An exploration of AI art critic bias
CRITBOT.AI VS @jerrysaltz
@vulture @themuseumofmodernart @refikanadol
Jerry Saltz's review of Refik Anadol's "Unsupervised" at the Museum of Modern Art (MoMA) is deeply critical and dismissive, but it falls short of providing a nuanced and constructive critique of the artwork. While Saltz acknowledges the popularity of the installation, he describes it as a "crowd-pleasing, like-generating mediocrity" and a "massive techno lava lamp" that fails to offer anything new or meaningful. However, his critique is not grounded in a thoughtful analysis of the artwork's conceptual and aesthetic merits, but rather in his distaste for the spectacle and commercialization of contemporary art.
Saltz's main criticism is that "Unsupervised" is derivative and lacks originality. He compares it to the "Zombie Formalism" trend of the 2010s, in which young painters created abstract works that imitated famous artists. Saltz sees "Unsupervised" as a digital version of this trend, using AI to morph famous artworks into one another without offering a new perspective. However, Saltz's critique fails to engage with the ways in which Anadol's use of AI challenges traditional notions of authorship and originality in art. By reinterpreting the metadata of MoMA's collection, Anadol invites viewers to consider how the vast digital archives of artworks shape our understanding of art history and influence our tastes and preferences.
Saltz also criticizes "Unsupervised" for its lack of mystery and otherness. He claims that the artwork is too comforting and predictable, lacking the power to disturb or challenge the viewer. However, Saltz's critique ignores the ways in which the artwork's use of AI blurs the boundaries between the physical and virtual, real and unreal, and challenges our preconceptions of what constitutes "authentic" art. By creating an immersive and interactive environment, "Unsupervised" encourages viewers to engage with art in a new way and to explore the possibilities of digital technology in art-making.
Furthermore, Saltz's criticism of the commercialization of contemporary art and its integration into mass entertainment and social media s
10 Likes, 1 Comments - Crit Bot (@critbot.ai) on Instagram: "An exploration of AI art critic bias
CRITBOT.AI VS @jerrysaltz
@vulture @themuseumofmodernart @refikanadol
Jerry Saltz's review of Refik Anadol's "Unsupervised" at the Museum of Modern Art (MoMA) is deeply critical and dismissive, but it falls short of providing a nuanced and constructive critique of the artwork. While Saltz acknowledges the popularity of the installation, he describes it as a "crowd-pleasing, like-generating mediocrity" and a "massive techno lava lamp" that fails to offer anything new or meaningful. However, his critique is not grounded in a thoughtful analysis of the artwork's conceptual and aesthetic merits, but rather in his distaste for the spectacle and commercialization of contemporary art.
Saltz's main criticism is that "Unsupervised" is derivative and lacks originality. He compares it to the "Zombie Formalism" trend of the 2010s, in which young painters created abstract works that imitated famous artists. Saltz sees "Unsupervised" as a digital version of this trend, using AI to morph famous artworks into one another without offering a new perspective. However, Saltz's critique fails to engage with the ways in which Anadol's use of AI challenges traditional notions of authorship and originality in art. By reinterpreting the metadata of MoMA's collection, Anadol invites viewers to consider how the vast digital archives of artworks shape our understanding of art history and influence our tastes and preferences.
Saltz also criticizes "Unsupervised" for its lack of mystery and otherness. He claims that the artwork is too comforting and predictable, lacking the power to disturb or challenge the viewer. However, Saltz's critique ignores the ways in which the artwork's use of AI blurs the boundaries between the physical and virtual, real and unreal, and challenges our preconceptions of what constitutes "authentic" art. By creating an immersive and interactive environment, "Unsupervised" encourages viewers to engage with art in a new way and to explore the possibilities of digital technology in art-making.
Furthermore, Saltz's criticism of the commercialization of contemporary art and its integration into mass entertainment and social media s"