In a couple of weeks, The Annex Gallery will receive an exhibition by Juan-Sí González. There are several generations of Cuban artists —the younger ones especially— with only a very blurred idea of who Juan-Sí is and what his role has been in Cuban visual arts during the second half of the twentieth century. Some do not know him at all. This does not surprise me...
Wave Pool opens a group photography exhibition about human and nonhuman histories, environmental change and the passage of time.
Evendale pairs a history exhibition with juried outdoor photography, a curator talk, awards and a gallery walk.
Cincinnati Museum Center offers a camera obscura, hand-colored portraits and historic photograph cases inspired by J. P. Ball.
The artist and curator discuss their Cuba-to-Ohio journeys and the making of I.T.I.N.E.R.A.T.I.O.N.S at The Annex Gallery.
Photographs by Gordon Baer and Jano Rečo examine aging and institutional care across Cincinnati and former Czechoslovakia.
Kent Krugh layers multiple exposures of trees into photographs that compress seasonal change and duration into single images.
Pyramid Hill brings local artists, food trucks and family art activities to its two-day outdoor fair in Hamilton.
Seven artists use photography, altered perspectives and mixed materials to imagine unfamiliar relationships with the natural world.
Photographer Jens G. Rosenkrantz Jr. opens Crossing the Border next Friday, September 4, in the main gallery of the Museum of Contemporary Art of the Americas in Miami. This is only the second time this body of photographs, taken along an extensive stretch of the southern border of the United States, has been shown publicly. Its first presentation took place in Cuba, at Fábrica de Arte Cubano, in 2019...
For this series, Rubio & del Amo, a Murcia-based studio specializing in visual identity, editorial design and packaging, joins forces with Cruz más Cruz, the Madrid firm founded by José María Cruz Novillo and later consolidated with the arrival of his son Pepe. Two fairly complementary sensibilities feeding into a common project.
George Inness, as currently featured at the Taft Museum of Art through January 8, 2012, was not yet the master of a united nature concept when these early paintings were completed. Often noted as the most influential artist in the development of American Impressionism, that title would have been angrily denied by him, had he known of it. He heartily disapproved of Impressionism, with obvious loyalties, as evidenced in the...
Though hardly indicative of the full breadth of contemporary craft art, the diversity of work presented in the “The Artist’s Craft” exhibit at The Carnegie Visual and Performing Arts Center is a window into the ability of artists to use traditional materials to create surprising compositions that challenge, and resonate with, the viewers sensibilities.
An increasingly common approach to a contemporary photography show on the part of the viewer is to wonder what flotsam and jetsam in photography’s gristmill will wash up on your mental shore. Surprises yet abound: do not miss the work of Marcella Hackbardt at The Weston Gallery through November 27th. Her digitally constructed photographs from 2009-2011 are concise, hold-you-at-arms-length work saturated in color,...
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—
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...
New York City will bar student-facing generative AI tools from preschool through eighth grade during the 2026-27 school year, placing nearly 600,000 children inside a one-year moratorium. Companion chatbots will be prohibited across all grades, while high school use will remain restricted and tied to AI-literacy instruction. The policy also recommends no individual devices from preschool through second grade, 30 minutes of daily screen time in grades three to five, and 45 minutes in middle school. Teachers may use approved systems for lesson preparation and communications, but not for grading, discipline, counseling or special-education plans. Exceptions preserve accessibility support for disabled students and multilingual learners.
Vendors face a gate that a subscription contract cannot open. Each tool must pass the district's privacy review, disclose its AI functions and promise that student data will not train models. The moratorium returns time to teachers, paper, play and face-to-face correction, though it cannot govern what children use on family phones after school. The city has refused the industry's claim that early adoption is inevitable and has attached deployment to children's ages and evidence. That choice may produce inequalities if affluent families buy private tutors and tools while public classrooms wait. The year ahead needs records of exceptions, purchases, student outcomes and complaints. When officials reconsider the ban, vendor demonstrations should carry no greater weight than those classroom records.
India's Copyright Office has ruled that an artificial intelligence system cannot be named as the author of an image, even when the image meets the legal threshold for originality. The decision concerned Stephen Thaler's DABUS system and a work titled A Recent Entrance to Paradise. After the Delhi High Court asked the office to resolve the application, the registrar accepted that the picture could qualify as an original work but rejected DABUS as its author under Indian law. Thaler was recognized as the person who caused the work to be created. His application failed because he declined to replace the machine's name with his own.
The ruling locates a boundary that image generators obscure. Authorship remains attached to a person who can license the work, defend it, receive payment and answer for its use. A registration form becomes part of the creative process. Its empty name field decides whether an image can enter the legal economy. For artists using generative systems, the decision gives weight to documented human choices in prompting, selection, editing and presentation. Those acts can establish the person behind the result. Studios that advertise autonomous creation face a different problem. Presenting the machine as creator may weaken the human claim needed to circulate the work as property. India's ruling leaves the global dispute open and makes institutional responsibility visible. The image may come from a system; the rights still require someone who can sign.
Princeton economist Markus Brunnermeier told central bankers at Jackson Hole that AI trading agents could understand and exploit monetary policy faster than officials can respond. His paper described a possible Federal Reserve with two press conferences, one offering an anchoring narrative to people and another supplying training data to machines. He also warned that central banks might become deliberately less predictable to stop automated traders from gaming policy signals. The argument appeared at the Kansas City Fed's annual symposium, where financial innovation was the stated subject. Brunnermeier called the imbalance “asymmetric understanding,” a condition in which markets equipped with advanced agents may read the central bank better than the bank reads them.
An interest-rate statement already moves bond and currency prices within moments of publication. An agent can parse each word, compare it with years of data and place trades while reporters are still forming questions. Transparency then reaches the public at unequal speeds. Dividing communication into a human narrative and a machine-readable feed would formalize two audiences for the same public decision. The feed would become market infrastructure, shaped for institutions able to train systems on it, while households encounter the decision later through mortgages, savings and pension values. Any such arrangement would require a public release time, an open data format, equal-access rules and a record of which automated trades were placed before the human conference ended.
