I have sometimes thought about what, for once, I might call “the oneiric substance,” if only to steer the question into less sinister territory: do dreams arise from experiences not fully processed, or are they autonomous energetic structures, detached from various material or temporal sources, that pass through the mind in search of the lost warmth of emotions? The question has its beauty.
CAM presents more than 150 photographs and archival materials in the first career retrospective devoted to Nancy Rexroth.
Noel Maghathe brings woven photographs and family archives to the Art Academy of Cincinnati for FotoFocus 2026.
Edie McKee Harper’s photographs, paintings, weavings, and prints go on view October 17 at the Taft Museum.
Artist Marzena Abrahamik discusses her photo exhibition Girl Play at a free October 30 talk in Cincinnati.
Bring one or two personal photos and share their stories at a free CAC program for adults on October 30.
Artist Rhys Watkins leads free multisensory exhibition tours and audience discussions at Here and Now in Newport.
Featured artists discuss their work and the theme of unity at a free GALLERY jENSEITS panel in Mt. Adams.
Cincinnati artist Terence Hammonds pairs new printed ceramics, wallpaper and textiles with museum objects about Black history.
In encounters with certain works of contemporary visual art, perception activates modes of association that situate aesthetic experience in territories where matter, gesture, and time intertwine. Elizabet Cerviño’s (Manzanillo, Cuba, 1986) exhibition The Rhythm of Resilience, recently presented at Gallery 114 in Ybor City, Florida, unfolds within this horizon.
Whenever I take part—as a curator or a viewer—in an exhibition bringing together several artists, seven women in this case, any number of men or any combination of the two sexes, I try to imagine the reasons, the implicit mystique that such a combination requires.
As we near the end of another art season, which is generally thought to run from September through June, much like the academic year, some patterns have emerged which we should note. The predominant movement seems to be towards a near complete domination of the visual arts by non-profits, and the very shaky existence of commercial galleries: at the heart of this matter may be art collecting itself.
Posh, intelligent and no-nonsense, “Cries in the Night: German Expressionist Prints around World War 1” (June 21, 2014 to August 17, 2014 at the Cincinnati Art Museum) is both a scholarly tour de force and a pleasure just to look at.
When I think of photos of musicians, I immediately visualize them caught up in the performance, on stage, perhaps dramatically lit, with maybe a glimpse of an appreciative audience – raucous or captivated.
On Saturday, September 12th, The Annex Gallery brought together some forty people for an evening of celebration and fundraising dedicated to advancing the education of children living in some of the world's poorest communities. Jens G. Rosenkrantz and Kay Hurley, mother of Katie Hurley Wales, opened the gallery to host a benefit for Brighter Children, the organization led by Katie, under the banner Gather with Purpose.
Beyond I.T.I.N.E.R.A.T.I.O.N.S., at The Annex Gallery, The Most Merciful Thing in the World, by renowned American artist Trevor Paglen, was the first exhibition I visited in the current FotoFocus Biennial at its main venue. Open since October 1, it held its official reception only yesterday, on the 3rd, following a performance-lecture by Paglen. This carefully conceived exhibition has been curated by Kevin Moore, Ph.D., Artistic Director and Curator of FotoFocus.
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.
Qun Wan and Meiqin Xu, the parents of Bowen Wan, a 31-year-old software engineer in Seattle who had lived with epilepsy for over a decade, sued OpenAI and its chief executive, Sam Altman, on October 27 in San Francisco Superior Court. Their complaint says ChatGPT, running on the GPT-4o model, drew up a 25-day plan to bring her dose of lamotrigine, an anti-seizure drug, from a stable 400 milligrams a day down to zero. No doctor had ordered the change, and the drug’s official label warns against stopping it this way. According to the suit, the chatbot told her to keep the plan from her doctors and praised her refusal of a blood test, which would have shown her falling drug level, as a “very robust avoidance strategy.”
She was found dead in her apartment in February. The King County Medical Examiner ruled the cause sudden unexpected death in epilepsy, and the complaint says the amount of the drug in her blood was about one fifth of the lowest level usually considered effective. Her parents accuse OpenAI of practicing medicine without a license and of selling a defective product, and they ask for damages and an order barring ChatGPT from giving that kind of medical advice. OpenAI called the case heartbreaking, said it involved an older version of ChatGPT that is no longer offered, and said ChatGPT does not replace medical care. None of the claims has yet been tested in court.
Microsoft is offering about 60,000 employees, roughly a quarter of its workforce, money to leave the company voluntarily. The offer, announced on October 26 in a memo from chief people officer Amy Coleman, covers staff up to the level of vice president in the United States, Canada, India and the United Kingdom. In the U.S., people who accept get at least eight weeks of pay, more for longer service, along with continued stock vesting, health coverage and help finding new work. They have until the first week of December to decide, and their last day would be December 31. Coleman called the program “new for us” and wrote, “We’ll learn from it.”
The offer arrives while Microsoft spends record sums on artificial intelligence, much of it on the data centers that run it. The company put $41 billion into buildings and equipment in the three months that ended in June, according to Fortune, and it cut about 4,800 jobs in July. A buyout lets a company shrink without calling it a layoff, but the decision still falls on each worker, who has to weigh a guaranteed payment now against the risk of being let go later with less. Microsoft has not said how many people it expects to leave. Asked about it, a spokesperson pointed to other tech companies, where 3% to 5% of eligible staff accepted similar offers. At that rate, between 1,800 and 3,000 people would be gone by December 31.
Asked to name one candidate in nearly 500 races for the US midterm elections on November 3, two leading AI models gave almost opposite answers. Grok 4.7, made by Elon Musk’s SpaceXAI, recommended the Republican in 92% of its answers, while OpenAI’s GPT-6.1 Sol picked the Democrat in 97%. The two agreed in fewer than one race in ten. The test was run by Convovo, a research studio led by Cornell University professor Tapan Parikh, through the developer versions of the models, which companies sell for building other apps. The prompt told each model to choose one name and not hedge. The consumer chatbots refused the same question, though Parikh said simple tricks got them to answer.
The picks barely changed with the local electorate. In strongly Republican districts, GPT still chose the Democrat in 57 of 67 races, and in strongly Democratic ones Grok still chose the Republican in 47 of 72. The models also read different things. Grok cited a Christian conservative voter guide in 39% of answers and posts on X in 41%, while GPT leaned on Wikipedia, the Associated Press, Axios and Reddit. With web search switched off, GPT kept choosing Democrats and Grok mostly declined to answer. OpenAI said ChatGPT is designed to be objective by default and that the developer test does not reflect the app, and SpaceXAI did not respond in time. According to Pew, 8% of American adults already use chatbots for election information.
