AI art is an ephemeral form of digital creative expression that defies many of the fundamentals of traditional art and design. Although it’s not yet considered a stand-alone substitute for a human artist, many are seeing it as a fascinating way to create unique pieces. It has its roots in the early years of computer art, where artists used computers to augment their oeuvres with new styles and imagery. This trend has been reimagined for the modern age with AI and machine learning algorithms, which are increasingly accessible through open-source databases.
Mario Klingemann is a German Ai artists who uses neural networks, code and algorithms to create unique pieces of art. His works explore cybernetic aesthetics, information theory, feedback loops, pattern recognition and emergent behaviours. He has been recognized as a pioneer in the field of neural networks and AI art. His work has been featured at museums and art festivals around the world, and he has won a number of awards, including the Lumen Prize Gold 2018. He lives in Munich, Germany and is machine learning artist in residence at Google Arts & Culture.
Klingemann’s generative art project, Botto, is a decentralized artist that generates 350 new paintings every week using a suite of algorithms. It presents these paintings to the community, who then vote on their favourites. This process allows the AI to evolve over time.
Refik Anadol, a pioneering artist who has worked in collaboration with major tech companies, uses AI to create mesmerizing art installations that capture and interpret the world’s data. His work combines new media art with architecture, expanding or filtering his raw material using machine learning algorithms and text-to-art methods to create immersive installations. His works often include graphics that explain how AI works, in an attempt to make it more accessible. And he is optimistic about how the future of AI will impact society.
For his latest project, “Unsupervised,” Anadol trained a sophisticated machine learning model to interpret publicly available visual and informational data from the Museum of Modern Art’s collection. As the model “walks” through its conception of this vast range of works, it reimagines the history of modern art and dreams about what might have been. The result is a meditation on technology, creativity and modern art that’s as much a visual and sound installation as it is a visual meditation. It also incorporates site-specific input from the Gund Lobby, which changes light, movement and acoustics to affect the continuously shifting imagery and sound.
Dinkins is a transmedia artist creating platforms for dialogue about artificial intelligence as it intersects race, gender, aging, and our future histories. Her work employs lens-based practices, the manipulation of space, and technology to grapple with notions of consciousness, agency, perception, and social equity. She is particularly driven to co-create more inclusive, values-grounded AI ecosystems. She encourages action towards making AI systems more transparent through art production and exhibition, community-based workshops, and public speaking.
Her work is exhibited internationally at a wide range of community, private, and institutional venues by design. It has been featured in publications including Wired, Art In America, Hyperallergic, the BBC, and Wilson Quarterly. She is currently an ABOG Fellow working on Project al-Khwarizmi to create an algorithmically powered chatbot that addresses digital discrimination within AI systems. She is also the founder of the Future Histories Studio, an exploratory hub for emerging modes of arts-centered research and production in the intersections of art, technology, race, storytelling, and social justice.
Tina Tallon is a composer, computer musician, and historian whose work explores the relationship between embodied sonic cognition and technology. Her concert music and interactive installations have been widely performed and presented by ensembles including Ensemble Intercontemporain, wild Up, Talea, and the LA Philharmonic New Music Group in venues ranging from celebrated concert halls to aquariums, subterranean tunnels, and grain silos.
She is currently an assistant professor of AI and the arts at the University of Florida’s College of the Arts. Her current projects include a book and an evening-length electroacoustic chamber opera, Shrill, which builds on her research into biases in voice technology. Ai artists are creating works that use AI, GANs, algorithms, and other artificial intelligence technologies to create new art.
She has received numerous awards, commissions, and fellowships from organizations such as the Barlow Endowment for Music Composition, the Harvard Radcliffe Institute for Advanced Study, the American Academy in Rome, Guerilla Opera, and the LA Philharmonic New Music Group. Her music and writing have been featured in a wide variety of media, including the Los Angeles Times, New Yorker, Boston Globe, and Wall Street Journal.
AI artists are a growing trend in the art world. They use computer algorithms that create art in an unconventional way. These tools generate images that look like works created by specialized artists. This has raised a lot of ethical questions and is causing concern for the art community.