ART, SOCIETY, HUMAN Week 1: Aesthetic Appreciation PDF

ART, SOCIETY, HUMAN WEEK 1 : AESTHETIC APPRECIATION Dr. Ece Yücel Week 1 : Course Plan Introduction to the course What is art and aesthetic appreciation? Can art be defined? What makes something an artwork? Can AI productions callled Art object? Can AI make Art? What...

ART, SOCIETY, HUMAN WEEK 1 : AESTHETIC APPRECIATION Dr. Ece Yücel Week 1 : Course Plan Introduction to the course What is art and aesthetic appreciation? Can art be defined? What makes something an artwork? Can AI productions callled Art object? Can AI make Art? What is aesthetics? What is Aesthetics? What comes to your mind when you think of aesthetics? What is the concept of aesthetics? Our perception of beauty – ugliness Areas where the perception of aesthetics is effective Canons of beauty and artistic value are constantly changing, influenced by the whims of time and fashion, shifting attitudes, and the emergence of new technologies and materials. (Art Book, Alfa) Venus of Willendorf, B.C. 28,000 - 25,000 Venus de Milo , BC 130 - BC 100 Rubens, Rubens’ daughter Dürer, Dürer’s mother If you kill a cockroach, you are a hero, if you kill a butterfly, you are evil. Morals have aesthetic criteria.  What is aesthetics? Aesthetics is a branch of philosophy that deals with the nature of beauty, art, taste, and the creation and appreciation of beauty. When speaking of someone's aesthetics, it refers to that theorist's/person's artistic principles, preferences, and/or agenda. The reader, listener, or viewer can also have an aesthetic in this sense, which refers to their judgments and preferences regarding art. (Philosophy of Art: A Contemporary Introduction, Noël Carroll Aesthetics is a branch of philosophy that deals with beauty, art, taste, and the creation and appreciation of beauty. Aesthetics examines the elements that make something aesthetically pleasing or valuable and asks questions about the nature of artistic experience and judgment Aesthetics Etymology The word 'aesthetics' comes from the Greek word 'aisthesis,' which means sense perception or sensory cognition. The term 'aesthetics' was adapted in the mid-eighteenth century by Alexander Baumgarten to encompass philosophical studies of art. Baumgarten chose this word because he believed that works of art are primarily directed at sensory perception and lower-level cognitive forms. He viewed art in terms of perception. Therefore, this means that philosophers are more concerned with the receptive side of the interaction between a work of art and its readers, listeners, and viewers. You can have an aesthetic experience of a concerto or a sunset. In this context, the task of the aesthetic philosopher is to try to say what is privileged in the aesthetic experience in terms of perception, attitude, and similar experiences. Alongside aesthetic experience, there are also artistic properties and qualities. There are expressive qualities, as well as qualities that do not display mental states or human characteristics. Expression comes from the Latin word meaning 'to push outwards.' It is the bringing of emotions to the surface. In expressionist art, essentially, it is about the emotions being brought out in such a way that they can be perceived by artists and viewers. For example, an artist might look at a landscape and feel sadness, and then 'draw' the landscape in such a way that the viewer also feels that sadness. For other features in art and natural beauty, we can use descriptors such as monumental, grand, dynamic, elegant, magnificent, or fragile. As we mentioned, these may not necessarily be psychological or human terminology At the same time, aesthetic properties are different from response-dependent properties, such as being three meters tall. However, describing a mountain as majestic depends on human perception. This applies to our entire species, but it might not affect Godzilla as much. We experience aesthetic qualities as the qualities of objects, like mountains, rather than as our own properties. However, these qualities may be valid based on their relationship to subjects like us. Here, Carroll says 'like us' instead of 'humans' because he thinks that intelligent beings, like E.T., could also distinguish aesthetic properties. Let's keep artificial intelligence in mind while we’re around this kind of subjects. ☺ When understood as a term indicating a connection with the viewer or recipient, a distinction can be made between aesthetics and art. In principle, a theory of art can be designed without referring to a potential audience. The theory of art can analyze art solely based on the art object and its function, without mentioning the recipient. Similarly, aesthetic inquiry is not necessarily required to refer to art objects. Natural objects like landscapes or the sky can create aesthetic experiences. In short, while the philosophy of art is object-focused, aesthetics is perception-focused Similarly, the prehistoric cave paintings, representations, and other outputs that we define as art today were produced by people of that time for purposes such as communication, rituals, hunting strategies, fertility magic, etc. Therefore, what was important to them was not the experiences or qualities that the paintings provided to the viewer but rather the function of the object in terms of life sustainability. If there had been a theory of art in prehistoric