AI to Z: an art & tech alphabet for 2024

A is for AI and the publication of the eye-opening annual Artificial Intelligence Index Report by Stanford University.

B is for the autonomous AI artist Botto, whose third anniversary was marked with a show and sale at Sotheby’s, New York.

C is for Judy Chicago, whose Serpentine London show Revelations invited visitors to mint a digital participation token.

D is for the noteworthy Digital Art Mile festival launched in Basel in June.

E is for Efsun Erkiliç, co-founder of Refik Anadol Studio and of Dataland, Los Angeles, the first museum for AI art.

F is for Urs Fischer, who invited owners of his Chaos video sculptures to have them “fused” into new animations.

G is for the artist Gabriel Massan, whose computer-game-based Third World began a global voyage in his native Brazil.

H is for Holly Herndon and Mat Dryhurst, whose Infinite Images stood out at Fellowship’s Paris Photo stand.

I is for the VR work Ito Meikyū, which won Boris Labbé the Venice Immersive Grand Prize at the Venice Film Festival.

J is for Jason Bruges, whose giant reimagined digital Tiffany diamond dazzled shoppers at Selfridges, London.

K is for Meiro Koizumi, whose Altars of Prometheus addressed artificial AI as a path to dystopia during Art Week Tokyo.

L is for Las Vegas, home to the giant immersive venue Sphere, whose next iteration is planned for Abu Dhabi.

M is for Museum of the Moving Image in New York, which offered visitors free fragments of digital art.

N is for maturing attitudes to the NFT (non-fungible token) market and Taschen’s publication of Robert Alice’s scholarly study On NFTs.

O is for 10F1, the standout digital art collectors who back Refik Anadol, Beeple, Holly Herndon and Mat Dryhurst.

P is for Parsons & Charlesworth design studio, Futures Award winners at the 13th annual Lumen Prize for digital art.

Q is for the tenth anniversary of Kevin McCoy minting his Quantum (2014), widely regarded as the first NFT.

R is for Refik Anadol, who sought to demystify AI in his one-man Serpentine show Echoes of the Earth.

S is for Serpentine’s Arts Technologies, publisher of Future Art Ecosystems 4, its report on Art x Public AI.

T is for teamLab Borderless, the 7,000 sq. m interactive and immersive art museum in Tokyo’s Azabudai Hills.

U is for the UK’s Museum Data Service, launched with backing from Bloomberg Philanthropies and Leicester University.

V is for Richard Vigniel (RVig), winner of the 2024 ABS Digital Art Prize.

W is for John Akomfrah’s haunting video piece Becoming Wind (2023), featured at the LG OLED Lounge at Frieze London.

X is for x-ray spectroscopy, used by winners of the $1m Vesuvius Challenge to decode ancient Roman scrolls.

Y is for Your Ghosts Are Mine, featuring video from 14 years of the Doha Film Institute, at Palazzo Franchetti, Venice.

Z is for Niklas Bildstein Zaar, of sub studio, who worked with Holly Herndon and Mat Dryhurst on the arresting design of their AI work The Call at Serpentine Galleries.

Community Curation: Rodell Warner, Ceren Su Çelik and Anna Malina were the three artists selected to be shown at the Museum of the Moving Image in New York

Courtesy of the artists

🔗 Source: Original Source

📅 Published on: 2024-12-23 10:58:00

🖋️ Author: Louis Jebb – An expert in architectural innovation and design trends.

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Note: This article was reviewed and edited by the archot editorial team to ensure accuracy and quality.