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."
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,...
This year’s Selections from the International Drawing Annual 6 at Manifest Gallery boil down to a duel between two conceptions of pictorial space. On one side, representing a traditional approach to an illusionistic environment is Lance Moon’s 34” X 46” graphite on paper Untitled (Child With Bull). On the other, California artist Alexis Manheim’s True Love...
I have lived in Northside for almost seven years now, so I am embarrassed to admit that my recent visit to Prairie Gallery to see House: New Works by Tony Becker on a rainy Wednesday afternoon was my first trip to the space. A second floor walk-up with a mission of “Engaging communities through art,” Becker’s installation of hand-folded and hand-decorated paper houses is a perfect...
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.
The argument over artificial intelligence has moved from product launches into a much older fight over what intelligence is. Tom Griffiths's The Laws of Thought and Suri and McClelland's The Emergent Mind frame the split now shaping how people interpret systems like ChatGPT. One side treats intelligence as rule, symbol, equation, and formal reasoning. The other sees it emerging from networks of simple units, trained through examples and adjusted by experience. Large language models have made that dispute public because they can produce fluent answers without showing the kind of explicit reasoning earlier AI researchers expected.
The practical problem is trust. Symbolic systems promised visible rules, even when those rules became brittle or impossible to scale. Neural networks replaced much of that explicit structure with statistical adjustment across large collections of data. That change now reaches education, hiring, medicine, search, and ordinary writing, where people are asked to rely on outputs whose internal path remains difficult to inspect. A school, court, hospital, or company must decide whether a system that behaves intelligently has enough structure, evidence, and accountability to be treated as judgment.
Anthropic's Claude Mythos Preview has turned cybersecurity into the next test of frontier AI, Sebastian Mallaby writes in The Spectator World. The model is designed to find software vulnerabilities, and its release has already pushed American officials and major banks into defensive posture. Anthropic is keeping access restricted, sharing Mythos only with selected software companies. The UK AI Security Institute added weight to the alarm when it reported that Mythos can execute multi-stage attacks on vulnerable networks and discover and exploit flaws autonomously, outperforming rival models on expert cyber tasks.
The immediate problem is access. A model strong enough to find hidden weaknesses in browsers, operating systems, and databases can help defenders patch systems before attackers arrive. The same capability becomes dangerous when copied, distilled, or adapted by hostile groups. Anthropic's answer is a private gate, with the company deciding who enters. A government takeover would move the gate without solving the legitimacy problem. Cybersecurity depends on banks, hospitals, cloud providers, software updates, credentials, payment systems, and phones whose owners never see the model that may expose them.
Channel 4 sent Grayson Perry to San Francisco for Grayson Perry Has Seen the Future, a documentary about artificial intelligence built from familiar ingredients. Perry meets a woman romantically attached to an AI avatar, speaks with Microsoft's head of AI, interviews a prepper preparing for collapse, encounters an author warning that advanced AI could kill everyone, and gives his own reflections from the back of driverless cars. James Delingpole, reviewing the program in The Spectator World, found the format thinner than the subject.
The useful tension is between the television machinery and the material it tries to hold. AI appears through scheduled interviews, comic stunts, scenic anxiety, and a presenter asked to make the future digestible. Perry's sharper moments come when he asks direct questions, especially around the woman and her synthetic partner, where intimacy has become an app with a voice and a compliant face. The documentary works best when it leaves Perry reacting to what is in front of him. The screen can show the avatar, the executive, the bunker plan, and the driverless cab. It has less room for the unease moving between them.
