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.
The Land of Tomorrow in Louisville collaborated with Country Club to curate a broad show of many different artists, many of whom are well-known in Cincinnati (such as Aaron Morse and Jimmy Baker). Only certain artists were given their own individual rooms (The Land of Tomorrow’s group), and are my focus here: Taylor Baldwin, Lisa Walcott, Jacob Isenhour and Willard Tucker (in collaboration), and Amanda Church...
Currently on view at AISLE in the West End, Fiends is a two-person show featuring works by veteran collagist Michael Scheurer and newcomer Lizzy Renschler.
If you’ve been paying even a modicum of attention, it should be clear to you by now that Scheurer has become a hot property. In the past year the artist’s mixed media works have been shown at Clay Street Press, the Northside space CANCO, and Covington’s AEC...
The Ghost Empire Collective, an all male artist collective from Cincinnati and Northern Kentucky, began their first gallery season with Die Cupid Die at The Famous Neons Unplugged. The core idea behind the Ghost Empire Collective, recently formed in late 2011, is to bring art to audiences in non-traditional art spaces such as restaurants and bars.
I love the idea of bringing art to audiences in settings that promote a certain comfort level...
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...
OpenAI has begun rolling out GPT-6 Astra, a model it says reaches 99.9 percent on ARC-AGI-3, a benchmark for artificial general intelligence (AGI), and human-level action efficiency on 96 percent of that benchmark's levels. Astra is the first OpenAI model classified at the Critical cybersecurity threshold, meaning that with tools and access it can discover unknown flaws and develop exploits across hardened systems without step-by-step human direction. OpenAI delayed parts of the release to strengthen containment and is initially limiting access. It does not call Astra AGI.
OpenAI's charter defines AGI as a highly autonomous system that outperforms humans at most economically valuable work. One saturated benchmark cannot prove that claim, and Astra still falls below the company's High threshold for AI self-improvement. Yet a turning point can arrive before its official name. Astra combines reasoning with direct computer use across long professional workflows. That changes the unit of automation from an answer to a finished assignment. Scientists may compress weeks of technical work. Offices may remove layers of junior labor. Cyber defenders and attackers may search for the same unseen vulnerability at machine speed. The human consequence depends on who can delegate, who owns the infrastructure, who is displaced and who retains authority to stop the task. If Astra is remembered as an AGI milestone, the evidence will come from workplaces, laboratories, public agencies and security incidents rather than the launch page.
Nvidia agreed to acquire Hugging Face for $12.93 billion, taking control of the platform where 18 million developers, researchers and creators share over 3 million models, 500,000 datasets and 1 million applications. Closing is expected in the first half of 2027, subject to regulatory approval. Jensen Huang promised that Hugging Face will remain open, continue supporting models and datasets chosen by its users, accept other chip vendors and require no Nvidia hardware. A company that sells the dominant computing system for AI is purchasing one of the main public squares where alternatives circulate.
Ownership enters through quieter controls than a locked download button. Search rankings decide which models are seen. Hosted inference sets a price for running them. Safety reviews can remove files, while preferred integrations can make one hardware path easier than another. Nvidia will also gain a close view of what developers test, copy and deploy. Here, open describes access under corporate ownership. Hugging Face grew through contributions made under the expectation of shared technical infrastructure, yet that infrastructure now belongs to a corporation with products to sell and competitors to outmaneuver. The promise should be tested through published rules for ranking, data use, pricing and hardware neutrality. Its first serious measure will arrive when a popular model works better on a rival chip and still receives the same visibility, support and speed.
New York City will bar student-facing generative AI tools from preschool through eighth grade during the 2026-27 school year, placing nearly 600,000 children inside a one-year moratorium. Companion chatbots will be prohibited across all grades, while high school use will remain restricted and tied to AI-literacy instruction. The policy also recommends no individual devices from preschool through second grade, 30 minutes of daily screen time in grades three to five, and 45 minutes in middle school. Teachers may use approved systems for lesson preparation and communications, but not for grading, discipline, counseling or special-education plans. Exceptions preserve accessibility support for disabled students and multilingual learners.
Vendors face a gate that a subscription contract cannot open. Each tool must pass the district's privacy review, disclose its AI functions and promise that student data will not train models. The moratorium returns time to teachers, paper, play and face-to-face correction, though it cannot govern what children use on family phones after school. The city has refused the industry's claim that early adoption is inevitable and has attached deployment to children's ages and evidence. That choice may produce inequalities if affluent families buy private tutors and tools while public classrooms wait. The year ahead needs records of exceptions, purchases, student outcomes and complaints. When officials reconsider the ban, vendor demonstrations should carry no greater weight than those classroom records.
