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How far is art only a matter of intention?



Bicycle Wheel (1951), Marcel Duchamp


The Fountain (1917), Marcel Duchamp



In an exhibition space stands a bicycle wheel mounted to the top of a wooden stool, and a mere urinal. Respectively named Bicycle Wheel and The Fountain, these works by Marcel Duchamp are often what the general public will often deem superficial, especially with the existence of many other more intricately rendered paintings and sculptures. They are therefore undermined as art. Granted, they do appear like the artworks people pretend to understand at a modern art exhibit. However, as difficult as it is to place value on such seemingly mundane works, we cannot overlook the value of such artworks in redefining the art of today.


Marcel Duchamp is a significant artist in advocating for the meaning of art beyond the usual classical mediums of painting and image. Through re-contextualising everyday objects, he puts forth the notion that “art (is) defined by the artist”[1] — it begins with the intention to make art.


Thus, with this definition in mind, can we then label AI Art ‘Art’?


When we create AI Art, it starts with a prompt—a simple sentence, or a description of the image we have in our heads. Is it possible to deem this our idea for our artwork and, thus, our intention to create?And, thereafter, can AI Art programmes simply be considered our chosen method of execution? Should we thus accept a world where AI Art coexists with our present forms of art?


A SERIES OF CONSCIOUS CHOICES


Although the initial idea of an art piece has significant worth, we are often unaware of the many decisions one has to make in the process of art-making: either in developing our ideas, or the subconscious decisions while creating the final work. Intention exists beyond the artist’s vision for an art piece; it can also be found in the process of its creation.


Some may then argue, “What kind of deliberate choices were made while creating works like Marcel Duchamp’s?” In studying one of his works, Bicycle Wheel, one may quickly understand (but not necessarily appreciate) the inconspicuous considerations behind it. From “(having) the happy idea to fasten (a) bicycle wheel to a kitchen stool and watch it turn,”[1] he chose to deem the idea art, and chose to use readymades, and chose to take them away from the context of its original function, and chose to add a title, and chose…


From another angle, sometimes even the lack of an intention is deliberate. The surrealism movement is a prime example of this. Surrealism primarily aims to create work from the mind‘s subconscious. Aside from this initial goal, the process of creating surrealist works is largely unplanned. Various artists in the surrealist movement employ automatic drawing to tap into their subconscious and create dream-like and odd imagery.


Evidently, there is rationale (or the intentional lack thereof) behind every aspect of an artwork. This is something that AI Art cannot provide, for AI art operates on the basis of an algorithm to identify patterns among various artworks. How can AI Art programmes justify its aesthetic choices beyond ‘That’s what it analysed’? It is this series of choices that constitute the humanity behind the artworks we see today.


ARTISTIC IDENTITIES


Furthermore, with the growing necessity of social media in garnering an audience for one‘s art, artworks become intrinsically tied to the artist. Nowadays, it is crucial that the artists themselves are distinctly identifiable, not just through their style, but also by showcasing their personalities. Nowadays, viewers are increasingly intrigued by an artists‘ processes, inspirations and experiences, which all form their unique artistic identities.


When artists create art, in some way or another, they draw from their artistic identities. The artwork is an extension of the artist. In the case of Frida Kahlo, her art largely draws from her own personal experiences. Most prominently, she processes her feelings and trauma through her self-portraits. As seen in Henry Ford Hospital (1932), Frida Kahlo expresses the pain of a miscarriage through symbolic imagery.


Henry Ford Hospital (1932), Frida Kahlo


One’s artistic identity is what influences the series of choices we make when creating our art. It also applies to fields like design where artistic identities seem redundant. For designers, it can be said that their artistic identities are partially made up of their stylistic influences, and the principles that shape their approach to design. This is evident in the works of Paul Rand. Beyond the basics of design, his approach is primarily fuelled by the concept of functionalism: function shapes design. Thus, though his logos seem minimalist at times, they effectively communicate the purpose of the companies they represent, such as the UPS logo (1961).


UPS logo (1961), Paul Rand


As users of AI Art programmes are largely detached from the process of creation, little of the user’s own values and experiences are channelled into the final image.Therefore, there is a weak link between the ‘artist’ and the ‘art’ in AI-generated art.


Missing the vital piece of humanity in creating artwork, having AI Art entirely defeats the purpose of art. AI Art software can potentially be useful as a tool for brainstorming and gathering inspiration. However, as fun as AI-generated art can be to experiment and play with, the value of art ultimately lies in how the piece is actively tied to a human existence. – their own hands involved in the process, from ideation to creation. Therefore, as visually-appealing AI Art can be, it is simply, at its core, hollow and superficial; it should not hinder the work and income of artists.


Written by: Koh Yu-Fei

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