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."
I have lived in Northside for almost seven years now, so I am embarrassed to admit that my recent visit to Prairie Gallery to see House: New Works by Tony Becker on a rainy Wednesday afternoon was my first trip to the space. A second floor walk-up with a mission of “Engaging communities through art,” Becker’s installation of hand-folded and hand-decorated paper houses is a perfect...
Jimmy Baker makes difficult art, and makes it extremely well. His solo show at Contemporary Arts Center, Remote Viewing, is only ten paintings but they are quite enough for the long, thin gallery that stretches along the south side of the CAC’s second floor. The works hang at a distance from one another, as they should. Any closer would invite visual chaos.
“Tony Dotson: Shock and Awe” (up through April 9, 2011 at PAC Gallery in Walnut Hills) pushes Dotson’s smart-alecky yet innocently streamlined aesthetic into newer and fiercer territories. The show comes off like Philip Guston took all of his gritty/funky oeuvre through a car-wash and arranged each piece in a parking lot for an impromptu flea market...
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.
Anthropic's Claude Mythos Preview has turned cybersecurity into the next test of frontier AI, Sebastian Mallaby writes in The Spectator World. The model is designed to find software vulnerabilities, and its release has already pushed American officials and major banks into defensive posture. Anthropic is keeping access restricted, sharing Mythos only with selected software companies. The UK AI Security Institute added weight to the alarm when it reported that Mythos can execute multi-stage attacks on vulnerable networks and discover and exploit flaws autonomously, outperforming rival models on expert cyber tasks.
The immediate problem is access. A model strong enough to find hidden weaknesses in browsers, operating systems, and databases can help defenders patch systems before attackers arrive. The same capability becomes dangerous when copied, distilled, or adapted by hostile groups. Anthropic's answer is a private gate, with the company deciding who enters. A government takeover would move the gate without solving the legitimacy problem. Cybersecurity depends on banks, hospitals, cloud providers, software updates, credentials, payment systems, and phones whose owners never see the model that may expose them.
Channel 4 sent Grayson Perry to San Francisco for Grayson Perry Has Seen the Future, a documentary about artificial intelligence built from familiar ingredients. Perry meets a woman romantically attached to an AI avatar, speaks with Microsoft's head of AI, interviews a prepper preparing for collapse, encounters an author warning that advanced AI could kill everyone, and gives his own reflections from the back of driverless cars. James Delingpole, reviewing the program in The Spectator World, found the format thinner than the subject.
The useful tension is between the television machinery and the material it tries to hold. AI appears through scheduled interviews, comic stunts, scenic anxiety, and a presenter asked to make the future digestible. Perry's sharper moments come when he asks direct questions, especially around the woman and her synthetic partner, where intimacy has become an app with a voice and a compliant face. The documentary works best when it leaves Perry reacting to what is in front of him. The screen can show the avatar, the executive, the bunker plan, and the driverless cab. It has less room for the unease moving between them.
Uber is slowing hiring as it increases investment in artificial intelligence, Business Insider reported on May 6. On the company's first-quarter earnings call, CEO Dara Khosrowshahi said autonomous agents now produce roughly 10 percent of Uber's code changes, with human employees still checking the work before it enters a repository. He also said legal, marketing, and engineering teams are adopting AI tools internally, creating what he called employees with superpowers.
Uber is funding that push by controlling headcount growth. CFO Balaji Krishnamurthy said the company underestimated the impact of AI tools when it planned its late-2025 budget, and the CTO said Uber had already spent its 2026 Claude Code budget. The company is asking existing teams to produce more with agents before adding people at the same pace. That makes the tool part of ordinary staffing decisions. A manager asking for another hire now competes with software expected to raise output from the employees already inside the team.
