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."
Curators of exhibitions rarely receive more than a mention in exhibition signage–“curated” or “organized by.” But it is nearly impossible to talk about “For a Better World 2007” without acknowledging the organizer, Saad Ghosn (head of U.C.’s department of pathology and laboratory medicine and an artist), and the show’s genesis. It grew out of another of the apparently indefatigable...
Editor’s Note: Because Daniel Brown is both Editor of Aeqai and the guest curator for the exhibition “Narrative Figuration” at The Weston Gallery in the Aronoff Center, it is Aeqai’s policy that our reviewers not review his shows. Therefore, we have asked the five artists in the show to write a brief artist’s statement about his or her work in the exhibition, and...
There is something about a nude body that makes us want to look. All bodies are different, unique in their own way. We all have feelings about our own bodies when we look at ourselves naked in the mirror—whether we love the way we look, feel dissatisfaction or just avoid it all together. It’s interesting to look at a nude painting or a photograph—to see the expression on the...
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.
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.
A genuine Monet painting became a test case for artificial suspicion after an X user posted it as if it had been generated by AI, Creative Bloq reported on May 23. The post asked viewers to explain what made the image inferior to a real Monet. Millions saw it, and many obliged. They found weak composition, empty texture, incoherent depth, poor color judgment, and a lack of human disorder. The evidence was confident and wrong. The image was an actual Monet.
The episode shows how quickly attribution can rearrange vision. Once the label says AI, the viewer begins looking for defects that confirm the label. Brushwork becomes artifact. Ambiguity becomes glitch. A strange passage of paint becomes proof of automation. The old work is judged from the accusation placed beside it before its surface has time to act. That matters for artists, museums, schools, and markets because the suspicion travels faster than provenance. Generative systems have made fake images easier to produce, and real images easier to mistrust. The false frame is the fraud. It teaches the public to see authenticity as an error waiting to be exposed.
TikTok sellers are using AI-generated Black women and other synthetic personas to sell dropshipped goods as if they came from struggling small businesses, The Verge reported on May 30. One account presented a crying woman named Aliyah selling handmade belt buckles, while identical buckles appeared on Shein for a fraction of the price. The videos repeat across accounts with changed names, products, faces, and scripts. Some avatars pretend to work fairs, answer comments, or endure racist insult, then send viewers toward Shopify-style stores.
The machinery depends on a fast moral reflex. Viewers are asked to support a vulnerable maker before they have time to check the product, the store, or the person. Researchers quoted by The Verge describe the practice as digital blackface because racial identity becomes a costume for extracting money. The scam is effective because short-form video rewards immediate feeling and punishes verification. A tear, a handmade claim, a small-business story, and a buy link can travel together before the viewer notices the white hands holding the product, the repeated background, or the missing person behind the face. Platform commerce turns solidarity into a checkout path, and the invented seller disappears once the payment clears.
