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."
Is he a misogynist or is he not? That is the question most art critics and historians quickly come to when discussing Willem de Kooning and his 1950’s Women Series.
Let’s consider: It’s the middle of the 20th Century and painting is so alive and kicking! Who is the artist that dominates that world? Picasso. What defines the...
Rob Anderson’s 24 small (3.5×5″) paintings (2009-present) of mostly male faces form a file along the south wall of the Rieveschl Gallery at the Carnegie. Anderson’s skill with his medium is evident. He precisely renders diverse hues, in defiance of the small dimensions of the board. The background is graphically reduced to large swathes of one or two colors...
The current show at Prairie Gallery, Little Kings, features documentary-style photography by Chris Bucher, who followed a group of youth boxers as they trained for the Ringside World Championships held in Kansas City, Missouri in 2008. Bucher worked with boxers who were training at a gym in Indianapolis called Jireh Sports Ministry. The kids he photographed spent five to six days a week...
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.
OpenAI has begun rolling out Lockdown Mode for ChatGPT, an optional security setting meant for people and organizations handling sensitive data. The feature limits live browsing to cached content, prevents web image retrieval, disables deep research and agent mode, blocks Canvas networking, restricts file downloads, and changes how apps and connectors can reach outside services. The company presents the setting as protection against prompt injection, the class of attacks in which malicious instructions are hidden inside webpages, files, or connected sources. OpenAI also says the setting cannot guarantee safety. A hostile instruction may still appear in cached material or an uploaded file and distort a response.
The defensive gesture is unusually plain because it protects intelligence by subtracting action. The chat becomes safer when it stops browsing live pages, stops opening external paths, stops letting generated code touch the network, and stops behaving like an agent with errands to run. That admission cuts against the usual sales pitch of AI as frictionless access to every source, tool, app, calendar, image, and file. In a sensitive account, convenience itself becomes an attack surface. The user who turns on Lockdown Mode is accepting a smaller machine, one whose value depends on refusing some of the powers that made it attractive. The warning now sits in Settings under Security, beside the promise that a private question can travel through fewer exits.
Sriram Krishnan will leave his post as senior White House policy adviser for artificial intelligence at the end of June, according to The Washington Post. His next move is expected to be an outside institution that keeps him close to the same policy field. The departure follows a period in which the Trump administration has treated AI as a matter of national industrial power, from data centers and energy supply to voluntary federal testing of powerful models. Krishnan, a former Andreessen Horowitz partner and veteran of several major technology companies, helped shape that agenda alongside David Sacks and other Silicon Valley figures brought into the orbit of government.
The important movement is institutional. Moving an adviser into an outside policy shop gives AI governance a flexible address, one able to speak the language of state strategy while remaining nearer to engineers, investors, and founders. The public office loses a name, but the network around the office keeps its channels open. When Trump speaks of taking public stakes in major AI companies, and when agencies ask developers to submit frontier models for cybersecurity review, the boundary between regulation and partnership becomes harder to read. Authority spreads through meetings, advisory councils, private institutes, executive orders, power contracts, and voluntary submissions. The next AI policy fight may arrive with a White House seal, a venture-capital accent, or a calendar invitation from an institution whose funding the public has to look up.
Quilty markets to the Hollywood industry an estimate for a film that does not yet exist. The company, created by producers Simon Horsman and Daniel Wood, says its artificial intelligence chain can analyze a script without the need to shoot it and issue a score from 0 to 100, covering narrative quality, commercial viability, audience resonance, and estimated budget, according to The Verge. The screenwriter uploads the text, pays for the study, and receives a dossier generated by models such as Claude, ChatGPT, Gemini, DeepSeek, and several sentiment-analysis tools. The intention is to speed up the meeting where authorization is granted, an environment where writers, producers, buyers, financiers, and executives already discuss the vocabulary of risk.
That meeting is the moment when the harm becomes tangible. An assessment does not have to be exact to divert the trajectory of a script in progress. It can turn a risky project into a fiscally imprudent proposal, make a conventional idea appear safer, or provide a producer with a spreadsheet-shaped justification for perpetuating an old bias. The cases cited by Quilty show the fragility of the agreement, since its algorithm reportedly favored Christy, which later registered a box office failure, over Sinners, a film that reached major success. The mistake is revealing because it exposes the illusion of predicting culture through management software. When public preference is incorporated into the financial file as a metric, the audience is projected before acquiring a ticket, behaving in a certain way in the theater, or transforming an unconventional cinematic work into a profitable one.
