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.
With his new bronze sculpture, “Pinocchio (Emotional),” a scary-monster/sweetie-pie welcoming people outside the Cincinnati Art Museum, Jim Dine conjures a lot of pop-culture ghosts and nightmares while also paying homage to the original 1883 children’s novel, The Adventures of Pinocchio by Carlo Collodi. The statue is imposing, and the glazed patina of it harkens back to Rodin. High art glosses low, but also an eccentric...
This article marks the first of many articles to come in reference to the field of design. These articles will attempt to analyze and interpret the meanings of a vast number of subjects surrounding the design field, and enlighten the reader of their importance. However, before I get into my first subject on design I need to establish a foundation so that you, the reader, know where I’m coming from....
The use of color for serious artistic expression has a long history in film, with hand-tinting, (from the beginnings and into the late 1920′s), though the advent and rise of Technicolor in the 1930s. This use of color as an element of interest in itself flowered in John M. Stahl’s Leave Her to Heaven and Michael Powell’s Black Narcissus (among others) in the 1940s, and continued in Powell’s Peeping Tom, and Age of Consent;...
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...
A group of over twenty-five education ministers and national representatives has adopted a UNESCO statement defining education as a human right and a common good in the age of artificial intelligence. Its eight priorities ask schools to use systems that can be audited, permit data to be moved elsewhere, involve teachers in purchasing decisions, protect children according to age, and allow institutions to stop using a tool when necessary. Providers should present evidence of educational benefit before deployment and accept responsibility for harm. Governments should also calculate the full cost of ownership, including systems that first enter classrooms through free accounts, donations, or vendor agreements.
Calling education a common good shifts the argument away from policing student assignments and toward who designs the conditions of learning. A free tool can establish habits, collect material, shape assessment, and make its eventual price difficult to refuse. Portability and an exit plan belong beside lesson plans; they keep access from hardening into dependence. UNESCO's accompanying survey found that ninety-three percent of participating academics believe students use generative AI for assignments, while sixty-three percent perceive declining cognitive capacities. Fewer than one percent favor a complete ban. Governed use is the practical alternative. Before a teacher opens an AI service for a class, the institution should know who can inspect the system, export its records, challenge a decision, disconnect it, and pay the bill after the free offer ends.
Australia has released draft Digital Duty of Care legislation that would require social platforms to offer users over sixteen a genuine choice between two default feeds. One may contain personalized recommendations selected by an algorithm; the other would show friends and creators the user has chosen to follow. New and existing users would receive a notification, and the selection could be changed later. The proposal, called My Feed, My Way, also extends safety duties to games, apps, and AI chatbots used by minors. Platforms would have to document how they reduce identified harms, with penalties reaching 109.2 million Australian dollars for failing the duty.
The proposal treats recommendation less as invisible infrastructure than as a setting that requires consent. That small change exposes how thoroughly the contemporary feed has confused convenience with authorship: the platform arranges attention, then presents its arrangement as personal taste. An exit button will matter only if the exit remains open. Europe has already shown how a nominal choice can be weakened by repeated prompts, reduced features, or a preference that quietly resets. Australia's test is therefore not the wording of the notification but the behavior of the interface after refusal. The useful measure will be simple: a person chooses the following feed, closes the app, returns the next morning, and still encounters the people they selected rather than the platform's latest attempt to select them.
OpenAI, the World Association of News Publishers, and Ukraine's Association of Independent Regional Press Publishers have launched a program to help Ukrainian news organizations adopt artificial intelligence during the continuing war. Its masterclasses cover editorial work and audience development, while a deeper phase beginning September 17th will help ten outlets choose uses, build plans, and test tailored tools. Participants will receive credits for OpenAI's application programming interface, which lets organizations connect the company's models to their own software. AIRPPU says the support should return time to journalists whose newsrooms face economic pressure and disruption.
A wartime local publisher has practical reasons to accept donated access. Transcription, archive searches, translation, and routine production can consume hours needed for reporting when staff and revenue are scarce. The arrangement also places part of the newsroom's future inside a supplier's prices, technical limits, and changing policies. Training determines which tasks editors learn to hand over; free credits make one company's system the easiest place to begin. Responsible adoption will therefore require records of where a model enters the workflow, who checks its output, what confidential material it receives, and how the outlet can leave. The ten pilots will produce stronger evidence than the partnership announcement. Their useful results should include errors, correction time, recurring costs after the credits expire, and whether journalists actually gained more hours outside the office.
