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Ancient artefacts from sunken city lifted out of Mediterranean near Alexandria

Ancient artefacts from the sunken city of Canopus, submerged off the coast of Alexandria, have been recovered for the first time in 25 years. During a three-day underwater heritage event (19-21 August), archaeologists lifted limestone structures, a quartz sphinx bearing cartouches of Ramses II, and a white marble statue of a Roman nobleman from the Mediterranean. The operation was led by the European Institute for Underwater Archaeology (IEASM) in cooperation with the Egyptian Ministry of Tourism and Antiquities, with French underwater archaeologist Franck Goddio playing a key role. The finds are now on display in the exhibition 'Secrets of the Sunken City' at the Alexandria National Museum.

Points of Exchange: Asian Ceramics in the Reeves Collection

Rachel Du, a specialist in Chinese art and history, has written an article examining the Reeves Collection of Asian ceramics, focusing on the cross-cultural exchanges reflected in these objects. The collection, housed at the Reeves Center in Washington and Lee University, includes porcelain and ceramic pieces that trace trade routes and artistic influences between Asia and the West.

One of England's oldest human-made structures given protected status by Historic England

Historic England has granted protected status to the Dudderhouse Hill long cairn in the Yorkshire Dales National Park, a 5,000-year-old Neolithic structure likely older than Stonehenge. The cairn, one of England's earliest human-made structures, had suffered damage in 2023 when stones were removed to enhance a nearby walkers' cairn, prompting a scheduling application. It is now a Scheduled Ancient Monument, recognized as a nationally important archaeological site.

A morning with Shoair Mavlian, director of The Photographers’ Gallery

Shoair Mavlian, director of The Photographers’ Gallery in London, is the subject of a profile that follows her through a typical morning, discussing her leadership strategies amid challenges facing the arts sector. The article explores how she navigates pressures from AI-generated imagery, government funding cuts, and cultural backlash against progressive initiatives, while maintaining the gallery's relevance and financial stability.