In the Middle of the Endless Water, a solo exhibition by Julia Orquera Bianco curated by Carolina Cuervo at the Philip M. Meyers Jr. Memorial Gallery at the University of Cincinnati, brings together more than a decade of work by an artist whose practice has gradually moved from the personal experience of migration toward an inquiry into territory, memory, ecology, and alternative forms of knowledge.
Seven artists use photography, altered perspectives and mixed materials to imagine unfamiliar relationships with the natural world.
CAM presents more than 150 photographs and archival materials in the first career retrospective devoted to Nancy Rexroth.
ARTclectic opens its national juried ViewPoint 58 exhibition with a public reception in its Cincinnati gallery.
A free artist talk invites audiences to hear Ron Tisue recount his 1958–59 Antarctic winter-over through photographs and stories.
Noel Maghathe brings woven photographs and family archives to the Art Academy of Cincinnati for FotoFocus 2026.
More than 200 members contribute to this all-member show, opening with a public reception at The Barn on October 11.
The Taft Museum opens its first solo museum exhibition devoted to Cincinnati artist Edie McKee Harper.
Free FotoFocus reception, curators’ talk and student awards bring visitors to the Art Academy of Cincinnati on October 16.
I suppose that, like me, hundreds and probably thousands of viewers developed a dark sympathy for the character of Hannibal Lecter. The two actors who, to date, have embodied him most memorably are Anthony Hopkins and Mads Mikkelsen. The character displays extraordinary intelligence and self-control. He conducts himself according to his own rules and ethical codes.
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.
Dean and Britta and their band brought their live show, “13 Most Beautiful…Songs for Andy Warhol’s Screen Tests” to the Emery Theater, Friday, December 9th. In conjunction with the CAC’s FotoFocus show of Andy Warhol’s photography, the musically accompanied screen tests demonstrated the remarkable results of the melding of the arts across disciplines: the slow motion photo-realism of Warhol’s spectacular screen tests...
NKY Restoration Weekend steering committee is seeking artists for the 2013 NKY Restoration Weekend Poster Competition. The winning design will become the official visual icon for Northern Kentucky’s annual restoration fair and educational event with a cash prize of $250.
The Cincinnati Art Museum is pleased to announce Serena Urry as Chief Conservator. Before coming to the Cincinnati Art Museum, Serena served as Senior Conservator of Paintings at the Barnes Foundation, preparing its Impressionist and Post-Impressionist collection for the historic move to downtown Philadelphia.
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.
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—
On October 2, Apple said it will add controls to macOS’s Full Disk Access, a permission originally intended to let backup apps work around other privacy protections. The company warned that some apps use it in ways that could expose files, email, messages and browsing history without users fully understanding the reach. For communication apps, Apple said, the risk can extend to the privacy of people on the other end. It promised that granting this level of access will require a “very explicit” action, but gave no timetable or design details. Apple linked the change to increasingly capable and autonomous AI agents.
One account holder’s approval can affect another person. A message sits on two devices, but the recipient chooses which apps may inspect it on their Mac. An AI agent with broad access could draw on private records well beyond a task such as organizing files; Apple’s announcement, however, does not accuse any named product of misusing the permission. The practical test for the new controls will be whether the request explains what an app can reach and lets a person grant only the access needed for a task. Until Apple shows the design, users cannot tell whether the planned action will clarify that boundary or simply add another confirmation to a broad permission.
On September 29, Meta expanded Muse for small businesses, adding connections to professional Instagram and Facebook accounts and tools such as QuickBooks, Shopify and Stripe. The company says owners can ask the agent to review sales, flag expenses, draft campaigns and sort incoming tasks. It also says nothing is published, sent or paid for without the owner’s approval. Meta’s vice president of AI products told Axios that about a third of Muse’s early users had already connected some kind of business account. That is an early adoption signal, though Meta has not published its own active-user figures or how often connected accounts lead to completed work.
The new connectors bring the agent into a shop’s working records, from sales and customer questions to advertising performance and bookkeeping. For an owner without separate marketing or finance staff, one interface spanning those chores could free time for running the business. It also puts sensitive records and routine decisions within reach of a service run by the same company that sells advertising and controls platforms where many shops find customers. Meta says the owner approves actions affecting the outside world; each business still has to decide what data Muse can access and which changes it may make. The reported connections show owners granting access. Meta has not published figures on hours saved or sales generated by Muse.
On September 30, the US Centers for Disease Control and Prevention released its review of 39 models that forecast weekly influenza hospital admissions during the 2025–26 season. Google’s SAI-FluEns ranked first among individual team submissions. The public forecast the CDC used was a separate median ensemble, which ranked seventh overall. At the national peak, weekly admissions exceeded 40,000; fewer than 25 percent of that ensemble’s two-week prediction intervals across jurisdictions contained the observed figures. Flu forecasts can help officials plan hospital beds, staffing and antiviral supplies, making the distinction between a contest winner and a public health forecast tangible.
The report shows accuracy declined when flu activity changed quickly. A season-wide score can hide how a model performs in a state or around a sudden surge, just when a hospital may need to revise staffing or bed plans. The review is a retrospective comparison; it does not say Google’s winning model has replaced the CDC’s ensemble or that hospitals used it to make those decisions. The next test is whether forecasts communicate uncertainty clearly and update local estimates early enough to inform response before admissions climb.
