Jason Bailey is curating a show of generative art, among the first major retrospectives of computer-mediated work. It comes at an important time, too, as the art business's Morf Vandewalts fuss over machine learning as if it were born yesterday.
In the last twelve months we have seen a tremendous spike in the interest of “AI art,” ushered in by Christie’s and Sotheby’s both offering works at auction developed with machine learning. Capturing the imaginations of collectors and the general public alike, the new work has some conservative members of the art world scratching their heads and suggesting this will merely be another passing fad. What they are missing is that this rich genre, more broadly referred to as “generative art,” has a history as long and fascinating as computing itself. A history that has largely been overlooked in the recent mania for “AI art” and one that co-curators Georg Bak and Jason Bailey hope to shine a bright light on in their upcoming show Automat und Mensch (or Machine and Man) at Kate Vass Galerie in Zurich, Switzerland.
