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...


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.



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—



This is the first in a series of a quarterly letters, which will cover painting shows in greater New York
If you want to experience the New York art scene from afar, watch James Kalm’s videos. Kalm tirelessly travels the city documenting art openings and exhibitions from Manhattan to Brooklyn...

Bequeathed to the people of Cincinnati in 1927, along with its collections, the Taft Museum of Art opened in 1932. Once the home of Nicholas Longworth and then Charles Phelps Taft, the house was originally finished in 1820 by Martin Baum, Cincinnati’s first millionaire and founder of the Miami Exporting Company, which in 1803 became the first bank chartered in Ohio. After Baum lost his fortune, the house became an academy for...

Like doodles scribbled on the edges of homework, Peter Saul’s exquisitely moronic pictures (on display mostly in lithographic form at Carl Solway Gallery through December 22, 2011) have a rote yet somehow ominous quality, a blurry merger of the popular and profane. While seeming to be birthed from boredom and cynicism like punk rock, they also have the cozy innocuousness of storybooks published on the cheap. Blatant and iconic...



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...

Given its scale and significance, I will present my analysis of this project in several installments. These are the ten design proposals shortlisted for the next series of euro banknotes. At this moment, they are under the gaze of millions. Citizens of the euro area have been invited to choose their favorites in a survey that will remain open until September 21...



India's Copyright Office has ruled that an artificial intelligence system cannot be named as the author of an image, even when the image meets the legal threshold for originality. The decision concerned Stephen Thaler's DABUS system and a work titled A Recent Entrance to Paradise. After the Delhi High Court asked the office to resolve the application, the registrar accepted that the picture could qualify as an original work but rejected DABUS as its author under Indian law. Thaler was recognized as the person who caused the work to be created. His application failed because he declined to replace the machine's name with his own.
The ruling locates a boundary that image generators obscure. Authorship remains attached to a person who can license the work, defend it, receive payment and answer for its use. A registration form becomes part of the creative process. Its empty name field decides whether an image can enter the legal economy. For artists using generative systems, the decision gives weight to documented human choices in prompting, selection, editing and presentation. Those acts can establish the person behind the result. Studios that advertise autonomous creation face a different problem. Presenting the machine as creator may weaken the human claim needed to circulate the work as property. India's ruling leaves the global dispute open and makes institutional responsibility visible. The image may come from a system; the rights still require someone who can sign.

Princeton economist Markus Brunnermeier told central bankers at Jackson Hole that AI trading agents could understand and exploit monetary policy faster than officials can respond. His paper described a possible Federal Reserve with two press conferences, one offering an anchoring narrative to people and another supplying training data to machines. He also warned that central banks might become deliberately less predictable to stop automated traders from gaming policy signals. The argument appeared at the Kansas City Fed's annual symposium, where financial innovation was the stated subject. Brunnermeier called the imbalance “asymmetric understanding,” a condition in which markets equipped with advanced agents may read the central bank better than the bank reads them.
An interest-rate statement already moves bond and currency prices within moments of publication. An agent can parse each word, compare it with years of data and place trades while reporters are still forming questions. Transparency then reaches the public at unequal speeds. Dividing communication into a human narrative and a machine-readable feed would formalize two audiences for the same public decision. The feed would become market infrastructure, shaped for institutions able to train systems on it, while households encounter the decision later through mortgages, savings and pension values. Any such arrangement would require a public release time, an open data format, equal-access rules and a record of which automated trades were placed before the human conference ended.

Meta is testing robots that can swap network cables, power-cycle servers, reseat components and inspect equipment inside data centers in Iowa and Ohio, WIRED reported. The trials include supervised dual-armed machines and wheeled platforms at the Prometheus campus. One worker estimated that a successful cable robot could absorb up to 80 percent of some technicians' workloads. Current machines remain slower than people, need frequent charging, struggle with loose cables and sometimes require a person to open doors or move them between buildings. One inspection robot cannot distinguish red from green indicator lights. Meta declined to discuss the tests; a spokesperson said the company is investing in training and hiring because skilled workers remain scarce.
Every chatbot request depends on racks that must be connected, inspected and restarted when software cannot recover them remotely. A technician recognizes a damaged connector, incorrect cable tension and the irregularities that turn a routine reset into a longer repair. Automating those gestures may reduce heavy lifting and repetitive rounds while shrinking the entry-level work through which technicians learn the building. If Meta redesigns racks, doors and cabling around robotic access, the data center becomes legible first to its machines and afterward to the people supervising them. For now, the robot that restarts a server may still need a worker to untangle its cable, interpret the warning light and let it through the next door.
