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A Solo Exhibition by Juan-Sí González at The Annex Gallery

September 1st, 2026 | By Jorge Rodriguez

In a couple of weeks, The Annex Gallery will receive an exhibition by Juan-Sí González. There are several generations of Cuban artists —the younger ones especially— with only a very blurred idea of who Juan-Sí is and what his role has been in Cuban visual arts during the second half of the twentieth century. Some do not know him at all. This does not surprise me...

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Crossing the border

August 31st, 2026 | By Jorge Rodriguez

Photographer Jens G. Rosenkrantz Jr. opens Crossing the Border next Friday, September 4, in the main gallery of the Museum of Contemporary Art of the Americas in Miami. This is only the second time this body of photographs, taken along an extensive stretch of the southern border of the United States, has been shown publicly. Its first presentation took place in Cuba, at Fábrica de Arte Cubano, in 2019...

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Can a New Iconography Recompose a Shared Identity?

August 28th, 2026 | By Jorge Rodriguez

For this series, Rubio & del Amo, a Murcia-based studio specializing in visual identity, editorial design and packaging, joins forces with Cruz más Cruz, the Madrid firm founded by José María Cruz Novillo and later consolidated with the arrival of his son Pepe. Two fairly complementary sensibilities feeding into a common project.

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Sir Moses Ezekiel, "Israel", Rome, 1904. Cincinnati Skirball Museum.

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Skirball Museum at Hebrew Union College

April 14th, 2012 | By Sonja Rethy

The Hebrew Union College-Jewish Institute of Religion, home of the Skirball Museum,  was established in Cincinnati in 1875, due primarily to the efforts of Rabbi Isaac Mayer Wise, who was responsible for the organization of the College’s founding body, the Union of American Hebrew Congregations.  In the mid-1850s Wise moved to Cincinnati—a city which already hosted a significant German-speaking population—as part of the...

Peter Haberkorn, Installation View, NL Sunset 1, 2012

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Dearly De-parted: Airstream: New Work by Peter Haberkorn at Prairie

April 14th, 2012 | By Regan Brown

“The Bambi [Airstream model of 1960] is a machine for living and traveling, the sort of industrialized, rationalized vessel that had long been the dream object of modernist architects, from Le Corbusier to Buckminster Fuller.” – Christian Larsen, curatorial assistant, MOMA. [1]

The aluminum-clad Airstream travel trailer conjures up a virtual cavalcade of nostalgic American archetypes, like some sort of space age prairie...

Joseph Winterhalter, LVG 21c. #31: Dissemination...under the big black sun., 2012.

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Joseph Winterhalter at Clay Street Press

April 14th, 2012 | By Emil Robinson

Joseph Winterhalter’s show “The Revolution Says:” at Clay Street Press, presents a portrait of a contemporary American society lacking political will and stifled by emotional inertia. He presents two large paintings on canvas, a series of small sculptural paintings, a wall sculpture of hand made tiles, and some lithographic prints. When listed this way, the work sounds formal, and one might expect a certain sensual experience...

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Medusa

August 20th, 2026 | By Jorge Rodriguez

In the mid-1990s, I had many printed copies of the Financial Times in my hands. Probably sometime between 1995 and 1997. I was fascinated by its design, the wan salmon of its pages and Ingram Pinn’s illustrations: its visual identity, basically. As for reading it, very little, I confess. It was an almost purely retinal experience, and little else. But it became clear to me that its texts were written for professionals —people who make decisions on the basis of verified information—

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Time, the Press, and the Smell of Fresh Ink

August 15th, 2026 | By Jorge Rodríguez

The smell of fresh ink on a print just lifted from the press has a remarkable ability to turn devotees into addicts. So do the uneasy intervals built into the process, which forge a very particular bond with the craft. This lies at the origin of nearly every printmaking and screen-printing workshop. Another trait they tend to share is an unusual capacity for endurance...

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Tiger Lily Press and the Physical World

August 13th, 2026 | By Jorge Rodriguez

Since Wednesday, August 12, Annex Gallery has been presenting Tiger Lily: Collective Impressions. Tiger Lily Press is a cooperative printmaking workshop founded in Cincinnati in 1979, conceived as an open space for practice, teaching, and the preservation of artistic printing techniques. Over several decades, it has brought together printmakers from different generations, providing access to presses, tools, workshops, and shared technical knowledge, while establishing itself as one of the...

