A is for AI and the publication of the eye-opening annual Synthetic Intelligence Index Report by Stanford College.
B is for the autonomous AI artist Botto, whose third anniversary was marked with a present and sale at Sotheby’s, New York.
C is for Judy Chicago, whose Serpentine London present Revelations invited guests to mint a digital participation token.
D is for the noteworthy Digital Artwork Mile pageant launched in Basel in June.
E is for Efsun Erkiliç, co-founder of Refik Anadol Studio and of Dataland, Los Angeles, the primary museum for AI artwork.
F is for Urs Fischer, who invited house 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 started a worldwide voyage in his native Brazil.
H is for Holly Herndon and Mat Dryhurst, whose Infinite Photographs stood out at Fellowship’s Paris Photograph stand.
I is for the VR work Ito Meikyū, which gained Boris Labbé the Venice Immersive Grand Prize on the Venice Movie Competition.
J is for Jason Bruges, whose big reimagined digital Tiffany diamond dazzled customers at Selfridges, London.
Ok is for Meiro Koizumi, whose Altars of Prometheus addressed synthetic AI as a path to dystopia throughout Artwork Week Tokyo.
L is for Las Vegas, house to the large immersive venue Sphere, whose subsequent iteration is deliberate for Abu Dhabi.
M is for Museum of the Shifting Picture in New York, which provided guests free fragments of digital artwork.
N is for maturing attitudes to the NFT (non-fungible token) market and Taschen’s publication of Robert Alice’s scholarly examine On NFTs.
O is for 10F1, the standout digital artwork collectors who again Refik Anadol, Beeple, Holly Herndon and Mat Dryhurst.
P is for Parsons & Charlesworth design studio, Futures Award winners on the thirteenth annual Lumen Prize for digital artwork.
Q is for the tenth anniversary of Kevin McCoy minting his Quantum (2014), broadly considered the primary NFT.
R is for Refik Anadol, who sought to demystify AI in his one-man Serpentine present Echoes of the Earth.
S is for Serpentine’s Arts Applied sciences, writer of Future Artwork Ecosystems 4, its report on Artwork x Public AI.
T is for teamLab Borderless, the 7,000 sq. m interactive and immersive artwork museum in Tokyo’s Azabudai Hills.
U is for the UK’s Museum Knowledge Service, launched with backing from Bloomberg Philanthropies and Leicester College.
V is for Richard Vigniel (RVig), winner of the 2024 ABS Digital Artwork Prize.
W is for John Akomfrah’s haunting video piece Turning into Wind (2023), featured on the LG OLED Lounge at Frieze London.
X is for x-ray spectroscopy, utilized by winners of the $1m Vesuvius Problem to decode historical Roman scrolls.
Y is for Your Ghosts Are Mine, that includes video from 14 years of the Doha Movie Institute, at Palazzo Franchetti, Venice.
Z is for Niklas Bildstein Zaar, of sub studio, who labored with Holly Herndon and Mat Dryhurst on the arresting design of their AI work The Name at Serpentine Galleries.
Neighborhood Curation: Rodell Warner, Ceren Su Çelik and Anna Malina had been the three artists chosen to be proven on the Museum of the Shifting Picture in New York
Courtesy of the artists
