Eden Zanker of the Demons kicks the ball during the 2020 AFLW Round 03 match between the St Kilda Saints and the Melbourne Demons at RSEA Park on February 21, 2020 in Melbourne, Australia. (Photo by Dylan Burns/AFL Photos via Getty Images)

A protester raises her fist at the entrance of Highway 280 and S. 4th St. as people protest the killing of George Floyd in Minneapolis in downtown San Jose, Calif., on Friday, May 29, 2020. (Photo by Nhat V. Meyer/Bay Area News Group)

A woman holds-up a white T-shirt trying to prevent being shot, as Palestinians flee Gaza City to the southern Gaza Strip on Salah al-Din street in Bureij, Tuesday, November 7, 2023. (Photo by Mohammed Dahman/AP Photo)

A competitor in the carting category of the Henrik Sečnik dog mushing race in Hraše, Slovenia on April 8, 2024. Over 100 dogs and their owners from Slovenia and abroad competed in the 10th edition of this international race. (Photo by Luka Dakskobler/SOPA Images/Rex Features/Shutterstock)

Pakistani Christian Maria Akbar, 15, checks herself in the mirror, after having her make up done by hairdresser Razia Rehmat, 39, in preparation for Christmas holiday, at a hair salon, in a slum that hosts Christian families, on the outskirts of Islamabad, Pakistan, Wednesday, December 24, 2014. (Photo by Muhammed Muheisen/AP Photo)

Moroccan photographer and filmmaker Achraf Baznani carries on the traditions of Surrealism with his wild, imaginative, and wholly impractical imagery. Among his inventive scenarios, small human figures—often the artist himself—appear trapped within glass jars or the size of a camera lens; in other works, Baznani more or less dissects his body, as for example, in one, he cleanly removes his brain from his cranium, or in another, twists off his hand, much as if it were a light bulb. Imparted throughout such works are strong senses of humor and wonder, and as such, Baznani’s art offers a Surrealistic take on life experience in the digital age.

At the beginning of the 20th century, Edward S. Curtis set out to document what he saw as a disappearing race: the Native American. From 1907 to 1930, Curtis took more than 2,000 photos of 80 tribes stretching from the Great Plains to the Pacific Northwest and Alaska. He then published and sold these photos, along with narrative text, in 20 volumes of work known as “The North American Indian”. It is one of the most significant collections of its kind, “probably the most important photographic document of its age and its topic,” said Jeffrey Garrett, associate university librarian for Special Libraries at Northwestern University. (Photo by Edward S. Curtis)