From a CityLab.com online article:
The city’s great unifier and appeal is its cuisine, especially the street-food: corner quesadillas, fast food tents outside of subway stops, stews served over hand-made tortillas, deep fried chicken tacos, tacos topped with rice served from street stands or a make-shift diner in the back of a van. In Mexico City, one can find great food everywhere at any price-point and at any time of day.
Among the hundreds of markets in Mexico, every person finds the one best attuned to their needs and desires. In 52 years, I have visited my markets hundreds, perhaps thousands of times. In that time, my father passed away, as did the fisherman from the now defunct El Barco in San Juan, and, recently, the woman, who sold me lush, grainy yellow morel mushrooms. When I told my daughter about her passing, she too felt a pang in her heart. She can crystalize her image from memory; the tight, white braids, the rebozo she used to lay out the mushrooms and the fact that if those mushrooms made their way into our supper, she knew exactly where they came from. I courteously called her “La señora” for so many years that I now question if I knew her name to begin with.
That’s how I felt while visiting “Homer at the Beach: A Marine Painter’s Journey, 1869-1880,” an intimate exhibition at the Cape Ann Museum. The show is handsome, historically rich and perfectly positioned here at this harbor venue, which devotes galleries to regional maritime and fishing artifacts, local decorative arts, Gloucester sea captain Elias Davis ’s house and the works of the renowned illustrator and marine painter Fitz Henry Lane (1804-1865), a Gloucester native with whom Boston-born Winslow Homer (1836-1910) had much in common.
From the top floor of a 1920s building in Hackney, in the East End of London, Favre’s confidence is at a peak. The bold, graphic style she has developed over the last fifteen years attracts prestigious projects. When she was invited to design the poster for this year’s Montreux Jazz Festival, held every summer in Switzerland since 1967, she became part of a group that includes Milton Glaser, Andy Warhol and Keith Haring. Her poster is full of female silhouettes dancing, the negative spaces between them forming instruments.
Favre is a French artist based in London.
This focused installation features pastels by four artists whose work was shown in the Impressionist exhibitions: Mary Cassatt, Edgar Degas, Eva Gonzalès, and Berthe Morisot. Their subjects range from scenes of modern life, such as ballet performers and a woman working in a hat shop, to depictions of intimate moments of bathing and women with children.
Pastel, a medium used to draw on paper or, less often, on canvas, is made by combining dry pigment with a sticky binder. Once artists have applied the pastel to the surface, they can either blend it, leave their markings visible, or layer different colors to create texture and tone. Pastel portraits had previously gained popularity in France and England in the 18th century, but fell out of fashion with critics when pastel was deemed too feminine; not only was it used by women artists, but it had a powdery consistency similar to women’s makeup. The Impressionists rejected this bias and instead embraced the medium’s ability to impart immediacy, boldness, and radiance.
To many nature photographers, no muse is quite as magical as a field of flowers. This tried and true subject is particularly popular with aerial photographers, whose atmospheric shots allow us to explore the mesmerizing meadows from soaring perspectives. One photographer taking this trend to new heights is 
Giovannoni describes it as “immersive omnidirectional” sound with richer bass. “It feels like you’re inside the song,” says one wide-eyed subject in 
Patty Smyth & her band Scandal
I have always loved the ocean and also photography. I started taking pictures as a teenager and was very inspired by black and white masters like Ansel Adams and 
Boomers Daily 