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."
On a Wednesday evening, in a room above the raucous crowd assembled for Mayday Bar in Northside’s Bingo night, five artists of various ilk (visual artists Britni Bicknaver & Paul Coors, photographer-designer-street artist Floyd Johnson, designer-entrepreneur Rosie Kovacs, and poet Dana Ward) gathered to discuss an issue that has effected them each, directly or indirectly: the issue of...
Creative, Multi-tasking “It’s been one of those days when everything went opposite to what I expected,” says David Knight, Director of Exhibitions and Collections at Northern Kentucky University, as he sits down at his desk in the office adjacent to the gallery. He has been presiding over NKU art, in its differing incarnations, for about twenty years. “On second thought,” he contradicts himself, “actually, it’s been an on...
Artist, Writer, Curator. At 26 years of age, artist, writer, & curator Matt Morris is quite accomplished. With several years worth of published writings in regional and international publications (including this journal,) participation in five group shows and two curatorial projects this past year alone, as well as being a founding member of the U-turn Art Space collective since 2009, he can certainly be described as...
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.
TechCrunch tested Bee, the AI wrist wearable Amazon acquired last year, and found a device built around daily recording. Bee can capture conversations, create transcripts, summarize meetings, and connect to calendar alerts. Its button turns recording on or off, and a light shows when audio capture is active. The reviewer found it useful during a business call, where the app broke the conversation into a readable summary. The transcript still missed pieces and had trouble naming speakers.
The discomfort starts when the meeting ends. To work as a personal assistant, Bee asks for broad phone permissions, including location, contacts, calendar, photos, notifications, and optional health data. Its summaries depend on a cloud record of ordinary speech. Bee says it encrypts user data and uses outside security reviews, but the bargain remains physical and intimate. That makes the device less like a notebook and closer to a tolerated witness on the wrist. Professional memory has an obvious price. Domestic memory asks for something stranger, which is permission to treat private life as material waiting to be indexed.
Google introduced Gemini Omni as a model family that can create video from mixed inputs, beginning with Gemini Omni Flash in the Gemini app, Flow, and YouTube Shorts. The company says users can combine text, images, audio, and video, then edit clips through conversation. The Verge tested the tool with a stuffed animal and with selfie footage, producing clips where a familiar face appeared to eat pasta, sit on a plane, or stand near the Eiffel Tower. Each attempt also burns paid credits, so the fantasy arrives with a meter attached.
The cultural shift is smaller than cinema and closer to a phone gesture. A person can feed the model a private clip, ask for a scene that never happened, and get an image of the self placed inside it. The glitches still matter. Bottles change shape, bodies move oddly, and hair gives away the trick. Yet the labor has changed. Faking presence no longer begins in a studio. It begins with a prompt, a payment plan, and a face already sitting in the camera roll.
Anthropic says Project Glasswing has used Claude Mythos Preview and roughly 50 partners to identify over ten thousand high- or critical-severity software vulnerabilities in its first month. Cloudflare reported 2,000 bugs across critical-path systems. Mozilla tested the model on Firefox and fixed 271 vulnerabilities. Anthropic also says its own scans of open-source projects have surfaced thousands of likely severe flaws, with outside security firms confirming a high share of the inspected cases. The public numbers read like an inventory of debt hidden in routine code.
The strange lesson sits in the queue after discovery. Finding flaws used to be the hard part. Anthropic now describes a different bottleneck, where humans must reproduce findings, contact maintainers, write reports, build fixes, and wait for users to install them. Each ticket needs judgment before it becomes a patch. The machine has made weak code visible at a speed the software world cannot yet absorb. Security becomes a race between exposure and repair, with maintainers standing in the narrow space between a discovered hole and an exploited one.