times, it might have been defined as a type of technology. However, there are also theories within the philosophy of art that argue that art must possess aesthetic qualities, which in turn examines the definition of aesthetics in art. The aesthetic theorist begins with the assumption that there is something special in our interaction with works of art. According to them, works of art offer a unique experience, and these experiences encourage an unusual — that is, a distinctive intellectual — type of state Carroll presents the following formula: X is art if and only if 1) it is made to have a certain capacity, and that 2) capacity is to provide an aesthetic experience. In other words, according to the Aesthetic Theorist: 1. Viewers use all works of art as sources of aesthetic experience; therefore, they seek out works of art. 2. That is, viewers expect works of art to function as sources of aesthetic experience (this is why they seek out works of art). 3. If artists are interested in having an audience, then they aim for their works to meet the expectations of viewers who are in search of art. 4. Artists want to have an audience. 5. Therefore, artists aim for their works to be suitable for fulfilling the expectations of viewers who are searching for art. 6. Thus, artists want their works to function as sources of aesthetic experience Aesthetic Appreciation: Crash Course Philosophy #30 https://www.youtube.com/watch?v=NZ5duzln2wI Also Aesthetic experience does not define all of art. There is non-aesthetic, even anti-aesthetic, art. In other words, the aesthetic theory of art is not a comprehensive theory that covers all of art. As we dive deeper into the concept of art in the future, we will see that there is no holistic definition that can define the entirety of art. However, it will still be useful to look at the concept of art, the vocabulary, and the prominent definitions throughout history. Art Let's start from the basics. The meaning of the word 'Art': According to TDK (Turkish Language Association): Creativity in expressing emotions and thoughts through words, writing, painting, sculpture, etc., in a way that appeals to the eye and the heart. Expression created according to the understanding and taste standards of a particular civilization or community Skill demonstrated in doing something: The art of speaking. All the rules that must be followed in a profession: The art of military. ► Craft. Art Every culture on the planet spends time and effort creating and preserving works of art. (A-Z of Art History, Madelynn Dickerson) No society throughout history, no matter how limited its resources, has been devoid of art. Just as it is natural for birds to build nests, painting and decoration, storytelling, and music are natural activities for humans. (The Story of Art, General Editor Stephen Farthing) Art is one of the cornerstones of civilization; no prominent culture or society has developed without art. Throughout history, works of art have served many purposes and have continuously evolved over time. (The Art Book, Alfa) Art, like language, is a fluid, evolving, and transforming organism that expands and changes Defining Art While the success of attempts to define art and how these definitions are made remains a topic of debate, the necessity of this very effort has evolved into a process of questioning. Although these inquiries are now more dominant, it will still be useful to touch upon basic art definitions and theories when examining the perception of art and art history. These efforts may also reveal that describing art, rather than defining it, can yield more satisfactory results Defining Art Art can be beautiful, mysterious, and even unsettling. Art and visual images surround us in our daily lives, influencing our understanding of history and other cultures. Whether it’s a ceramic vase, a painting, or a video installation, works of art stimulate, engage, and can even anger us. (A-Z of Art History, Madelynn Dickerson) Goya, Saturn Devouring His Son, 1820  Defining Art Art is whatever society defines as art; art status is often given to aesthetically well-made works, as well as works with religious, historical, or even theoretical meaning. The definition of art can change quite dramatically over time, from culture to culture, and even among individuals. (A-Z of Art History, Madelynn Dickerson)...the forms that art takes, depending on changing social and cultural conditions in different times and places, can show great variety. (The Story of Art, General Editor Stephen Farthing) The emergence of outputs that can be described as art dates back to prehistoric times. The birth, shaping, and transformation of the concept of art over time have occurred in relation to the socio-cultural, political, scientific, and economic influences and changes of the societies in which it flourished and served. The ideas behind art styles may stem from a plan or a manifesto; sometimes, they are consciously developed by the members of an art movement. However, more often, they form around a group of artists and are only later named and analyzed by critics  Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991 Botticelli, Birth of Venus, 1482-86 Defining Art Transformations that reconstruct a society’s culture and perception reveal themselves actively in the naming and defining of concepts, that is, in the structuring of language. The change in words and the meanings assigned to them also redefines the roles and positions of the actors within society. Let’s take a look at the vocabulary… Art & Related Terms Sanat (Turkish): When examining the origin of the word 'art' in the Turkish language, it is seen that the word originates from the Arabic 'ṣanˁa' ( (‫صنعة‬ #[ṣnˁ msd.