Please join us for a discussion between artists and researchers as they discuss the potential for collaboration and integration with Art and Artificial Intelligence, as well as potential criticisms and limitations. This discussion is followed by a Q&A from in person and online audiences. Audiences can also leave a question at the form linked here that will be answered during the discussion. Speakers include Dean Enrico Pontelli and Micol Hebron, with moderator Bree Lamb.

This programming is in conjunction with Cameo by Jamie Isenstein, currently on display at the NMSU Art Museum, where Isenstein asks audiences to question what is real, and how can we trust what we see?

Enrico received a Ph.D. in Computer Science from NMSU, a Master’s degree from the University of Houston and a Laurea in Computer Science from the University of Udine (Italy). His research interests are in the areas of knowledge representation and reasoning, constraint solving and optimization, high performance computing, assistive technologies, and STEM education. He is a Regents Professor of Computer Science and currently serves as the Dean of the College of Arts & Sciences and as NMSU Senior Advisor for Artificial Intelligence. He is the founding director of the Center of Research Excellence for Smartgrid Technologies. 

He has published over 300 peer-reviewed publications and served as PI or co-PI of extramural funds for over $20M. He is the President of the International Association for Logic Programming and serves on the editorial board of several journals, including Theory and Practice of Logic Programming and the ACM Transactions on Accessible Computing. 

Micol Hebron is an interdisciplinary artist whose practice includes studio work, curating, writing, social media, crowd-sourcing, teaching, public-speaking, and both individual and collaborative projects. She has been engaged in individual and collaborative projects in Los Angeles since 1992. Hebron is an Associate Professor of Art at Chapman University; the founder/director of The Situation Room resource space for the creative community; the Gallery Tally Poster Project about gender equity in contemporary galleries; and the Digital Pasty/Gender Equity initiative for the internet. In the past she has been the Chief Curator at the Utah Museum of Contemporary Art; the director of the UCLA Summer Art Institute; an editorial board member at X-Tra magazine; an independent curator; a conservator at LACMA, and the co-founder of Gallery B-12 in Hollywood in the 90s. She has served on advisory boards at Los Angeles Contemporary Exhibitions, Birch Creek Ranch Residency (Utah), Los Angeles County Museum of Art, and UCLA. She is the founder of the LA Art Girls, and the Co-Founder of Fontbron Academy. She employs strategies of consciousness-raising, collaboration, generosity, play, and participation to support and further feminist dialogues in art and life. Hebron has presented exhibitions, performances, and lectures at numerous international institutions. The best way to reach her is through social media.   

Bree Lamb is an artist, educator and editor based in New Mexico. She is Associate Professor of Photography at New Mexico State University, and holds an MFA from the University of New Mexico and a BFA from Pennsylvania State University. Her work is held in permanent collections at the Colorado Photographic Arts Center, the University of Iowa, Arizona State University, the International Museum of Ceramics Faenza, the New Taipei City Ceramics Museum, and the Southwest Center for Research. For the last eight years, Lamb has been the Managing Editor for Fraction Magazine, an online venue for contemporary photography. She has reviewed portfolios at national and international events including Review Santa Fe, Medium Festival of Photography, Mt. Rokko Photography Festival, Month of Photography Denver, New England Portfolio Reviews, the Society for Photographic Education National Conference, and Photolucida. Lamb’s creative research questions social conventions, with particular focus on the complexities of identity, domesticity, and consumerism. Her work examines our shared desires to identify, connect, and indulge through images, as well as the inherent complications of contemporary vernacular photography.