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...


Cedric Michael Cox unveils Love Lives Here, a public mural in Wyoming celebrating community, belonging, and local pride.

Elizabeth Hawes closes August 2 in Cincinnati, showing 50 garments and original sketches by a radical American designer.

Rites of Passage spotlights nine emerging artists at Manifest, opening July 10 with student work from eight U.S. states.

Manifest Gallery opens VELVET, an international exhibition exploring black through painting, sculpture, and mixed media.

At Studio Kroner, Cedric Michael Cox leads a hands-on art workshop linking creativity, memory, grief, and inner healing.



Given its scale and significance, I will present my analysis of this project in several installments. These are the ten design proposals shortlisted for the next series of euro banknotes. At this moment, they are under the gaze of millions. Citizens of the euro area have been invited to choose their favorites in a survey that will remain open until September 21...

Designing the banknotes destined to circulate throughout a monetary area such as Europe is among the most prestigious and consequential commissions a professional or design studio can receive. Creating an image to be shared by millions of people, condensing an identity into visual form, and meeting complex demands of legibility, security, symbolism, and instant recognition constitute a task at which even a demigod like Hercules might have failed...



Alice Frieder Weston is by no means an obscure figure now nor has she been over the many years she and husband, Harris Weston, encouraged and supported the arts and other causes in Cincinnati. Entering her living room, as she says “good morning”, one is greeted by an expanse of Carl Strauss-designed light and airy space and a broad view of the Ohio River. Everywhere is wonderful...

If compelled to list my favorite painters, I never say “Whistler,” but in thinking of pieces I ritually visit, Whistlers are everywhere: at the Tate, Harmony in Grey and Green: Miss Cicely Alexander; at the Frick, Symphony in Flesh Colour and Pink and Harmony in Pink and Grey; at the Met, The Arrangement in Flesh Colour and Black: the Portrait of Theodore Duret, and, and at the Taft, At the Piano. In contrast to those others, At the Piano has a horizontal format; by virtue of its expanded palette and the inclusion of two figures, it asserts a dialectic.

“I am at war with the obvious,” Photographer William Eggleston once said when asked about his work. I have a feeling Carl M. Jacobs III, the collector the exhibit “Not Just Pretty Pictures” beatifies at the Cincinnati Art Museum (through August 28, 2011), might have said the same thing if asked why he collected the art he did.



Ai Weiwei's art leaves me with certain reservations. The public figure strikes me as overly polished, burnished almost to excess.
Some years ago he dropped an authentic Han dynasty urn onto the floor. Made sometime between 206 BC and AD 220, its first and only purpose was to shatter. He had bought it in Beijing in the early 1990s, during China's rapid urban expansion...

Call Me Ahmel
January arrived, and so did 2025. Halfway through the month it will pierce my head and my body in much the same way 2024 did—with hypersonic calm. Be careful. In Miami everything happens too fast, a good friend warned me, sounding more alarmed than concerned. Another good friend, one we have in common, calls him my fascist friend. Cuba, the way tango does to the men—and to the women—in Borges's magnificent story The Man on Pink Corner, has its own way with him.

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...



South Korean lawmaker Lee Hae-min introduced a three-bill package on August 14 that would make companies contribute to a public fund when AI or automation significantly reduces employment or replaces work. Democratic Party lawmaker Lee Ju-hee joined as co-sponsor. The proposed AI Transition Basic Society Act would use the money for retraining, job changes, reemployment and minimum-income support. Regions hit by concentrated disruption could become transition zones. Employers would have to prepare retraining and role-change plans and, when workforce changes pass a set scale, notify workers and consult them in advance. Companies maintaining employment or adding jobs could receive reductions, exemptions or tax support. The levy rate and operational thresholds remain unsettled, and the bills must pass the National Assembly.
The proposal gives automation a payer. Companies often describe job cuts as an inevitable consequence of software, allowing responsibility to drift toward the vendor, the market or the future. This package keeps the account with the employer that reorganizes its workforce and receives the productivity gain. Attribution will remain difficult because demand can fall, departments can merge and managers can invoke AI before a system performs the work. A levy therefore depends on records connecting a deployment to eliminated roles. South Korea's proposal places that argument before workers are dismissed by requiring notice and consultation. If adopted, an automation plan would have to include the cost of the people it removes from the payroll.

IIT Dharwad has opened applications for a free one-year Artificial Intelligence Technocrat program under India's PM VIKAS scheme. The training is aimed at graduates aged 18 to 45 from six notified minority communities: Muslims, Christians, Sikhs, Buddhists, Jains and Parsis. Up to 15 percent of places may go to economically weaker applicants outside those communities, while 33 percent are reserved for women. Selected students receive training, certification, hostel access where applicable and a monthly stipend of Rs 1,000 paid directly by the Ministry of Minority Affairs. Candidates must submit identity, education, bank and community documents and pass a screening process. Applications close August 31.
The program treats access to AI as a matter of social policy rather than personal consumption. A chatbot account can make the technology appear universally available, yet the jobs surrounding it still require time, instruction, housing, credentials and enough income to remain in training for a year. The stipend is modest, but its presence admits that learning has a cost borne unevenly by students. The reservation rules place religious identity, gender and household income inside a technical classroom often described through merit alone. IIT Dharwad is therefore building a small public route into an industry dominated by private capital and expensive education. Its success will be measured after the course, when graduates need placements that convert a certificate and twelve monthly payments into durable work.

Twitch has enabled a setting that allows Amazon, its owner, to use channel content for training generative AI models. The permission covers streams, clips, images, audio, chats and other material unless a user finds the control in the Streamer Dashboard and turns it off. Twitch says the data will not be resold to outside companies and gives automatic subtitles as one possible use. Chief product officer Mike Minton explained the default with unusual candor. If participation required an active choice, he said, nobody would opt in. Twitch has not said when collection began, and Minton said he did not know what Amazon had already used for model training.
The switch gives creators a formal refusal while the interface arranges participation in advance. A person who never visits the security and privacy menu still supplies a decision through inaction. That design is valuable because a live platform contains voices, gestures, gameplay, conversations and audience reactions gathered at enormous scale. Each stream was made for viewers in a specific moment, yet the default treats it as potential raw material for another product. Twitch community head Mary Kish said data collection for AI training had become an industry standard and did not expect users to welcome it. Some users also reported that the switch appeared on again after they disabled it. Their immediate task was therefore to return to the menu and check whether refusal had remained saved.