[, meaning production, craftsmanship, skill, and artistry, and from the root 'ṣanaˁa' ( ,(‫صنع‬meaning to produce, make, craft, or arrange. It is stated that the oldest written and recorded source in which the word 'ṣanˁat' is found is the work 'Garib-name' by Aşık Paşa, dated 1330, where the phrase 'gizlü kalmaz ˁilm ü sanˁat' is mentioned. It is suggested that its use may have been common in oral or everyday language before this date. The word 'ṣanˁat' ( ,(‫صنعة‬meaning 'production, craftsmanship, skill, artistry,' is borrowed from Arabic, and the Arabic word is derived from the infinitive of the verb 'ṣanaˁa' ( ,(‫صنع‬meaning 'to produce, make, craft, or arrange.' The forms 'sanˁat' and 'ṣanāˁat' were used equivalently in Arabic and in Turkish until the early 20th century. Art (English and French): When looking at the origins of the word 'art': It originates from the Old French word 'art' (10th century), used in the early 13th century, meaning 'skill obtained through learning, experience, observation, or practice.' (Online Etymology Dictionary, 2023). (Merriam Webster Dictionary, 2022) In Latin, 'artem' (nominative 'ars') was also used in the sense of 'a work of skill, practical ability, craft, or trade.’ In Middle English, around 1300, it was commonly used to mean 'skill in learning, science, and knowledge,' and from the 14th century, it referred to 'human work' (as opposed to nature). By the late 15th century, it was used as 'a system of rules and traditions existing to perform specific activities.' The first recorded use of 'skill or mastery in the creative arts' dates around 1610, and from the 1660s, it began to be used in reference to talent in areas such as painting and sculpture. 'In science, you should not speak without knowledge. In art, you should not speak without doing. In literature, you should not speak without thinking.' Ruskin, "The Eagle's Nest," 1872. (Online Etymology Dictionary, 2023). 'High art is the traditional expression of epic and religious truths, handed down from age to age and altered by individual genius but never abandoned. The cause of individual rebellion is the corruption of tradition, or rather the acceptance of an artificial copy in its place.' William Butler Yeats, Journal, 1909. (Online Etymology Dictionary, 2023). The phrase 'art for art’s sake' dates back to 1824, and the first recorded art criticism is from 1847 Art Etymology As an adjective, 'art,' meaning 'produced with conscious craftsmanship' (as opposed to popular or folk craft), was likely used around 1853 or 1890, influenced by the German 'kunstlied' (art song). (Online Etymology Dictionary, 2022) (Merriam Webster Dictionary, 2022) According to the Merriam Webster Dictionary, the word 'art' means 'skill obtained through learning, experience, observation, or practice; a field of study; an endeavor requiring knowledge or skill; especially the conscious use of skill and creative imagination in the production of aesthetic objects.' (Merriam Webster Dictionary, 2022) 'Ars' (Latin): Derived from the Proto-Indo-European roots *h₂r̥tís (fitting) and *h₂er- (to join), it means art, skill, craft, power, or ability. (WordSense Online Dictionary, 2022) (Definy.com, 2022) Kunst (German): The root of the German word Kunst, meaning "art," comes from kennen (to know, to recognize) and können (to know how, to know how to do something, to be able to). (Online Etymology Dictionary, 2023). Other words in the semantic field of Kunst include wissen (to know), erkennen (to understand, recognize, distinguish, see), Erkenntnis (understanding, intuition, insight, knowledge), and Einsicht (a synonym for Erkenntnis, meaning insight). (Bodensee Kunstportal, 1999). Unlike the word art in other languages, Kunst emphasizes not just craftsmanship or skills of handiwork, but also cognitive and mental abilities like understanding and intuition. Techne (Greek): The Greek word τέχνη (techne) is used to refer to art or craft, skill, and technique, including fields like carpentry, sculpture, and medicine. This word holds an important place in Greek philosophy and was used in opposition to epistêmê, which means "knowledge, science, understanding," by philosophers such as Plato and Aristotle. Techne also forms the root of the word technology; the term comes from the combination of techne and logia (process, expression, theory, doctrine, science) and refers to the systematic operation of an art, craft, or technique. (Online Etymology Dictionary, 2023). The term technology will be discussed in detail in the section on the Nature of Machinery Technologies Printing Press – Helped spread Renaissance ideas. The technology of printing texts and images inspired artists. Since there were no museums or art galleries, it became easier for those who had no opportunity to see the works of other artists to view them, and the transmission of styles and techniques significantly accelerated. Artists were able to make copies of their works and sell them cheaply, opening new markets. Portable Paint Tubes – Made it possible to paint outdoors. The Impressionists benefited from