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.
Cincinnati Art Museum hosts Art After Dark in May with performances, themed tours, and late-night gallery access.
ProjectArt opens at CAC with installation, painting, prints and text on memory, place, community and youth voices, June.
CAM hosts a mezzotint gallery talk with curator Kristin Spangenberg on printmakers turn darkness into light through tone.
Visible mending meets Elizabeth Hawes as Sew Valley teaches repair skills for knits, wovens and longer garment lives.
Over forty colorful court paintings from 17th-19th century India, organized around the theme of longing.
Ayana Ross presents seven figural paintings at the Taft Museum as the 2026 Duncanson Artist-in-Residence.
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.
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."
It’s Dangerous to Go Alone! Take This: New Paintings – Eric Ruschman at Aisle Gallery
While the rest of us, by framing our identities on social networking websites, playlists, Netflix queues, and avatars, fulfill the prophecies of dead postmodern writers who saw daily life being taken over by the effects of technology; Cincinnati artist Eric Ruschman takes the task...
The environmental context is often an afterthought when we view art, although the surroundings set the stage for the work. Everything from the size of the room and the lighting, to the formality or casualness of the venue affects our perceptions. The default installation setting of white gallery walls, especially when dealing with two-dimensional art works such as painting and drawing...
In the religion of architecture, space is the deity, or the guiding spirit. It is the mystical property by which architects want their buildings to be judged, it is that which, when it is truly great, transports them into rapture. The strange thing about space is that you cannot see it. Nor can you feel it, smell it, hear it, or taste it. It emerges out of proportions,...
A month ago, during Arte Desobediente Exhibition, I encountered for the first time an artwork by Kerstin Imhoff that has remained with me ever since. It was a visceral piece from her ongoing Bloodline series: a hyperrealistic red vulva rendered in wax-like texture through 3D printing, encircled by a Catholic rosary terminating in a bronze cross. The work was at once devotional and confrontational; an image suspended between martyrdom, sexuality, political violence, and feminine embodiment...
The solo exhibition Amazonia, opening on May 22, brings together a body of work produced by Julia out of her sustained engagement with the Shipibo Indigenous community of the Peruvian Amazon. The show is structured around four groups of pieces and combines watercolor and ink on paper, embroidered textile work, installation, and cyanotype. Together, the pieces operate as a series of visual reflections on the use of medicinal plants, the experience of the Amazonian "dieta," the artist's family inheritance, and her condition as a migrant.
I suppose that waking up to find the night has birthed a new Banksy is, by now, almost routine. This time, however, something is different. He has literally moved up a step. He has planted a life-size sculpture in one of the most heavily guarded spaces in London. No witnesses.
The piece appeared in the early hours of Wednesday at Waterloo Place, an avenue in central London halfway between Trafalgar Square and Buckingham Palace.
A genuine Monet painting became a test case for artificial suspicion after an X user posted it as if it had been generated by AI, Creative Bloq reported on May 23. The post asked viewers to explain what made the image inferior to a real Monet. Millions saw it, and many obliged. They found weak composition, empty texture, incoherent depth, poor color judgment, and a lack of human disorder. The evidence was confident and wrong. The image was an actual Monet.
The episode shows how quickly attribution can rearrange vision. Once the label says AI, the viewer begins looking for defects that confirm the label. Brushwork becomes artifact. Ambiguity becomes glitch. A strange passage of paint becomes proof of automation. The old work is judged from the accusation placed beside it before its surface has time to act. That matters for artists, museums, schools, and markets because the suspicion travels faster than provenance. Generative systems have made fake images easier to produce, and real images easier to mistrust. The false frame is the fraud. It teaches the public to see authenticity as an error waiting to be exposed.
TikTok sellers are using AI-generated Black women and other synthetic personas to sell dropshipped goods as if they came from struggling small businesses, The Verge reported on May 30. One account presented a crying woman named Aliyah selling handmade belt buckles, while identical buckles appeared on Shein for a fraction of the price. The videos repeat across accounts with changed names, products, faces, and scripts. Some avatars pretend to work fairs, answer comments, or endure racist insult, then send viewers toward Shopify-style stores.
The machinery depends on a fast moral reflex. Viewers are asked to support a vulnerable maker before they have time to check the product, the store, or the person. Researchers quoted by The Verge describe the practice as digital blackface because racial identity becomes a costume for extracting money. The scam is effective because short-form video rewards immediate feeling and punishes verification. A tear, a handmade claim, a small-business story, and a buy link can travel together before the viewer notices the white hands holding the product, the repeated background, or the missing person behind the face. Platform commerce turns solidarity into a checkout path, and the invented seller disappears once the payment clears.
OpenAI is testing a mobile ChatGPT feature that would turn shared conversations into visual cards instead of plain links, according to Android Authority’s inspection of version 1.2026.139. The user could choose a simple white card, colored styles, or a native screenshot flow that sends an image with a link, or only the image. The feature has not been released, and may change before launch. Its direction is already legible. A chat that once circulated as a private URL is being prepared for the grammar of feeds, stories, group chats, and forwarded jokes.
The product move follows behavior already visible around ChatGPT. People screenshot answers, crop them, post them, argue over them, and treat the exchange as proof, advice, confession, or joke. A designed card gives that habit an official frame. OpenAI gains cleaner circulation for its interface, while users gain a shareable object that can detach from the full conversation. That detachment carries a cost. A screenshot can remove prompts, edits, refusals, and surrounding context, leaving a polished fragment to travel as evidence. The viral chat will arrive as a small designed image, easy to forward and hard to reconstruct once it leaves the app.
