Typically gravitating toward dreamy palettes of soft blues, grays, and oranges, Scottish artist Andrew McIntosh opts for a sanguine red in a new body of work. The crimson paintings continue McIntosh’s otherworldly landscapes that cast familiar forms like mountains and valleys in a strange, uncanny light. Glowing orbs float among the craggy terrain and veil the scenes in mystery.

“These works sit somewhere between memory and invention—familiar landscapes interrupted by something I don’t fully understand,” the artist says.

On view at School Gallery, these bold pieces comprise the artist’s solo exhibition, I Hope This Transmission Finds You Soon. Evoking alien communication and the unknowns that surround us, even in recognizable spaces, the show draws on Cormac McCarthy’s 1985 novel Blood Meridian, a Gothic Western rife with violence and an unyielding desire for dominance.

The gallery offers insight into the exhibition with an apt quote from the book:

The truth about the world … is that anything is possible. Had you not seen it all from birth and thereby bled it of its strangeness it would appear to you for what it is, a hat trick in a medicine show, a fevered dream, a trance be populate with chimeras having neither analogue nor precedent, an itinerant carnival, a migratory tent show whose ultimate destination after many a pitch in many a mudded field is unspeakable and calamitous beyond reckoning.

I Hope This Transmission Finds You Soon is on view through May 30 in Folkestone, U.K. Find more from McIntosh on Instagram.

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Despite its name, the Canadian Tuxedo is a distinctly American look. The denim-on-denim getup dates back to the 1950s, when Bing Crosby sported a full Levi’s ensemble while in Vancouver, setting a sartorial trend that continues today.

The national mythology woven into this utilitarian material is also the focus of Brooklyn-based Nick Doyle, who layers denim atop denim into large wall sculptures. From a pair of aviators reflecting puffy clouds to a vast Rocky Mountain landscape framed by brick, the works evoke a sort of nostalgic road trip west, as if chasing a big break, and ultimately, realizing the American dream.

For Doyle, denim is a poignant, loaded metaphor for much of American culture and history. The material has roots in chattel slavery, when people enslaved in the South were dyeing cotton with indigo. There’s also its association with the brusque masculinity of James Dean and cowboy ruggedness, itself an extension of the gold rush and Manifest Destiny. The fabric, in many ways, is a stand-in for the contradictions, hypocrisies, and unreachable desires so bound up in American life.

While researching the visual language of Americana in 2018, Doyle came upon a roll of denim discarded by a fashion designer moving out of his building. “At the time, I had no money, so I was making work out of material I found in the garbage or at my local hardware store,” he shares. “As I was pulling [the roll] out of the trash, I noticed a network of ideas connecting in my brain… I felt the material reflected the historical complexities I was seeing in my research, as well as being reflected in my own familial history.”

This encounter was one of those providential moments that set off an enduring fascination. In his solo exhibition Collective Hallucinations, on view at Perrotin, Doyle presents the latest of his denim sculptures, including stylized cacti, landscapes cordoned off by chainlink fences, and more mystical objects like tarot cards and a life-sized fortune teller’s shop.

The show contains myriad symbols of American exceptionalism and individualism, presented in the heritage fabric of the nation. Doyle shares:

Over the last few years, my conception of American mythology has only become more complex… I think in a lot of ways what we’re experiencing now is a breakdown of these mythologies. They are in direct conflict with the current political reality, yet they are summoned as if it is business as usual. The world’s image of America has changed, but our country’s nostalgia for itself is making us late to the party. There’s tragedy in vanity.

Collective Hallucinations presents these unrealized dreams and confrontations in varying shades of blue, rendering what appears to be individual moments as simply different washes of the same story.

In addition to his practice, Doyle will soon open the second iteration of a kink bar called Human Resources at Basel Social Club and is working toward a fall exhibition of paper collages and prints at Pace. If you’re in New York, Collective Hallucinations runs through May 30. Otherwise, find more on Instagram.

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Known for his stunning photos of wildlife and landscapes, as well as co-founding SeaLegacy alongside fellow conservationist and photographer Cristina Mittermeier, Paul Nicklen has traveled the globe to not only highlight our planet’s phenomenal biodiversity but also to shed light on its increasing vulnerabilities due to the ongoing climate crisis.

Nicklen’s most ambitious project yet gathers myriad images from a career exploring the corners of the earth for more than three decades. Forthcoming from Hemeria, Reverence marks the most comprehensive collection of his work to date. The book features 160 photographs, including some of Nicklen’s most enduring images alongside others previously unpublished.

From the root-like system of the Colorado River delta to narwhals feeding on cod in the Arctic Bay off Baffin Island, Nicklen’s photos illuminate the vast and resilient beauty of the natural world. “Reverence is what we feel in the silent presence of a whale beneath the ice, in the fierce gaze of a polar bear, in the timeless dance of ocean and light,” says a statement. “It is what the natural world evokes when we stop long enough to truly see it.”

Reverence is slated for release on July 28, which is also World Conservation Day, and pre-orders are open now.

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Organized by Capture the Atlas, the 2026 Milky Way Photographer of the Year saw a record number of submissions, with more than 6,500 entries representing a wide range of landscapes and perspectives around the world. Just 25 were selected as the top images, representing 12 different regions from the Canary Islands to New Zealand to Argentina.

