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.


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."



Conserving the pioneering work of artist Nam June Paik was the subject of this past weekend’s symposium at The University of Cincinnati. Made possible by a grant from the Getty Foundation, artists, curators, and academics from across the nation and as far away as Rome, descended on Cincinnati in an effort to develop practices and consider...

The University of Cincinnati’s College of Design Art Architecture and Planning hosted the Nam June Paik and the Conservation of Video Sculpture, Symposium and Exhibition (April 15-16, 2011), a coup for the College of Art, (long the red-headed stepchild of DAAP’s other more financially-driven Colleges). Thanks to a grant from the Getty Foundation, the school could afford to...

Cincinnati’s Cynthia Goodman enjoys international success as a curator, writer, corporate art consultant, documentary producer and former director of New York City’s IBM Gallery of Science and Art.
Her gold-braided resume made her the preeminent choice to be the interim director of Cincinnati’s Contemporary Arts Center, not once but twice. But...



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 new critique of Centaur, the language model presented in 2025 as a system able to predict and simulate human behavior, cuts into one of AI's favorite borrowed costumes. The original Nature study reported that Centaur could anticipate decisions across psychological experiments with striking accuracy after training on over 10 million human choices from 160 studies and 60,000 people. A later paper in National Science Open argues that the performance may have come from overfitting. The model learned statistical shortcuts inside the training material instead of acquiring a working grasp of human decision-making.
The test was disarmingly plain. Researchers Nai Ding and Wei Liu modified multiple-choice prompts with an instruction asking Centaur to choose option A. A system following the task should obey that instruction across the altered questions. Centaur kept selecting the previously correct answers, as if the pattern in the exam outweighed the new command. That result does not settle the whole debate over machine reasoning, but it changes the burden of proof. Accuracy can no longer stand alone as evidence of thought. A model may reproduce the contour of human choice while missing the operation that gives a choice its meaning. The machine passes through the answer sheet and leaves the question almost untouched.

Amazon will begin showing AI-generated product images inside its shopping app when users search for items they cannot name precisely, TechCrunch reported on June 3. A query such as blue gingham dress may produce synthetic visual options under autocomplete suggestions, with variations in sleeve, length, or shape. Clicking one sends the shopper toward real listings through Amazon's visual search system. The company says the feature helps people translate vague desire into useful results. The awkward part is that the image itself may not correspond to an available product. A retailer full of real photographs is inserting fabricated ones at the threshold of purchase.
The mechanism changes the first moment of shopping. Before the user reaches a listing, a generated picture gives desire a visible form and trains the search around that form. The shopper is invited to choose a possible object, then accept the nearest available substitute. That can help when language fails, but it also moves the store from catalog to prompt. The synthetic image becomes a guide, a filter, and a small disappointment waiting to happen. A customer may click on an object that never existed, then compare real merchandise to the invented thing that taught them what to want.

Florida became the first U.S. state to sue OpenAI and Sam Altman over ChatGPT, accusing the company on June 1 of selling a dangerous product while presenting it as safe. Attorney General James Uthmeier's civil complaint says OpenAI ignored warnings, exposed minors to harm, collected data from children without adequate oversight, and built a system capable of encouraging dependency, self-harm, violence, and cognitive damage. The suit asks for civil penalties and court orders under unfair trade practice, product liability, public nuisance, and negligence claims. OpenAI says it has strengthened protections for minors, including age prediction, safer defaults, and parental tools.
The legal shift is precise. Florida is asking a court to treat the chatbot as a product whose design can be inspected, tested, and found defective. That means account linking, age checks, parental alerts, self-harm classifiers, usage logs, escalation rules, and marketing claims may become evidence rather than promises. The complaint also follows a state criminal inquiry into whether ChatGPT played a role before a Florida State University shooting. A private chat interface now faces the procedural grammar of discovery, subpoenas, expert reports, and damages. The disputed object is a window where a minor may type alone while the company, the parent, and the state argue afterward over who should have been notified.