In the mid-1990s, I had many printed copies of the Financial Times in my hands. Probably sometime between 1995 and 1997. I was fascinated by its design, the wan salmon of its pages and Ingram Pinn’s illustrations: its visual identity, basically. As for reading it, very little, I confess. It was an almost purely retinal experience, and little else. But it became clear to me that its texts were written for professionals —people who make decisions on the basis of verified information—
Nine conserved eighteenth-century fans return to view at the Taft Museum, revealing painted scenes and intricate European craftsmanship.
Wave Pool offers four August ceramics sessions with clay, tools, glazes, kiln access, and beginner-friendly hand-building instruction.
FotoFocus launches its 2026 Biennial with free passes, maps, catalogues, and representatives from sixty-five participating venues.
Trudy Gaba layers family archives and historical records in a mixed-media exhibition opening Friday at the Art Academy.
Nine artists examine political, religious, and economic belief systems in a yearlong FotoFocus exhibition at 21c Cincinnati.
Zachary Armstrong, Gina Beavers, Raul de Nieves, and Trey Abdella discuss their work before a Weston reception.
Photography, sculpture, installation, and film examine Latin American representation in a FotoFocus exhibition at Kennedy Heights Arts Center.
Photographs by Gordon Baer and Jano Rečo examine aging and institutional care across Cincinnati and former Czechoslovakia.
The smell of fresh ink on a print just lifted from the press has a remarkable ability to turn devotees into addicts. So do the uneasy intervals built into the process, which forge a very particular bond with the craft. This lies at the origin of nearly every printmaking and screen-printing workshop. Another trait they tend to share is an unusual capacity for endurance...
Since Wednesday, August 12, Annex Gallery has been presenting Tiger Lily: Collective Impressions. Tiger Lily Press is a cooperative printmaking workshop founded in Cincinnati in 1979, conceived as an open space for practice, teaching, and the preservation of artistic printing techniques. Over several decades, it has brought together printmakers from different generations, providing access to presses, tools, workshops, and shared technical knowledge, while establishing itself as one of the...
It’s satisfying to identify the first seeds of what we become, and to what we commit. The mentor who sowed my life into a fertile ground of art and travel is clear: Uncle Bob gave me my first art history book in 1962 upon return from one of his many international adventures. A Renaissance man, he drew and painted, sang, wrote, and acted in theatre at Ohio State University, where he also professed a seminal marketing history...
“The Art of Charlie and Edie Harper in Needlepoint Exhibit” is exactly that. Charming and humorous, exquisitely designed and perfectly executed, each of these renditions of the famous Harper pieces in the clockwork precision of needlepoint seems just what the two artists would have anticipated as a future for their works. The late Harpers’ prints and reproductions may be the most recognizable hometown art in Cincinnati, but good design is ageless...
Emerging Artists Exposed is a film series dedicated to emerging artists from the Cincinnati and Northern Kentucky region, offering an intimate look at the experiences, ideas, and personal histories that shape their work. In this installment, the featured artist reflects on her path from business studies to the visual arts and on a deeply social practice centered on the human body, medical histories, vulnerability, and the conversations through which personal experience is transformed into visual form.
Given its scale and significance, I will present my analysis of this project in several installments. These are the ten design proposals shortlisted for the next series of euro banknotes. At this moment, they are under the gaze of millions. Citizens of the euro area have been invited to choose their favorites in a survey that will remain open until September 21...
Designing the banknotes destined to circulate throughout a monetary area such as Europe is among the most prestigious and consequential commissions a professional or design studio can receive. Creating an image to be shared by millions of people, condensing an identity into visual form, and meeting complex demands of legibility, security, symbolism, and instant recognition constitute a task at which even a demigod like Hercules might have failed...
Ai Weiwei's art leaves me with certain reservations. The public figure strikes me as overly polished, burnished almost to excess.
Some years ago he dropped an authentic Han dynasty urn onto the floor. Made sometime between 206 BC and AD 220, its first and only purpose was to shatter. He had bought it in Beijing in the early 1990s, during China's rapid urban expansion...
Singapore's Ministry of Law and Intellectual Property Office have opened a public consultation on how artificial intelligence should alter the country's copyright and patent rules. One patent question is unusually concrete. It asks how the law should respond when AI systems publish technical disclosures at large scale, changing the body of prior art used to judge whether an invention is new. The consultation also asks how inventorship should be assigned across different degrees of human and machine participation. Patent law has long assumed that new technical knowledge arrives through a limited chain of research, expense, experimentation and disclosure. Generative systems can produce plausible specifications far faster, including descriptions of devices that may never have been built or tested.
A flood of generated disclosures could turn the patent archive into a contest of volume. Examiners would have more documents to compare, applicants could face earlier machine-made descriptions of similar ideas, and companies might publish defensively to prevent competitors from securing rights. Defensive publication already exists, but generation reduces the cost of producing technical language at industrial scale. A document can enter the record without a workshop, prototype, failure or person able to explain why the object should exist. Singapore is considering legal refinements, guidance and non-binding technical measures rather than announcing a settled answer. Its consultation runs until October 22. The eventual rule will need to distinguish useful disclosure from automated abundance before the latter becomes searchable evidence against the next human applicant.
The Dutch Data Protection Authority has fined Uber €824.99 million after finding that driver accounts had been temporarily or permanently deactivated through automated decisions without human intervention. The case began with a collective complaint representing over 170 drivers. According to France’s CNIL, which cooperated in the investigation, suspected fraud and low customer ratings could trigger account blocks that stopped drivers from accepting rides and earning income. Uber disputes the regulator’s account, says permanent deactivations receive human review and drivers can appeal, and plans to challenge the decision.
The fine makes algorithmic management visible at the exact point where software becomes a boss. A platform may describe a driver as independent, yet its interface can still decide when work begins, how conduct is measured and whether tomorrow’s income exists. Fraud detection and rating systems promise speed, but speed changes meaning when the person affected must prove an error to a process they cannot see. Europe’s rule against consequential automated decisions asks for something ordinary: a human who can explain, listen and take responsibility. The most revealing image is not a courtroom or a server room. It is a parked car, a darkened app and a worker waiting for the system to let work resume.
A humanoid robot named Lightning, built by the smartphone manufacturer Honor, ran 100 meters in 9.32 seconds during a preparatory test at the Second World Humanoid Robot Games in Beijing. The time beats Usain Bolt’s 2009 world record of 9.58 seconds. In the official preliminary heat, Lightning clocked 9.47. Another robot, Tiangong Ultra from the Beijing Humanoid Robot Innovation Center, finished in 9.39. Both times are faster than any human has ever run. The robots reached peak speeds above 14 meters per second. None of them could stop. After crossing the finish line, Lightning lost balance and crashed into the safety mats. Several other robots fell or collided in the same way. The first edition of these games, held in 2025, was won in 21.50 seconds. One year later, the machines have halved that time and removed the human body from the front of the race.
The record changes the conversation from intelligence to flesh. AI had already surpassed humans at chess, language, diagnosis, and image generation. The 100 meters was the last territory where the body still held an advantage. Bolt’s record ran on speed, tendons, lungs, reaction time, and a nervous system refined over millions of years. A robot does not breathe, does not tire, does not hesitate at the starting block. It accelerates without narrative. The problem is stopping. A sprinter decelerates using proprioception, balance, and learned motor control refined from infancy. The robot that beats Bolt’s time does not yet know how to stop being fast.
