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.



Manifest is an internationally recognized Cincinnati-based 501(c)(3) non-profit organization founded in 2004 by students and professors dedicated to creating high quality experiences of visual art through exhibition, publication, artist-support, and education.

This exhibit, open to artists living or working within a 25-mile radius of CCAC, features all fine arts disciplines, and is intended to celebrate the artists of our region! CCAC also invites artists to submit proposals for installation, sculpture, video, sound and kinetic artwork.

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.



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.



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.

On October 30, OpenAI, Google, Microsoft and Anthropic said they will respect a single instruction that website owners can place in robots.txt, the plain text file sites already use to tell automated visitors which pages to skip. A site that adds a group headed “User-Agent: __usage_ai-training” followed by “Disallow: /” is asking all four companies not to use its pages to train their AI models, and it can leave chosen sections open, such as a press area. The signal comes from a draft written by Kevin Kelley, a standards lead at Anthropic, and submitted to the Internet Engineering Task Force, the body that sets many of the internet’s technical rules. For now the draft has no formal standing there.
The companies have set different dates. Anthropic says it has started adding support, OpenAI promises it in the coming months, Microsoft will apply it from February 1, 2027, and Google says it aims to do so in 2027. Compliance is voluntary, other AI companies are not bound, and Meta has not committed to it. The rule also works only going forward, so pages already collected stay in existing training data. The common rule that blocks every bot at once does not count as a training preference, which means newsrooms, artists and small businesses that want out must add the new entry by name. Microsoft is also adding a second setting that lets a page refuse to feed the answers written by Bing and Copilot.
