplified colors of autumn play off the deep blue sky reflected in an Indianapolis pond.

Wesley Montgomery-Bell has a keen eye for finding scenes of sublime beauty and capturing them with his camera. But it is his skill at digitally altering the photographs that add that surreal quality.

“It doesn’t look like anything you’d go and take a photo

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The World Trade Center has been part of Camilo José Vergara‘s life since 1970. That was the year the Chilean-born photographer moved to New York, and the year he began what has grown into a 51-year commitment to photographing the site, from the construction of the twin 110-story towers in the early ’70s to their destruction on September 11, 2001, to its memorialization and gradual redevelopment.

Vergara’s 51 years of photographs are the subject of a new exhibition now on display at the National Building Museum in Washington, D.C. The photos track the turbulent life of the World

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Some of the major auction houses and galleries are not yet on the “art market participants” list
Photo: Images Money

The UK’s implementation of the EU’s fifth Money Laundering Directive required art market participants (AMPs—those dealing in transactions equivalent to €10,000 or above) to register by 10 June 2021, after regulations were first introduced in 2020. Despite this lengthy lead in, HMRC data shows that 50% of participants were registered between April and June 2021, with 20% registered in the final month. Some of the major auction houses and galleries are not yet on the list (including Sotheby’s), seemingly a

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On the second-floor exhibition space of Jerusalem’s HaMiffal, dozens of opening night visitors were glued to the projection of intricate ladders, fans and chairs crawling across the wall, loop after loop. For those responsible for the space, the moment was equally enchanting — because it wouldn’t have been possible just a year ago.

Five years ago, the original HaMiffal collective transitioned from temporary installations into a single residence. Its organizers took an abandoned, dilapidated 19th-century building a stone’s throw away from the luxurious Waldorf Astoria Hotel, and transformed it into a shared space for art and cultural events. Perhaps riffing

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