(Abi)gail

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(Abi)gail

(Abi)gail

@proofofgail

Curator, writer, and producer | Bridging art, culture, & tech @avant_arte | @thecourtauld | culture as infrastructure

London, England Katılım Haziran 2021
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(Abi)gail
(Abi)gail@proofofgail·
Thrilled to bring back Byte Dinners (@thebyteproject) w/ friends in London+SF! Where Art + Tech connect over meaningful conversation. If you're in tech, culture, or investment and crave art and philosophy discussions, DM or tag someone below This is how we build. (+ wine+fun)
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(Abi)gail@proofofgail·
With this new feed algorithm, I’m happy to report my feed is now just in fact @matdryhurst tweets
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(Abi)gail
(Abi)gail@proofofgail·
If art is just a matter of taste, then art spectator becomes more important than the art producer… It has no independence, no power. Art becomes identical to design. Boris Groys
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(Abi)gail
(Abi)gail@proofofgail·
Does @claudeai and @AnthropicAI have a team dedicated to researching their LLM's impact on creative and artistic practices? So curious to any quantitive studies are being done
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(Abi)gail
(Abi)gail@proofofgail·
@sushrutabasak @claudeai @AnthropicAI Yeah but I thinking about it more in a pointed way rather than just 'creative work' which I think is too broad. Just talking to others who do similar research at other companies and curious if someone on their research team was publishing anything.
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(Abi)gail
(Abi)gail@proofofgail·
Witness to the acquisition 🍾 Big congrats to @williamapan @leyla_solos @V_and_A
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𝐿𝑒𝓎𝓁𝒶@leyla_solos

🍾 ANOUNCEMENT 🥂 I’m incredibly proud to share that William Mapan’s Sketchbook A #64 has been acquired by the @v_and_A museum, and that Sketchbook A #55, Sketchbook B #60, Études #336, #337 and #360 have been collected by @arabbankCH. Both series were released via @solos_gallery. For those unfamiliar, SOLOS is a gallery specialising in releasing curated projects on Verse. Alongside our online programme, we’ve curated IRL exhibitions, produced short films, participated in art fairs, and published monographs. We’ve also commissioned curators from institutions including the V&A, Whitechapel, Serpentine, ZKM and The Photographers’ Gallery to write about our artists and their work. We’ll continue to work with artists whose practices we believe in and whose work we feel deserves a place in the history of contemporary art. The biggest thank you to our collectors and artists. Your belief in us and what we’re building is what makes all of this possible. And of course, a very special thank you to @williammapan for trusting us with two extraordinary series. It’s been a privilege, and something we’re incredibly proud to have shared. ❤️ Sketchbook A #64 Victoria and Albert Museum, London

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(Abi)gail
(Abi)gail@proofofgail·
London summers mean long afternoons at Idiot Books
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(Abi)gail
(Abi)gail@proofofgail·
AI is reshaping creative culture faster than any technology in living memory. The infrastructure to fund and produce artists working with it barely exists or exists in silos. The general public understanding of what it means for human artistry barely exists either
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(Abi)gail
(Abi)gail@proofofgail·
London bathroom aesthetics
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Fellowship
Fellowship@fellowshiptrust·
@john__gerrard shares the book that changed him Art Basel published an article on July 8, 2026 featuring four artists with current exhibitions on the books that shaped them most, and what they're reading this summer. Among them was artist, john gerrard. Gerrard named Manuel DeLanda's War in the Age of Intelligent Machines (1991) as the book that most changed his thinking. He arrived at the Ruskin School of Art in Oxford in 1994 at age 20 and found the book in his second year. DeLanda traces the history of war and technology in the years after the Gulf War, when Gerrard says power became abstract and cognitive structure began transferring from humans to machines. Gerrard had watched the Gulf War on television in his boarding school common room as a teenager, which he says primed him to think about violence and technology before he encountered the book. He credits it with introducing him to criticality and shaping his practice since, particularly his focus on society viewed through computing. His original copy is still on his bookshelf. For summer reading, Gerrard is revisiting Marvin Minsky's The Society of Mind (1986) in the studio, and rereading Ursula K. Le Guin's A Wizard of Earthsea (1968) on the beach. His exhibition SPIRITS is on view online at the Los Angeles County Museum of Art through December 21, 2026. (1-Portrait of John Gerrard by Lance Gerber. 2- Manuel DeLanda, War in the Age of Intelligent Machines, 1991.)
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(Abi)gail
(Abi)gail@proofofgail·
@Skymography Incredible work! I was wondering who was behind it
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(Abi)gail
(Abi)gail@proofofgail·
Art, science, and tech salon dinners are back this summer bby @thebyteproject
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Holly Herndon
Holly Herndon@hollyherndon·
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Giannis Sourdis (🦉,🦉)
After a very long wait, I can finally share a bit more about what I’ve been working on for the last 2 years. What started almost as a joke during a gathering with a few friends 4 years ago has now become something real. 🧵
Automat@Automatdotart

Automat. automat.art

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