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 1OF1, 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 McCo 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