“Every year, this collection reminds us that photographing the Milky Way is not only about technique or planning. It is about curiosity, patience, and the desire to experience the night sky in places where it still feels wild,” says Dan Zafra, editor of Capture the Atlas and curator of the annual contest. “Many of these skies are becoming increasingly rare, and we hope these images inspire people not only to admire them, but also to value and protect them.”

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Home might be a mutable concept, but some objects retain the aura of belonging and comfort even outside the walls we reside in. For Monica Rohan, those items are patterned fabrics and bentwood dining chairs, which venture outdoors in her vibrant oil paintings.

The Brisbane-based artist has long depicted the supple folds and bright motifs of textiles, which tended to swaddle her characters or hide their faces among natural landscapes. Upholstered loungers and carved wood seats have similarly appeared in unusual spots, precariously holding a figure while nested in a slim hedge or slumping down a small hill.

In recent years, though, Rohan’s characters have slowly disappeared. Arms that once pulled back a curtain or reached out for stabilization are no longer present, leaving just the domestic objects in place. “I’ve found this quite freeing, allowing me to explore new ideas about the relationship between people and the landscape,” the artist tells Colossal, noting that bentwood chairs have become human stand-ins. “I love their elegant yet rickety construction, and I grew up with them around my kitchen table, so they’re a strong reminder of home for me.”

Many of the works shown here are part of this transition and will be shown this June at Sophie Gannon Gallery in Melbourne for Rohan’s solo exhibition, Invitations. Against dramatic alpine summits, fast-moving streams, and lush, springtime meadows—scenes derived from the artist’s hiking trip through Tasmania—plaid tablecloths and crocheted blankets float above the earth as if hung on an imperceptible line strung between two invisible poles.

“With their exaggerated patterns and strange billowing forms, they appear more ambiguous, wavering between unassuming decoration and smothering intrusion,” the artist adds. “From their precarious vantage points, the bentwood chairs no longer offer safe and restful repose. They invite the viewer to join their predicament.”

Explore more of Rohan’s paintings on Instagram.

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From recognizable scenes around her home in Scotland to delicately rendered snapshots of places she visits, Laura K. Sayers’ meticulously crafted postage stamps nod to connections from afar. The artist, who also illustrates children’s books and is commissioned for special projects like greeting cards, incorporates itty-bitty cuts of colorful paper into tiny tableaux that can fit in the palm of a hand.

Much of the work seen here is currently on view solo in Sayers’ solo exhibition of miniatures titled The Wee Small Hours at N. atelier. An array of everyday scenes is chronicled in a format we typically associate with significant events and remembrance, documenting fleeting moments like little treasures. Some of her recent pieces are inspired by the Finnish landscape that emerged during the artist’s stay at the Fiskars Artist-in-Residence program, organized by Onoma.

The Wee Small Hours continues through this weekend in Glasgow. And keep an eye out for a joint update from Tiny Art Show. Find more on Sayers’ Instagram.

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From rivers and oxbow lakes to crop-field patchworks and mineral sediments, Landsat has seen it all. A program of NASA and USGS, the satellite initiative has documented the Earth’s surface since 1972, making it the longest continuous record of our planet’s ever-evolving landscapes. And to mark Earth Day 2026, the organizations launched a playful way to interact with some of their findings collected over the past five-and-a-half decades—a name generator.

Using the tool is simple: type in your name, or any word, and Landsat returns it in the form of vertical snapshots of a wide range of terrain. Just like we see with composites of Mars, for instance, scientists have digitally enhanced some images to highlight specific features. Those used for “Your Name in Landsat” sport a wide array of hues, textures, and patterns that glimpse the diversity of our planet’s surface.

Landsat is an incredible resource that features time-lapses of changing land use over several decades. Even this playful name generator allows you to hover over individual images and learn the exact locations—down to the coordinates—and all of the program’s data is publicly accessible. For example, the “C” in “Colossal” above is a vertical view of a cloud-speckled Deception Island in Antarctica, and the “A” is the uniquely shaped Lake Mjøsa in Norway.

You might also enjoy Overview, a book that chronicles how the landscape has changed over time. Learn more about Landsat from NASA. (via PetaPixel)

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Growing up in the Australian Outback, where he first picked up a camera as a teenager to document his surroundings in the bush, Jon McCormack developed a keen eye for the beauty and subtleties of nature. Throughout his career, he’s stepped foot on all seven continents. Yet the idea for his new book, Patterns: Art of the Natural World, emerged from a period of quieter reflection.

Like many of us during the pandemic, McCormack’s travels were limited to his immediate area. He began visiting the same spots repeatedly and “discovered a new way of seeing, using photography to reveal the hidden harmony and symmetry of the natural world,” says a statement. Patterns, forthcoming from Damiani Books, draws upon this patient and attentive approach to nature’s rhythms, emphasizing its interconnectedness, resilience, and fragility.

The snapshots view slivers of our world from a range of perspectives, whether honing in on the recurring features of crystals or flying over a flamboyance of flamingos in Kenya. Patterns contains 90 striking images and text contributions from fellow photographers and conservationists.

Find your copy on Bookshop, and keep up with McCormack’s travels on Instagram.

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