The auction house Sotheby's has just secured a credit line of up to one hundred million dollars from the private capital firm KKR, offering as collateral the commissions its clients still owe it on auction purchases. It is a form of financing worth attending to, because it discloses where in the cycle one of the two houses that have set the pulse of the global art market for decades now finds itself. When a company begins to collateralise its receivables in order to access immediate liquidity...
Beth Stephens and Annie Sprinkle headline an AAC night of film, live conversation, auction and afterparty in Cincinnati.
Duck Tape sculptures celebrate America 250 at Washington Park, made by Cincinnati art students and local artists this May.
Cincinnati Art Museum hosts a May gallery talk exploring current exhibitions with curators and public engagement.
Nearly fifty etchings by Rembrandt, on loan from the Rembrandt House Museum in Amsterdam, at the Taft Museum of Art.
Cincinnati Art Museum hosts Art After Dark in May with performances, themed tours, and late-night gallery access.
Over forty colorful court paintings from 17th-19th century India, organized around the theme of longing.
Art historiography in the American Midwest often relies on preservation institutions that consolidate particular versions of the past. This year, the Taft Museum of Art subjects its founding narrative to review through the integration of “domestic” aesthetics into the historical texture that defines it.
I have yet to visit the exhibition Rembrandt: Masterpieces in Black and White. Prints from the Rembrandt House Museum, which opened on February 7 in the Fifth Third Gallery at the Taft Museum. Almost every day I find myself thinking I should go. Opportunities like this are not common, especially when dealing with a major figure of Dutch art.
I have a couple of friends named Ramses. I met them in Cuba, and both ended up in Spain. I’m not sure if they are still there, probably. But what continues to strike me is not the trajectory. How is it that I have two friends with the name of a pharaoh? How is this possible?
I tend to think it has to do with Ramses II—the pharaoh who ruled Pi-Ramesses (Nile Delta) between 1279 and 1213 BC. Western civilization had little awareness of his existence until the early seventeenth century.
According to multiple sources, Art Attack Cincinnati emerges in the early 2020s, within a broader moment of cultural reactivation following the pandemic. It can be understood as a punctual exhibition format that enables the direct sale of artworks. It has no fixed venue and unfolds across informal sites in the city, with recurring presence in places such as Braxton Brewing Co. Cincinnati.
Presented by The Annex Gallery, The Body Isn’t a Battery That Discharges Upon Death unfolds as an exploration of what time gradually dissipates—traces and residues—and of what still resists, its resonances.
The brochure—printed austerely in black and white on tinted stock—sets out, with clarity, the exhibition’s aesthetic and conceptual framework...
Rigoberto Mena is an artist with a solid career spanning more than three decades. I consider him the most important Cuban abstract artist working today, and I am not willing, in the presence of such a figure, to write a definitive text without having this exhibition before me. Above all because this is not just another show. Here, as in a previous one held in North Carolina, something has shifted in ways that matter.
Pineapple on pizza is not to my taste. That does not affect the assessment of this new mural. On March 12, 2026, Pineapple on Pizza was unveiled in Covington, a large-scale intervention executed on the building of The Gruff as part of the national Spray It Forward program, led by the brand Rust-Oleum. The project was selected as one of seven developments nationwide, positioning the city within a network of initiatives that use public art as a tool for visibility and urban activation.
It takes only a glance at my MSN (Microsoft Start) homepage to think that every day someone discovers something that forces us to rewrite the history of humanity. I imagine historians exasperated, stalled again and again on the first page.
One of those stories—always amusing—claims that 'a set of geometric markings engraved between 34,000 and 45,000 years ago on small sculptures and tools is forcing a revision of the history of human communication.'