this. William Perkin, who discovered the color lilac while trying to create quinine, inspired chemists to produce new synthetic pigments. This allowed painters to access more colors at more affordable prices. Photography – While it was initially feared to be the end of art, it was used by groups such as the Impressionists and the Pre-Raphaelites to find new ways of looking at the world. The 20th century’s curiosity for science and experimentation manifested in art by renewing ways of expression and experimenting with abstract forms, working with shapes and colors. Today, we also have Artificial Intelligence (AI). Eski Yunan ve Roma’da Sanatın Ortaçağ’da Sanatın Sınıflandırılması Sınıflandırılması Rönesans Döneminde Sanatın Sınıflandırılması Art Definitions "We all know that art is not the truth. Art, at least, is a lie that helps us realize the truth given to us." — Pablo Picasso, artist "The only thing that can be said about art is that it is something. Art means 'art-as-art'; another thing means something else. Art is only for art's sake, it is not for anything else. Art is not 'not- art'." — Ad Reinhardt, artist "Art is the invention of a joy." — André Derain, artist "Art is the imitation of what is continuously existing in nature." — Aristotle, philosopher "If someone calls their work art, then it is art." — Donald Judd, artist "Art is a creation of genius." — Immanuel Kant, philosopher "Art is the formal expression of a conceptually designed image or a conceptual design transformed into an image, made possible by the tools available." — Sheldon Cheney, author, art historian Noël Carroll, who has contributed to the definition of art and efforts to define it through a comprehensive study, examines key art theories in his work Philosophy of Art: A Contemporary Introduction. He traces the earliest art theories back to Plato and Aristotle. Carroll explains that these thinkers approached art as imitation and representation. According to them, painters aim to recreate or copy images of people, objects, and events. Imitation forms the prerequisite for art. However, over time, this understanding evolved. A work became considered art not only if it imitated but also if it represented something. Especially after Duchamp's Fountain, the need for interpretation emerged. There are many different art theories but here we will mention major theories.  Mimesis / Imitation Theory / Representational Theory Plato: Plato viewed art as an imitation of an imitation because, for him, the physical world is already a flawed copy of the world of forms or ideals. As such, he was suspicious of art’s value, believing it could mislead people away from truth. "Art is a copy of a copy, and therefore lies far from the truth." Aristotle: In contrast, Aristotle saw value in mimesis, particularly in its role in creating emotional catharsis. He believed that art could help people experience and release emotions in a controlled environment, such as through tragedy. "Art partly completes what nature cannot bring to a finish, and partly imitates her.« The representational theory asserts that art represents or mirrors reality. This theory has its roots in mimesis, the ancient Greek idea that art imitates the natural world. It applies not only to visual art but also to literature and drama. Art’s primary function is to represent the external world, human experience, or some aspect of reality. Realism and naturalism are closely related to this theory. While influential in classical and Renaissance art, it has been challenged by modern and postmodern movements, which reject the necessity of representing the physical world. Expression Theory Art as expression focuses on the idea that art is a medium for conveying the artist’s emotions, thoughts, and subjective experiences. Art’s primary purpose is to express the inner feelings or emotions of the artist. It’s often associated with the Romantic movement and 20th-century theories that focus on the subjective and emotional aspects of creativity. The idea that art is a form of emotional expression has been a major force as in the Romantic period and also in movements like Abstract Expressionism. Artists convey personal emotions, and viewers respond to the emotional power of the artwork. Art expresses the emotions and personal experiences of the artist, and the viewer engages with art by emotionally resonating with it. Benedetto Croce: An Italian philosopher, Croce argued that art is fundamentally an expression of emotion and intuition. He believed that the artist gives form to feelings and that the viewer's appreciation of art is based on recognizing and responding to that emotional expression. «Art is intuition.» Art is the expression of the artist’s inner emotions and experiences, and the viewer's role is to respond to that expression. R.G. Collingwood: A British philosopher, Collingwood expanded on expression theory, claiming that the purpose of art is to express emotions in a way that makes them clearer and more understandable. Art allows both the artist and the viewer to understand their emotions better. «The artist’s job is to express emotions, not arouse them.» Formalism Formalism is a theory that emphasizes the formal qualities of a work of art—such as its composition, color, line, shape, and texture—over its content or emotional impact. Formalists argue that the value of art lies in its form and visual qualities rather than any