1310 PENDLETON STREET CINCINNATI, OH
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THE
ANNEX
GALLERY
Beginning May 22, 2026, the exhibition presents a recent body of work by Julia O. Bianco, an Argentine-born artist based in the United States whose practice has emerged as one of the most distinctive voices working at the intersection of migration, plant medicine, and material inquiry. Drawing from extended periods of dieta with the Shipibo community of the Peruvian Amazon, Julia has developed a visual language grounded in cyanotype, self-taught embroidery, and the iconography of power animals, shaped by an inherited textile tradition and a sustained engagement with the land. Amazonia gathers watercolor paintings, illuminated cyanotypes, embroidered textiles, and a textile-and-light installation produced between 2024 and 2026, in which personal memory, ancestral inheritance, and devotional practice converge.
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...
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.
Somewhere between Salzburg and the history of postwar German art, Georg Baselitz died yesterday at 88. His gallery announced it on Thursday. The family stated that he passed 'in peace'. The cause was not made public. Baselitz was born in 1938 in Deutschbaselitz, a village in Saxony, under the name Hans-Georg Kern. In the first years of his life, during the war, four thousand tonnes of bombs fell on his village...
There is something bitterly ironic, and in some way unjust, in the posthumous fate of William Blake. An extraordinary poet and engraver, he spent his life defending imagination as a sacred faculty, denouncing slavery, and dreaming of a spiritual Jerusalem on earth. He has nevertheless ended up recast, in the contemporary imagination, as a numen, or tutelary spirit, of evil. His name and his images appear tattooed on the skin of serial killers, whispered into the ears of victims in television series...
Art historiography in the American Midwest often relies on preservation institutions that consolidate particular versions of the past. This year, the Taft Museum of Art subjects its founding narrative to review through the integration of “domestic” aesthetics into the historical texture that defines it.
A District Showcase of Young Artists
The Congressional Art Competition, scheduled for April 24, 2026, will be presented at Annex Gallery as a platform of visibility for emerging artists from the district within a nationally recognized program in which participation is neither automatic nor universal among congressional offices. Its staging in this context situates the initiative within a professional exhibition environment, reinforcing the relationship between artistic education and the institutional frameworks that shape contemporary cultural production.
Prints, Canvas and Ceramics
Beginning April 8, 2026, the exhibition brings together a recent body of work that reaffirms his position as one of the most compelling living voices of Cuban abstraction. Born in Artemisa in 1961 and currently based in North Carolina, Mena has developed a visual language grounded in gesture, color, and structural tension, drawing from both urban experience and an internalized emotional memory...
Cuba, Spirit and resiliencia in the Work of Ivonne Ferrer and Ciro Quintana
Held on the 27th as part of the Pendleton Art Center’s widely attended Final Friday, the gallery welcomed close to one hundred visitors between 5:00 and 9:00 p.m. The public showed particular interest in the political dimension underlying Ciro Quintana’s works and in the reflections on identity and gender presented through Ivonne Ferrer’s ceramic selection.
