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.
CAM presents more than 150 photographs and archival materials in the first career retrospective devoted to Nancy Rexroth.
A free artist talk invites audiences to hear Ron Tisue recount his 1958–59 Antarctic winter-over through photographs and stories.
Noel Maghathe brings woven photographs and family archives to the Art Academy of Cincinnati for FotoFocus 2026.
Artists and community voices connect memory, dignity and health at a free October 10 conversation in Clifton.
More than 200 members contribute to this all-member show, opening with a public reception at The Barn on October 11.
The Taft Museum opens its first solo museum exhibition devoted to Cincinnati artist Edie McKee Harper.
Free FotoFocus reception, curators’ talk and student awards bring visitors to the Art Academy of Cincinnati on October 16.
Artist Marzena Abrahamik discusses her photo exhibition Girl Play at a free October 30 talk in Cincinnati.
I suppose that, like me, hundreds and probably thousands of viewers developed a dark sympathy for the character of Hannibal Lecter. The two actors who, to date, have embodied him most memorably are Anthony Hopkins and Mads Mikkelsen. The character displays extraordinary intelligence and self-control. He conducts himself according to his own rules and ethical codes.
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.
Please join me for an exhibition of paintings at Elizabeth Harris Gallery, New York, opening January 4, 2013.
The Cincinnati Preservation Association is delighted to announce a major grant from the Haile/U.S. Bank Foundation for the restoration of the gardens at Pinecroft, the estate of Powell Crosley, Jr. CPA received the house and 18 acre site as a gift from Mercy Health in 2011.
The day after 21C Cincinnati, the lush hotel/museum right next door to the Contemporary Art Center, opened, I went for a visit. I didn’t want a tour; I just wanted to experience the place the way it gets experienced most often, as a walk-in, a tourist. It was a chilly Friday night, and from the get-go the place felt haunted yet brand new simultaneously.
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.
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—
Pope Leo XIV called on October 2 for the Church to renew its alliance with artists and cultural institutions, arguing that the spread of artificial intelligence makes it urgent to distinguish human art from machine-generated production. Speaking to participants in a meeting organized by the Vatican’s Dicastery for Culture and Education, he described a difference that precedes judgments of beauty, contrasting art with statistical calculation based on images made by others. He also warned about cultural homogenization. His intervention gives artists institutional support in a dispute often framed around speed and cost. It expresses a philosophical position without establishing a ban on artistic uses of AI.
For institutions that commission art, this position raises practical questions about their next contracts. A parish choosing an image for a new chapel can buy a generated illustration or pay an artist to develop a work with the congregation. That choice affects who earns a living and who answers for the finished image. The Pope’s call leaves the practical terms of the renewed alliance unspecified. Artists can use digital tools while still negotiating payment, attribution and control over how their work is reused. If Church patrons follow his appeal, their purchasing decisions will need to give human authors a place in the budget. A commissioned artist should be able to see that commitment in the contract and the agreed fee.
On October 2, Apple said it will add controls to macOS’s Full Disk Access, a permission originally intended to let backup apps work around other privacy protections. The company warned that some apps use it in ways that could expose files, email, messages and browsing history without users fully understanding the reach. For communication apps, Apple said, the risk can extend to the privacy of people on the other end. It promised that granting this level of access will require a “very explicit” action, but gave no timetable or design details. Apple linked the change to increasingly capable and autonomous AI agents.
One account holder’s approval can affect another person. A message sits on two devices, but the recipient chooses which apps may inspect it on their Mac. An AI agent with broad access could draw on private records well beyond a task such as organizing files; Apple’s announcement, however, does not accuse any named product of misusing the permission. The practical test for the new controls will be whether the request explains what an app can reach and lets a person grant only the access needed for a task. Until Apple shows the design, users cannot tell whether the planned action will clarify that boundary or simply add another confirmation to a broad permission.
On September 29, Meta expanded Muse for small businesses, adding connections to professional Instagram and Facebook accounts and tools such as QuickBooks, Shopify and Stripe. The company says owners can ask the agent to review sales, flag expenses, draft campaigns and sort incoming tasks. It also says nothing is published, sent or paid for without the owner’s approval. Meta’s vice president of AI products told Axios that about a third of Muse’s early users had already connected some kind of business account. That is an early adoption signal, though Meta has not published its own active-user figures or how often connected accounts lead to completed work.
The new connectors bring the agent into a shop’s working records, from sales and customer questions to advertising performance and bookkeeping. For an owner without separate marketing or finance staff, one interface spanning those chores could free time for running the business. It also puts sensitive records and routine decisions within reach of a service run by the same company that sells advertising and controls platforms where many shops find customers. Meta says the owner approves actions affecting the outside world; each business still has to decide what data Muse can access and which changes it may make. The reported connections show owners granting access. Meta has not published figures on hours saved or sales generated by Muse.
