Nearly eighty articles originally published between 2010 and 2011 have now been recovered and are available through The Annex Updated.
These first texts mark the beginning of a larger undertaking: the recovery of the archive of aeqai.com, a publication that, between 2010 and 2019, brought together valuable writing on art, artists, exhibitions, and the cultural history of Cincinnati.
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.
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...
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...
Jeff Casto’s shadowboxes and assemblages in “Future Tense,” his current exhibit at 1305 Gallery ending July 15, 2011, conjure Joseph Cornell’s Utopia Parkway workshop, as well as Pee Wee Herman’s Playhouse, extracting wistfulness from detritus, seriousness from folly. The toys, junk and other materials used in Casto’s art have the allure of Saturday...
In Garfield Place, the two bronze statues by Charles Henry Nihaus of former Ohio-born US presidents James A. Garfield and William Henry Harrison have been yarn bombed.
Yarn bombing, for the uninitiated, is a form of street art that uses knit/crochet objects illegally placed in prominent public space. The term “bombing” arises from graffiti tagging lingo. Unlike graffiti spray paint, yarn bombing does not deface...
Steve Kemple’s exhibition at Semantics, The World is Everything That it Isn’t, accomplishes what many exhibitions strive to do: approach difficult ideas, both in the arts, and in general, in a digestible and playful way. Kemple touches on subjects of organizational systems, simulation, function, etc. with art objects such as a houseplant, an old map, and a telescope among...
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...
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.
Meta's Oversight Board has ordered Instagram to remove a reportedly AI-generated sexualized video impersonating a woman who is not a public figure. The eight-second post was flagged by Meta's automated systems, reported by two users, and appealed by one of them, but it remained online. Meta later argued that it lacked a clear signal that the woman depicted was real or that she had not consented, partly because she had not reported the post herself. The Board rejected that standard. It said the content violated Meta's rules on non-consensual intimate imagery and recommended that AI-generated sexualized impersonation of real people be treated as non-consensual by default.
The decision moves the burden away from the target of the abuse. A person whose face or body has been simulated may learn about the post after copies have traveled through accounts, messages, screenshots, and search results. Requiring that person to prove harm first gives the platform time while the image keeps circulating. The Board wants Meta to let trusted friends or family report on someone's behalf and to create a separate reporting category for AI-generated sexualized impersonation. A synthetic body can still damage a real person, and the first useful response is removal before the victim is forced to become the evidence clerk for her own violation.
AI coding tools are making it easy for people to build apps before they understand what those apps can expose. The latest concern is vibe coding, the practice of describing a product in natural language and letting an AI system write much of the code. That can help a student, worker, founder, or hobbyist build useful software in hours. It can also put a public database, a customer record, a medical note, a private message, or a payment field online without the builder recognizing the risk. Recent examples include hidden SQL injection flaws, production databases left open, and thousands of public apps with weak or missing authentication.
The social change is simple. Software creation is no longer limited to people trained to think about failure. That is good for experimentation, but it moves responsibility faster than knowledge. A private tool becomes a public service the moment it stores someone else's data or runs in the cloud. Security cannot remain an expert ritual added after launch. The person who asks a model to build an app must also ask what the app stores, who can enter, what happens if it leaks, and whether a human needs to review it before strangers use it.
Millions of songs used in AI training datasets can now be searched by artist and title. The database includes large collections with roughly 12 million and 9 million tracks, plus two smaller sets with more than 100,000 songs each. Some of the material comes from public links to YouTube, Spotify, or music archives, but public access does not automatically mean permission for commercial training. The names reportedly found in the lists range from Lady Gaga and Radiohead to Aphex Twin, Wu-Tang Clan, Bruce Springsteen, and SZA, who said 238 of her songs appeared there.
The useful part of this case is that it makes a hidden supply chain visible. Musicians have been told for years that AI systems learn from vast amounts of culture, but that phrase keeps the damage abstract. A searchable database lets artists check whether their own work helped train a model, then ask who collected it, who downloaded it, and who benefits from the result. It also shows why consent becomes difficult once culture is treated as raw material at internet scale. A song can move from stream to dataset to model before its author knows it was part of the transaction.
