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The Art Monitor

German Photographer Refuses Award for His AI “Photo”


by: Rhyea Nayyar | April 16, 2023

A Note from TS Project Art:

The buzz, a mere three or so years ago was all about NFTs (non-fungible tokens) and became inextricably linked to the Christie’s sale of the NFT for the right’s (registered on the blockchain) to the jpeg of The First 5000 Days, 2021 by digital artist, Beeple.

Now Artificial Intelligence (AI) is seeping more and more into the creation of artwork through Apps such as the cleverly named , Dall-E 2, and others such as Midjourney, and Stable.  While the Italian artist Alessandro Gianni has developed his own AI application Vasari named after the 16th century painter Giorgio Vasari. 


 Chat GPT (Chat Generative Pre-trained Transformer) has entered the arena of the written word.  Even as I write this text, the website has given me the option to utilize AI with the click of a button that reads "Create AI Text."

All of this introspection about the future use of AI as it "creeps" into our lives was sparked by the Hyperallergic article that appeared in a recent newsletter.  The article highlights German artist Boris Eldagsen who entered his AI generated photograph to a juried professional photography call. The photograph won the top award and then the Berlin based artist refused to accept the award. Read the article to discover the reason for his refusal of the award from the 2023 Sony World Photography competition.


Nasher Sculpture Center

September 23, 2023 - January 7, 2024

A Note from TS Project Art:


A recent article captured my attention by curator Leigh Arnold of the exhibition Ground Swell:  Women of Land Art.  The article, titled, Mother Earth is featured in the Winter 2024 issue of Art Desk magazine.  It felt like a nice counterpoint to the previous post on Michael Heizer’s five-decade long, in the making, land art sculpture in the Nevada desert entitled City.


The article, which is excerpted below, draws comparisons between the exhibiting contemporary women artists and how they approach their interventions upon and within the landscape, as compared to their male counterparts whose work and names have become synonymous with the movement.


Mother Earth by Leigh Arnold


“Among the most celebrated and mythologized art movements of the 1960s and 1970s, land art emerged during a highly experimental and boundary-breaking era. This art-making coincided with the fraught social and political upheavals that characterized much of the American post war period: the civil rights movement, environmental awareness, and the rise of second-wave feminism. With ties to minimalism and conceptual art, these artists placed less emphasis on the discrete object and turned their attention to the experience of the artwork, however fleeting or permanent that might be, to create works that were large in scale and located outside of typical urban art-world circuits.


For many years, historical art narratives of contemporary land art have been dominated by men: Robert Smithson, Michael Heizer, Walter de Maria, and others whose earthworks have shaped the movement’s definitions around monumentality, permanence, and the “blank canvas” of seemingly remote or unpopulated landscapes. 


Land Art is all of these things, but it is not limited to them. This reductive characterization obscures the more subtle and less intrusive gestures that typify many examples of land art by women. The focus on men also positions land art as a tendency to control nature rather than collaborate with it, and it favors the destructive actions imposed on the landscape….. The focus on dominance and destruction as chief characteristics of land art also furthers sexist notions that land art required a degree of physical strength and cowboy bravado that according to certain scholars, women artists lacked. Such assumptions belie the inherent physicality of much of the work highlighted in Ground Swell: Women of Land Art, at the Nasher Sculpture Center in Dallas Texas.”

Michael Heizer’s Epic Desert Installation

More Than 50 Years in the Making

Has Finally Arrived

by: Alex Greenberger

ARTnews | Newsletter

August 19, 2022

A Note from TS Project Art:


Before delving into the article, I would like to share my thoughts on Heizer's project titled, City, realizing it will be subject to  an array of  commentary; some of it focusing on the aesthetic appeal, to the implications of such a massive intervention upon a pristine landscape, and to wild hubris on the part of the artist. 


Personally I have fallen on the side of being completely swept up, and awe struck by the undertaking, and finding it ultimately a playground of sorts for all minimalists at heart.

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