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.
Photographer Laura Fisher discusses the alumni show Long Exposure in a free lecture at the University of Cincinnati.
GALLERY jENSEITS closes its group show of seven women artists with a free reception in Mount Adams.
Kennedy Collective members open their annual group show with a free reception at Kennedy Heights Arts Center.
A FotoFocus show pairing artworks with the photographs that inspired them ends November 13 in Northside.
Artist and writer Andrew Sungtaek looks at Donald Judd’s time in occupied Korea in a free lecture at NKU.
Cincinnati artist Terence Hammonds pairs new printed ceramics, wallpaper and textiles with museum objects about Black history.
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.
Deborah Butterfield’s sculptures are not like the sculptures of the civilized and perfectly groomed horses standing beneath important men that adorn public places. They’re just themselves, seemingly contemplating their own existence with a serenity that belies their power.
For those who are not familiar with Flannery O’Connor’s fiction—a mix of Catholicism, horror and humor: the things that dark satire is made of—Thunder-Sky, Inc., Gallery’s current exhibition, entitled, “The Meanest of Them Sparkled: Visual Artists Respond to Flannery O’Connor’s Fictional Universe,” is the place to introduce oneself to the author, both as a woman and as an artist.
Almost 25 years ago, Bill Ross and I had our first two-person art show in Indianapolis, Indiana at 431 Gallery. We were both 24 years old. The title was “The Fifteen Dollar Museum” and was a manifesto of sorts, an accidental action plan for the rest of our lives.
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.
Schools are being encouraged to adopt AI tools partly on the strength of research reviews that report large gains in learning, and a new audit argues those reviews do not hold up. Patrick O’Neill, an associate professor at Ivy Tech Community College in Indiana, examined 14 meta-analyses, studies that combine the results of many smaller studies into one overall estimate. In a preprint discussed by Education Week on November 2, he concludes that none of them gives a valid basis for its claims. None clearly defined the kind of AI use it was measuring, and none properly checked for publication bias, the tendency for studies with good results to be published while disappointing ones are left out.
Some of the problems were basic. A study of an elementary school physical education class was grouped with one on simulations for medical students, a few included studies did not use AI at all, and results as different as test knowledge, motivation and mental health were added together. Some of the underlying studies contained impossible statistics or references that appear to be invented, including ChatGPT research dated before the tool was public. The reviews appeared in respected journals and have been cited thousands of times. O’Neill asks journals to require authors to share their data and to tighten peer review. A separate Stanford review of more than 800 studies found only 20 with a strong cause-and-effect design, and none of those involved schoolchildren.
Spotify is aiming to launch a paid tool in early 2027 that would let subscribers turn existing songs into AI-made covers and remixes, such as a rock track reworked as a dance version, the Financial Times reported on October 30. The add-on could cost an extra $4 to $5 a month on top of Premium, though the price has not been decided and Spotify has not confirmed the plans. According to the report, progress has been slower than expected because major current stars have been harder to sign up than some established older artists. Universal, which first announced a remix deal with Spotify in May, has joined, as have the independent-label agency Merlin and the distributor Believe, while Sony and Warner are still negotiating.
Artists signed to those labels can still decide for themselves whether their songs are used, and those who take part are expected to receive a share of the extra fees when fans alter their music. Olivia Rodrigo told The Hollywood Reporter in early October that she would never use AI in her music. Bernstein analyst Ian Moore estimates that 7 to 8 percent of Spotify’s paying U.S. customers could use the service by the end of 2028. Before any full launch, co-CEO Gustav Söderström has said, a public test version will open to some users.
Workers who lost jobs likely tied to AI since 2025 took about a month longer to find new work than other laid-off workers, according to a note by Goldman Sachs economist Pierfrancesco Mei reported by Fortune on October 30. They were also roughly 10 percentage points likelier to still be unemployed a year later. Because no survey asks about AI directly, Goldman scored over 15,000 people in a federal survey who lost jobs involuntarily between 2016 and 2025 by their occupation’s AI exposure, their industry’s AI adoption and whether the position was eliminated, treating the top 30 percent as likely AI losses. For job losses before 2023, when AI use began to rise, the two groups showed no significant gap.
The gap was wider for older workers. Those 35 and older took about five weeks longer than other displaced workers to return to full-time work, against about three weeks for those under 35, and older workers who were rehired more often landed in jobs just as exposed to AI. Mei called the effects comparable to earlier waves of new technology and “long-lasting.” Labor Department figures released in August show the age pressure across all layoffs. By January 2026, 72.9 percent of long-tenured displaced workers aged 25 to 54 were working again, compared with 57.3 percent of those aged 55 to 64.
