Meet the Selectors

By Carla Rapoport June 28, 2019

 

Who selects the Lumen Prize Longlist? From the beginning of the prize, we’ve had a dedicated panel of top curators, academics, artists and art writers from around the world to make up our International Selectors Committee. The ISC chooses the Longlist which then goes to the Jury Panel for selection of the finalists and winners. This year’s ISC’s choices will be made public at our Lumen Art Lecture on July 17th in London at the Royal College of Art and online at 21:00 GMT. In the meantime, we thought you’d like to know more this eminent crew so we’re pleased to profile six here.

 

Anna Zavediy, (bottom row, right) lives and works in St Petersburg, Russia. She is the curator and head of special programs department at the North-Western branch of National Centre for Contemporary Art, Russia. We met Anna last year as she co-curated the festival of media art Cyfest’11 (2018)  which Lumen participated in. You can find out more about Anna’s work on instagram @anna_zavediy and facebook.

 

Melanie Lenz (bottom row, left) is the curator of Digital Art at the Victoria and Albert Museum, London, where she has also worked as the Digital Programmes Learning Manager. She co-curated Chance and Control: Art in the Age of Computers (2018) and has published papers on Early Argentine computer art (2018) and Women, Art & Technology (2014). She comments: “Art that engages with technology and society is a really innovative and experimental field, with creative practitioners making thoughtful, provocative and challenging work. I’m less interested in gadgets and more concerned with the impact of creative technologies and how they make us consider the world around us. I  also believe that through making, technology can be demystified and empower people to become creators and not just consumers.” 

 

Arthur I. Miller (top row, right) has written for several decades on the interplay between art, science, technology and AI as well as creativity in art and in science.  In the 21st century this interplay has evolved into a fusion of art, science, technology and AI, with AI-created art as the avant-garde. Arthur is the author of many critically acclaimed books, including the Pulitzer Prize-nominated Einstein, Picasso: Space, Time, and the Beauty that Causes Havoc (Basic Books, 2001); Insights of Genius: Imagery and Creativity in Science and Art (MIT Press, 2000); and Colliding Worlds: How Cutting-Edge Science is Redefining Contemporary Art (W. W. Norton, 2014). He regularly broadcasts, lectures, and curates exhibitions at the intersection of art and science, and has written for The Guardian, The New York Times and Wired. He is  Emeritus Professor of the History and Philosophy of Science at University College London. His book on AI and creativity in art, literature and music, The Artist in the Machine: The World of AI-Powered Creativity will be published in September 2019 by MIT Press. For more information, please see his websites here and here. His two most recent articles can be read here and here

 

Luba Elliott (bottom row, middle) is a curator and researcher specialising in artificial intelligence in the creative industries based in the UK. She is currently working to educate and engage the broader public about the latest developments in AI art through talks, workshops and exhibitions at venues across the art and technology spectrum internationally including The Photographers’ Gallery, Victoria & Albert Museum, Seoul MediaCity Biennale, Impakt Festival, Leverhulme Centre for the Future of Intelligence and the AI conferences NeurIPS and ICCV. She has advised organisations including The World Economic Forum, Google and Samsung on the topic and was featured on the BBC, Forbes and The Guardian. You can find more about her work here. On her passion for art and technology, she comments: “In the field of art and technology, my main hope is to see artists from diverse backgrounds engage with the latest machine learning techniques so that they can define how this technology shapes the arts, bring new perspectives to the optimisation-focussed tech sector and highlight the limits of what AI can do.”

 

Sandra Crisp (top row, middle), is an artist based in London. She graduated with a MA in Fine Art Printmaking, Wimbledon School of Art in 1995 and now works primarily with digital media. Sandra has been working with digital technology since around 2000 creating her first basic HTML website and developing computer manipulated imagery for photo etching as part of her printmaking practice at the time, then moving on to explore digital media exclusively including moving mage practice around 12 years ago. Today, her digital practice is still informed by the alchemy and serendipity of past print practice, searching out unexpected visual form and transformations from one media to the next. In 2018 she was elected a member of The London Group and is now Deputy Vice President. Recent awards and exhibitions include; (2018) The Lumen Prize shortlist; ADAF, Athens Digital Art Festival, Greece; Visions in the Nunnery, Bow Arts, London, UK; Uncommon Natures, Phoenix Brighton, UK; FILE Festival, Brazil (2017) The Schauerman Digital Art Prize (The London Group). For more information, please see her website here or follow her on Instagram @sandra_crisp.

 

Will Hurt, (top row, left) a Lumen 2017 Finalist, is best known for his “Abstract Playground” series of colourful, playful, digital interactives which cater to people of all ages and abilities and respond to the geometry of the physical sites they are installed in, abstracting and re-presenting local architecture and landscape. These site-specific interactives bring people together, forging connections and affording them a moment to play, leaving them with lasting memories of novel playful experiences and a new appreciation of their locality. Hurt’s work has been exhibited around the world due to its arresting aesthetic, engaging immediacy and technical resilience. See more of his work here

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