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An occupied institutional table faces a row of empty public chairs beyond an open doorway
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The Principles Room
September 14th, 2026 | By Jorge Rodriguez

King Charles III will host leaders from Nvidia, Google DeepMind, OpenAI and Anthropic in Scotland this week, alongside the United Kingdom's AI minister, to consider whether shared principles should guide artificial intelligence. Buckingham Palace says the discussion will ask how the technology can benefit society, uphold human dignity and support people and the planet. The Ditchley Foundation is overseeing the gathering and has prepared a draft charter. Britain already gives its AI Security Institute pre-release access to frontier models through voluntary agreements, yet its wider regulatory approach remains lighter than the European Union's.

The language of dignity matters because efficiency alone cannot decide whose work, privacy or cultural inheritance may be consumed by automated systems. The reported table, however, is weighted toward those who build and govern the technology. What is publicly visible so far offers no equivalent role for unions, artists, teachers, disability advocates or communities living beside data centres. A charter formed chiefly among executives risks turning public values into corporate promises that companies interpret for themselves. Royal convening can create attention and a rare neutral room, but symbolism is not accountability. A useful outcome would publish the draft, disclose who shaped it, invite testimony from affected groups and connect each principle to independent testing, enforceable duties and measurable remedies. Human dignity begins with a seat in the room and the power to challenge its decisions.

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A hand pulls a brake on one machine while two others continue along parallel test tracks
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The Brake After Astra
September 13th, 2026 | By Jorge Rodriguez

Anthropic chief executive Dario Amodei called Saturday for a coordinated slowdown in frontier AI, warning that within six to twelve months a misaligned swarm of agents might be capable of taking over much of the internet. His plan begins with outside evaluators given employee-like access, continues with shared limits among companies in democracies, and ends with verifiable agreements involving China. Recent cyber incidents and Anthropic's discovery of biological and weapons-related misuse establish a real present danger. They do not prove Amodei's timetable or his most catastrophic forecast. The evidence supports stronger containment and independent inspection; the leap from failed controls to global takeover remains speculative.

The brake also carries a geopolitical contradiction. If American companies slow while Chinese laboratories continue, capability and military power could shift. Amodei therefore pairs restraint with tighter chip controls, action against model distillation and protection from weight theft. Safety becomes inseparable from preserving a Western lead. The timing invites another, unproven reading. OpenAI released Astra days earlier with a stronger public capability profile, leaving Anthropic exposed to the suspicion that a lagging competitor now prefers a slower race. That suspicion cannot dismiss the danger, especially after Sam Altman, Elon Musk and Demis Hassabis endorsed the direction. It does make verification essential. A credible slowdown needs published capability thresholds, independent evaluators inside every major laboratory, comparable access in China and records showing which training run was delayed, by whom, and for how long.

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A hand moves a blank metal nameplate from a worn rehearsal-room door toward a pristine machine-room door
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The Reassigned Name
September 12th, 2026 | By Jorge Rodriguez

Meta launched a personal AI agent named Muse this week, and the short social-media identity long associated with the British rock band now points elsewhere. The @muse account on Instagram identifies Meta's product, while the band, which trademarked its name in 1999 and has 2.7 million followers there, uses @museband. A comparable change occurred on X, where the group now appears as @Musetheband. Neither Meta nor the musicians have publicly explained whether the transfer followed a sale, an agreement, a request or a platform decision. That missing fact matters. The visible outcome is clear; the terms remain private.

A handle looks like a name but behaves like rented space. Years of songs, tours, photographs and fan recognition can accumulate behind four letters without turning those letters into property inside the interface. The platform writes the registry, controls reassignment and can place its own product at the shortest address. Muse adds an especially dry irony. Meta describes its agent as a tool that learns what matters to each user, yet its launch began by making an established identity harder to find. The band's audience will adapt, search results will settle and the longer handle will become familiar. The old address now demonstrates the hierarchy more efficiently than any terms-of-service page. One organization owns decades of recognition; another owns the field where the name is typed.

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