Singer Rihanna poses at amfAR's fifth annual Inspiration Gala in Los Angeles, California October 29, 2014. (Photo by Mario Anzuoni/Reuters)

A group of youngsters dressed as ghouls and zombies for Halloween parade in downtown Lisbon, Portugal, Friday, October 31, 2014. (Photo by Francisco Seco/AP Photo)

Color dyed rabbits are seen in the markets of the Souq Waqif on January 12, 2011 in Doha, Qatar. (Photo by Robert Cianflone/Getty Images)

A Thai visitor appears to be frightened by a life-size Velociraptor model also known as Raptor at the Dinosaur Planet theme park in Bangkok, Thailand, 25 March 2016. The 500 million baht (14 million US dollars or 12 million euro) theme park opening in the Thai capital aimed to attract more than 15,000 visitors a day featuring a chance to experience more than 200 dinosaurs from various species that are brought back to life. (Photo by Rungroj Yongrit/EPA)

Nina Leen, one of the first female photographers to work for Life, took pictures for the magazine from 1940 to 1972. In the mid-1940s, her essay, “City Dogs”, featured actors and artists with their pets on the streets of New York City. In late-March, Daniel Cooney Fine Art in New York City, is opening a solo exhibition of Leen’s work that features images from that essay and others. Here: author Fannie Hurst clad in mink coat, enjoying the jumping antics of her Yorkshire terrier Orphan Annie on the street. (Photo by Nina Leen/Pix Inc./The LIFE Picture Collection/Getty Images)

Russian pop art photographer Sergey Chilikov captures a nation liberated from the social oppression of late-era Soviet rule – at parties, in the streets, and bouncing high. His exhibition, Photoprovocations, will be at Photo London, 19-22 May. Here: Yoshkar-Ola, Matrosova Street (1995). (Photo by Sergey Chilikov)

Sad woman standing near car with scratch on parking and talking by the phone. (Photo by Vera Petrunina/Getty Images)

Born with a rare condition, the artist has chronicled her life in portraits – capturing everything from her tattooed prosthetics to the tentacled creature she stitched together on the shores of Naoshima. Here: Ophelia (2013). From a series of photos of imagined women exhibited at the 2013 Aichi Triennale. Here, Katayama invokes Hamlet’s tragic heroine, after the painting by British pre-Raphaelite John Everett Millais. (Photo by Mari Katayama/The Guardian)