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."



Midjourney has moved from synthetic pictures to the promise of scanning the body. Its new medical project is an ultrasound-based full-body scanner built with Butterfly Network, using a ring of sensors to capture vertical slices of muscle, fat, bone, and organs. David Holz described a 60-second scan that could be repeated yearly or even daily, first for body composition maps rather than formal diagnosis. The planned San Francisco site is framed as a spa, with water, saunas, cold plunges, and rooms where the visitor descends through sensors before receiving another image of the self.
The strange part is the continuity. Midjourney became famous by turning language into pictures people could desire, collect, correct, and display. The scanner brings that appetite inward. A body becomes a recurring visual file, a private archive that may be shared with doctors, health tools, or whatever platform learns to read it next. Medicine has always depended on images, but the spa setting changes the ritual. The scan is sold as prevention, measurement, and self-knowledge before illness has appeared. The user leaves with no diagnosis, perhaps, but with a new habit of being rendered from the inside.

AI is entering offices through the small work that used to make beginners useful. Readers writing to the Financial Times described translation checks, search tasks, email drafting, code review, legal preparation, administrative cleanup, and junior analysis being handed to systems before a new employee can practice them. The change does not always arrive as a firing notice. It appears as a missing assignment, a task no manager gives anymore, a first rung removed from the ladder while the job title remains in place.
The loss is practical before it becomes symbolic. A translator learned by correcting bad sentences. A developer learned by reading other people's errors. A lawyer learned by preparing documents that a partner later marked up. When those chores move to a model, the senior worker may become faster, but the beginner loses the slow contact with mistakes that builds judgment. Firms can treat the saved hours as productivity, yet someone still has to become competent enough to inspect the answer. The weakest point in an AI office may be the empty chair where apprenticeship used to sit.

The new argument over AI wealth begins with a tempting promise. If a few companies make enormous fortunes from models, chips, cloud contracts, and data centers, the public should receive a share. Trump has praised public stakes in AI companies. Sam Altman has floated versions of a shared-equity arrangement. Others imagine funds that would collect returns from the industry and send money to households. The proposal sounds fair because it gives citizens a visible claim on a boom built with public tolerance, public infrastructure, public energy grids, and public risk.
The difficulty starts once the state becomes a shareholder. A government that owns part of an AI company may hesitate before breaking it up, taxing it harder, slowing a risky model, or forcing expensive safety rules. A small dividend can turn into political cover for a large private empire. Taxation keeps the relationship clearer. If AI firms and their suppliers generate extraordinary rents, governments can tax profits, capital gains, energy demand, land use, and monopoly power without asking citizens to cheer for the stock price. The machine should pay for the burden it places on the public. A tax bill is cleaner than a share certificate.