In its October 19, 2026 edition, The Christian Science Monitor Weekly devotes a double-page spread to an interactive sculptural installation. I mention it for its photograph, which is hardly anything special in itself, though it has something striking about it. The contrast between the abyssal blue of the background and the gentle lines of light is lovely.
CAM presents more than 150 photographs and archival materials in the first career retrospective devoted to Nancy Rexroth.
Edie McKee Harper’s photographs, paintings, weavings, and prints go on view October 17 at the Taft Museum.
The Art Academy of Cincinnati opens a comics art exhibition with original work by more than 30 artists.
Artist and writer Andrew Sungtaek looks at Donald Judd’s time in occupied Korea in a free lecture at NKU.
Lexington artist Kim Dixon talks about her artwork in the touring Celebrating the Black Experience exhibit in Erlanger.
Cincinnati artist Terence Hammonds pairs new printed ceramics, wallpaper and textiles with museum objects about Black history.
Artist Lydia Smith discusses her installation Cyclorama and the Norwood Mound in a free talk at The Carnegie.
Kennedy Collective members talk about their work in the group show In Harmony at Kennedy Heights Arts Center.
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.
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.
The North Water, by Ian McGuire, is a combination adventure tale, morality play, historical novel, and singularly astute assessment of the characters of men under the most extreme of circumstances, particularly keen on understanding how easily money corrupts men.
My right hand is caving in. The muscles retreat as if on the front line under fire, disappearing. The winter sun, a sudden development through thick clouds through this dirty kitchen window, lands on my hand as it performs its nervous little act.
Now that I’m getting more and more ideas for finding books from The New Yorker, rather than from The New York Times Book Review, from the one-page section titled “Briefly Noted”, I’m finding a plethora of excellent novels often not reviewed elsewhere. Tender, by Belinda McKeon, is one such novel, and it’s one of the loveliest, and best written, novels of 2016 so far.
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.
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.
Departures from every airport in the United States were halted for more than four hours on Friday, November 13, after radar and communications data at air traffic control centers became unreliable. More than 3,500 planes were in the air when the stop began, Transportation Secretary Sean Duffy said, and the tracking service FlightAware counted nearly 7,000 delayed or canceled flights. Three days earlier, the Federal Aviation Administration had said it was extending SMART, an artificial intelligence program that suggests routes and schedules to help flights avoid storms and congestion, to all 22 centers that guide planes between airports. Homeland Security Secretary Markwayne Mullin said earlier on Friday that agencies were checking for a link.
By that night the government had ruled it out. Duffy said SMART is not connected to the radar and flight-tracking systems controllers rely on, and that there was “no possible way” it affected the outage. Its maker, Air Space Intelligence, which holds a 12-year, $875 million FAA contract, also denied any role. Officials blamed old switches and routers that were overloaded with data, in a network Duffy said still relies on copper lines from the 1980s. Mullin said the overload appeared to begin as the agency added new equipment and software patches, and that nothing was completely certain yet. FAA technicians are still investigating. Duffy asked Congress for $50 billion to rebuild the network, and travelers were told some flights would not leave until Saturday morning.
Getty Images, which licenses millions of news, sports and stock photographs, asked the Court of Appeal in London on Wednesday, November 11, to revive its copyright case against Stability AI, the British company behind the image generator Stable Diffusion. Getty says Stability used millions of its pictures without permission to teach the program how to make images, work it says was done in the United States. Last November, a High Court judge ruled largely for Stability. Because the finished program does not keep copies of the photographs it learned from, she found, it is not an illegal copy under British law. Getty won only on limited trademark points involving older versions.
The two-day appeal turns on a narrow question with wide reach: can software trained abroad count as an unlawful copy once it is brought into Britain, even if it holds none of the original pictures? Getty’s lawyer told the judges that Stability valued its collection for training but does not think it should have to pay for it. Stability argues that the images were downloaded and stored in data centers outside the country, so British copyright law does not apply. The BPI, which represents Britain’s record labels, has joined the case on Getty’s side. If Stability wins again, photographers, musicians and writers will find it hard to use British courts against AI companies that train their systems in other countries.
Workday, whose software uses artificial intelligence to sort job applications for employers, asked a federal judge in San Francisco on Tuesday, November 10, to break up a group of more than 15,000 job seekers who say its tools rejected them because of their age. The case was brought in 2023 by Derek Mobley, a Black man over 40 who says he was turned down for more than 100 jobs at companies that used Workday to screen applicants. In May 2025, U.S. District Judge Rita Lin allowed applicants aged 40 and older to pursue the age claim together, and by October more than 15,000 had joined. Workday denies that its technology discriminates.
The company’s main argument is that it does not hire anyone. In its filings, Workday says its customers set their own requirements, use its software in different ways and make their own decisions, so the applicants cannot show that its tools treated them all alike. If the judge agrees, each person would have to sue separately, a far harder and costlier path for someone who never learned why software passed them over. Workday also opposes a request to certify wider groups covering race, sex, age and disability, which Judge Lin is scheduled to hear in March. For people sending out applications, the ruling will help decide whether the maker of a screening tool can answer for its results, or only the employer that used it.
