Although I am an avowed admirer of her solo work and have known her for nearly twenty-five years, I do not remember ever having spoken in person with Liudmila Velasco. About her work, about the weather, about how unbearable this or that artist can become. When I left the island, Liudmila was already practically an institution within Cuban women’s photography...
Final-Friday CAC @ 21c pairs a hotel gallery visit with CAC exhibitions in one free guided hour Cincy June 26 at 5:30p.
CAM's Pride night brings music, art making and free late-hour access to Eden Park on June 26 for Art After Dark in Ohio.
Thursday Art Play gives young children a hands-on CAC session tied to Homespun, with yoga and art making on July 9 2026.
Ayana Ross presents seven figural paintings at the Taft Museum as the 2026 Duncanson Artist-in-Residence.
Rites of Passage spotlights nine emerging artists at Manifest, opening July 10 with student work from eight U.S. states.
When we first came across Tim Harrier’s Shaman Spirit Guides, we dismissed them without mercy as the product of artificial intelligence. The mud-covered faces, the animals emerging from the background, and an unbroken frontal force produced, almost at once, a malignant suspicion. Suspicion ran far ahead of the work. And we are right to suspect almost everything in life. This series, no...
There is a book. Before the exhibition, before the charcoal drawings spread across the galleries of the Contemporary Arts Center, before the viewer crosses the blue thresholds into the dreamworld of Freeman Little...
Now that we’re a decade deep into the new millennium, the impulse to slap “New Century” on just about anything out there is hard to resist. Meanwhile, a lot of what’s going on has 20th century roots. Case in point is Creating the New Century: Contemporary Art from the Dicke Collection at the Dayton Art Institute through July 10. Although it is indeed 21st century work, the bulk...
Bill Seitz has all the requisite credentials, but the direction he has gone has taken on a life of its own, and he describes his work as Gallery Director at The Carnegie Visual and Performing Arts Center, in Covington, KY for sixteen years as “the dream job.” The Carnegie has a fascinating history, and the reconstruction that joined two buildings and restored a once-lovely theatre modeled after a 19th-century French Opera...
Quite a lot is going on in the engrossing exhibition of Melvin Grier’s photographs at Kennedy Heights Arts Center.. One narrative line is this city, reflected in a daily newspaper over a period of more than thirty years. Another has to do with the photographer himself, a black man recording the affairs of a city that never lost sight of itself as white. The show’s title, White People: A Retrospective, comes from Grier’s...
A few months ago I wondered in these pages what Macron was getting out of lending the Bayeux Tapestry to the English. Forty thousand French citizens signed a petition to block it, citing textile fragility and, I suspect, a touch of cross-Channel rancour as well. The other question remained: what would the British Museum get out of it.
Now and again, chance weaves a concurrence of circumstances that places us before a window opening onto the past. The opportunity to converse, undistracted, with the Austrian artist Stylianos Schicho was a privilege, since what most interests me in art are the sinews that bind it to whoever produces it.
As a worthy walk-on, more than once I have stood inside a still life: the living scene of a dead nature staged with everyday objects. Between Morandi and Chirico — take your pick of Giorgios — lit by the fierce Miami sun or beneath the drizzle of a summer afternoon, I have slipped into the heart of the anomaly, into the "temple of otherness."
Translation agencies are increasingly sending machine-produced drafts to freelancers and paying them to make the text usable. The assignment no longer begins with a sentence in one language and a blank space in another. It begins with an output that already sounds finished. The human translator is asked to check terminology, catch errors, repair tone, remove awkward phrasing, and accept responsibility for a version whose first decisions were made by software. Rates fall because the job is framed as correction, but the risk does not fall with them. A bad medical instruction, legal clause, technical manual, or literary sentence still carries a human name at delivery.
The surviving job sits in a narrower and more nervous position. Translators once moved between languages by weighing tone, context, idiom, silence, and the small betrayal every sentence requires. Now many receive a fluent surface that must be distrusted line by line. Fluency is the dangerous part, because bad language announces itself while smooth error passes as competence. Agencies save time by shifting uncertainty downward to freelancers paid to repair an output they did not author. The translator becomes a proofreader of automated confidence, responsible for the sentence after the machine has already made it sound inevitable.
Meta has begun separating itself from Manus, the Chinese-founded agentic AI startup it agreed to buy for $2 billion, after Beijing ordered the transaction unwound on national security grounds. According to TechCrunch and Bloomberg, Meta has cut Manus off from internal systems, halted data sharing, and stopped employees from using its tools for company projects. Manus's founders have reportedly discussed raising about $1 billion to reclaim the company, possibly through a structure that keeps it closer to Chinese control and opens a path toward a Hong Kong listing.
The failed deal shows how AI acquisitions now pass through a sovereignty filter before they become corporate strategy. Meta wanted agent technology, investors wanted an exit, and Manus had already moved staff to Singapore. Beijing still treated the startup's origin, talent, data access, and technical direction as assets that could not simply be transferred to an American platform. The separation also follows tighter Chinese rules around foreign investment and travel permissions for AI researchers. Capital can cross borders quickly, but model builders, datasets, and internal tools now trigger state claims before the contract dries. For Meta, the missing asset is no longer a term sheet. It is a tool its own employees have been told to stop using.
A Munich court has preliminarily ruled that Google can be held liable for false statements generated by AI Overviews, after two publishers said the search feature wrongly associated them with scams and questionable business practices. Google argued that the summaries were automated, that users were warned about possible errors, and that people should verify the information independently. The court took a harder view. It found that the disputed summaries created new, substantial statements that did not appear in the linked sources and that Google, as the company designing, training, operating, and managing the system, was the party able to prevent the damage.
The ruling moves liability from the linked page to the answer layer. A search engine used to defend itself as a directory of other people's statements. AI Overviews changes the operation by combining sources, compressing them, and presenting a generated sentence at the top of the page. If that sentence invents an accusation, the injured party cannot sue the original source, since the original source never said it. A warning label becomes thin protection when the falsehood arrives in the voice of the search interface itself. Google may appeal, but the case gives publishers, companies, and private people a procedural path toward the model operator, not the web pages it misread.
