Although I am an avowed admirer of her solo work and have known her for nearly twenty-five years, I do not remember ever having spoken in person with Liudmila Velasco. About her work, about the weather, about how unbearable this or that artist can become. When I left the island, Liudmila was already practically an institution within Cuban women’s photography...
Final-Friday CAC @ 21c pairs a hotel gallery visit with CAC exhibitions in one free guided hour Cincy June 26 at 5:30p.
CAM's Pride night brings music, art making and free late-hour access to Eden Park on June 26 for Art After Dark in Ohio.
Thursday Art Play gives young children a hands-on CAC session tied to Homespun, with yoga and art making on July 9 2026.
Ayana Ross presents seven figural paintings at the Taft Museum as the 2026 Duncanson Artist-in-Residence.
Rites of Passage spotlights nine emerging artists at Manifest, opening July 10 with student work from eight U.S. states.
When we first came across Tim Harrier’s Shaman Spirit Guides, we dismissed them without mercy as the product of artificial intelligence. The mud-covered faces, the animals emerging from the background, and an unbroken frontal force produced, almost at once, a malignant suspicion. Suspicion ran far ahead of the work. And we are right to suspect almost everything in life. This series, no...
There is a book. Before the exhibition, before the charcoal drawings spread across the galleries of the Contemporary Arts Center, before the viewer crosses the blue thresholds into the dreamworld of Freeman Little...
In Garfield Place, the two bronze statues by Charles Henry Nihaus of former Ohio-born US presidents James A. Garfield and William Henry Harrison have been yarn bombed.
Yarn bombing, for the uninitiated, is a form of street art that uses knit/crochet objects illegally placed in prominent public space. The term “bombing” arises from graffiti tagging lingo. Unlike graffiti spray paint, yarn bombing does not deface...
Steve Kemple’s exhibition at Semantics, The World is Everything That it Isn’t, accomplishes what many exhibitions strive to do: approach difficult ideas, both in the arts, and in general, in a digestible and playful way. Kemple touches on subjects of organizational systems, simulation, function, etc. with art objects such as a houseplant, an old map, and a telescope among...
In this Art Scene interview, Brad McCombs discusses his interest in creating experiences around the ways people encounter artwork. Speaking from the context of Northern Kentucky University’s visual arts program, he describes new media as a field that brings video, performance, film, interactivity and digital technologies into conversation with contemporary artistic practice...
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.
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.
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."
Washington's order against Anthropic's Fable 5 and Mythos 5 has now produced its quieter aftershock. The first event was the veto itself, almost without precedent in commercial AI, with access cut for foreign nationals and the models removed for everyone. The next effect is commercial suspicion. A company outside the United States can look at the episode and see a model that may vanish after engineers have wired it into products, trained staff around it, signed contracts, and built plans on the assumption that access will remain open.
That is the useful opening for China. Its laboratories do not have to beat every American benchmark tomorrow if buyers begin to treat US models as politically fragile infrastructure. Availability becomes part of the product. Continuity becomes part of the sales pitch. Washington may believe it is keeping capability away from adversaries, yet foreign customers receive another lesson. The most advanced model in the room may also be the one its own government can remove fastest. The next procurement meeting will ask which system performs best, then which system is still likely to be there when the work starts.
The AI boom has begun to produce a political fantasy of public ownership. Donald Trump has praised the idea of AI companies contributing equity to a public wealth fund. Sam Altman has promoted versions of the same arrangement, and Bernie Sanders has called for a large one-time tax on AI firms paid in stock. Dario Amodei has spoken of universal capital accounts. The proposals differ, but they share one premise. If intelligence becomes a machine-owned source of extraordinary wealth, citizens may need a direct claim on the companies that own the machines.
The mechanism is less generous than the rhetoric. A few percentage points of equity in even the largest AI labs would not make households rich unless the companies grew into something close to planetary utilities. A broader levy on labs, chipmakers, cloud providers, and data-center firms would raise more money, but it would also force the state to define where the AI economy begins and ends. Public ownership creates another problem. A government that owns part of an AI firm may become more hesitant to regulate, break up, or punish it. The citizen is offered a small dividend, while the company receives a new argument for staying too important to disturb.
Translation agencies are increasingly sending machine-produced drafts to freelancers and paying them to make the text usable. The assignment no longer begins with a sentence in one language and a blank space in another. It begins with an output that already sounds finished. The human translator is asked to check terminology, catch errors, repair tone, remove awkward phrasing, and accept responsibility for a version whose first decisions were made by software. Rates fall because the job is framed as correction, but the risk does not fall with them. A bad medical instruction, legal clause, technical manual, or literary sentence still carries a human name at delivery.
The surviving job sits in a narrower and more nervous position. Translators once moved between languages by weighing tone, context, idiom, silence, and the small betrayal every sentence requires. Now many receive a fluent surface that must be distrusted line by line. Fluency is the dangerous part, because bad language announces itself while smooth error passes as competence. Agencies save time by shifting uncertainty downward to freelancers paid to repair an output they did not author. The translator becomes a proofreader of automated confidence, responsible for the sentence after the machine has already made it sound inevitable.
