We asked the AI ​​to re-imagine 5 top-notch art exhibits

Artificial intelligence (AI) is here and more accessible than ever, and while some criticize the material realities of this new technology and its impact on the lives of artists, it seems somewhat inevitable that AI will be a tool that professionals and novices will use. use in the years to come. Is AI really that different from the innovation brought about by printing, photography or even computers? Rather than seeing AI as a way to sideline artists, I think it’s more likely to help creatives realize their visions more easily. Because, of course, anyone can take a picture, but that doesn’t mean everyone can take a picture. good photograph.

In contemporary art, art watchers have long noticed how artists, as they enter the land of top-notch galleries, begin to produce increasingly similar and mundane pieces, often transforming innovations aesthetics into designer items for the very wealthy. So, I thought I’d try using press releases from five “top-notch” (i.e. very expensive) art galleries in New York – or at least as many press releases as the AI system would let me type in – and see how DALL-E (one of the most popular AI tools these days) has reinvented exhibits using just these words.

So, without further ado, here are the results. The man-made works are on the left and the reimagined versions of DALL-E on the right, with some commentary. Is the future already here?

Left, Rick Lowe’s “Victoria Square Project” (2022) and, right, DALL-E’s interpretation of Gagosian Gallery’s press release for Lowe’s exhibition (photo left Hrag Vartanian/Hyperallergic, photo right by DALL-E)

I have to say that I think the AI ​​might win this one, although the DALL-E render definitely looks more like a concept drawing than a finished work. Lowe’s work has a digital touch, so maybe it’s more natural suitable for AI. The original artwork also has thick textures and patterns on its surface, but I imagine texture is something the AI ​​will only improve on rendering.

Thomas Ruf: dope. at the David Zwirner Gallery (533 West 19th Street, Chelsea, Manhattan)

Left, “dope.04 I” (2022) by Thomas Ruff and, right, DALL-E’s interpretation of Zwirner’s press release for Ruff’s exhibition (left photo Hrag Vartanian/Hyperallergic, photo by right by DALL-E)

Artist Thomas Ruff seems perfectly suited for the AI, and DALL-E’s version is pretty convincing. If you told me the picture on the right was a little-known Ruff series, I’d believe you.

by Jenny Holzer Insane words at Hauser & Wirth Gallery (542 West 22nd Street, Chelsea, Manhattan)

On the left, a view of Jenny Holzer Insane words and, on the right, DALL-E’s interpretation of Hauser & Wirth’s press release for the Holzer exhibition (photo on the left Hrag Vartanian/Hyperallergic, photo on the right by DALL-E)

This example reveals a weakness of the current DALL-E system, which is text. The AI ​​system renders all text as gibberish, which is odd, but again, Jenny Holzer’s text is getting harder and harder to read. The image on the right could easily be confused with Holzer’s work, perhaps one that “questions readability and our ability to read without understanding…” Sorry, I couldn’t resist.

by Jason Martin Vortex at the Lisson Gallery (508 W 24th Street, Chelsea, Manhattan)

On the left, a view of “Untitled (Viridian light/Scheveningen green deep)” (2022) by Jason Martin and, on the right, DALL-E’s interpretation of the Lisson Gallery press release for Martin’s exhibition ( photo left Hrag Vartanian/Hyperallergic, photo right by DALL-E)

It’s curious that this was the only exhibit text I cut and pasted into DALL-E that made people feel with the art on the wall. It may have been the phrase “the relationship between painting and sculpture” in the press release that triggered it, but all four renders did indeed feature human figures, albeit blurry or distorted. I think the AI ​​could win this one too, but maybe I’m not a huge fan of Martin, even if the smell of oil paint that permeated the Lisson Gallery on West 24th Street n It’s not something the AI ​​can replicate yet.

by Jill Mulleady Lean towards the sun at the Gladstone Gallery (530 West 21st Street, Chelsea, Manhattan)

Left, detail of Jill Mulleady’s “The Fisherman’s Daughter” (2022) and, right, DALL-E’s interpretation of Gladstone Gallery’s press release for Mulleady’s exhibition (photo left Hrag Vartanian/Hyperallergic, photo right by DALL-E)

Another creepy rendering that could very well be by the artist in question.

Boredom ✔️ Moody scene ✔️ Brushy rendering ✔️ Strong foreground figures ✔️ Backgrounds that create a sense of shallow space ✔️ Eerie light ✔️

Quite annoying to see how much DALL-E gleaned from the text to create this image.

Should artists be worried? No, but I can’t wait to see how many will use this tool to transform the way we see and experience the world.

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