narrative or symbolic meaning. With figures like Clement Greenberg, formalism emphasizes the importance of form, color, line, and composition over content. Greenberg believed that modern art should focus on its own medium-specific qualities. For example, painting should embrace its flatness and color, not attempt to mimic three-dimensional reality. This theory was particularly influential in modernist movements such as Abstract Expressionism, but it has been critiqued for ignoring cultural and social content. As discussed, formalism focuses on the formal properties of art, such as color, shape, line, and composition. This theory is often applied to abstract art, where representational content is minimal or non-existent. Art’s value comes from its formal elements, its ability to engage viewers aesthetically and the appreciation of art is based on the analysis of its structure and visual composition, independent of subject matter. Institutional Theory The institutional theory of art argues that something is art if it is recognized and accepted as art by the appropriate cultural institutions (galleries, museums, critics, etc.). This theory emphasizes the role of the artworld—the network of people and institutions that decide what counts as art. Arthur Danto: One of the most famous proponents of the institutional theory, Danto argued that art is whatever the artworld says it is. For Danto, the meaning of art does not reside in the object itself but in its context, including how it is interpreted and presented by the institutions that frame it. «To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.» Art is defined by institutional recognition and is validated through the discourse and practices of the artworld. The theory suggests that art is defined by institutional contexts—galleries, museums, critics, and the artworld. The value and status of art come from its acceptance within these institutions. An object becomes art not based on its intrinsic qualities but on whether it is recognized and contextualized by the artworld. The role of institutions, critics, galleries, and museums in determining what counts as art becomes central to understanding contemporary art practices. Art is whatever the artworld defines as art, recognized by cultural institutions. Institutional Theory Another figure who focuses on the role of institutions is George Dickie, influenced by Arthur Danto, who believes that the art community implied by the art world can be defined as a necessary characteristic for the definition of art. This is presented as the Institutional Theory of Art (Karslı, 2018). Considering the power of the art world today, it is possible to think that this is an accurate theory. According to the theory, the first condition for something to be considered art is that it must be human-made; the other necessary condition is that it must be approved by the art world (the community that constitutes the art institution) and given the status of a candidate. The art world, as Carroll describes it, forms a social institution like religion, determined by specific rules and methods (Carroll, 2016, p. 334). According to Carroll, 'human-made' should be understood in a free sense: For something to be considered human-made, it must be the product of human labor, but the scope of labor can be minimal. Something can be considered human-made because it was produced from raw materials by a human... or if a person presents a ready-made object as a work for display, it is also human-made... and if a person points to something and declares it a work of art, then it is so. In this sense, a performance is also human-made because it is a product of human labor. Therefore, the capacity to meet the condition of being human-made is not limited to objects. Furthermore, the condition of being human- made also implies that the work must be accessible to everyone (Carroll, 2016, pp. 335-336). While the concept of 'human-made' is given a fairly free interpretation in the theory, the main difficulty arises from the condition that the candidate work must receive approval from the art world institution. Without this approval, it cannot attain the status of a work of art Institutional Theory Although we will look at the objections and possibilities regarding the act of making art with artificial intelligence through the lens of current circumstances in the future, at this stage, even if approval by a theory is necessary, the Institutional Theory of Art seems to allow for the possibility that machines can create art. From Carroll's perspective, when human production is taken in a broad and free sense, a machine is ultimately a human creation (all art-producing machines and robots can be grouped under this category), and even if its labor is minimal, it is inspired by human choices and directions (examples can include art applications from text to image and their derivatives). These outputs are embraced, appreciated, and valued as investments by the art market, including auction houses, galleries, biennials, collectors, and festivals (examples include the Obvious Collective, Ai-Da, and Sophia being accepted by art institutions). It is evident that artificial intelligence outputs can easily meet the most challenging condition of this theory.  Postmodernism Postmodernism in art theory challenges the grand narratives and assumptions of modernism, embracing pluralism, irony, and the rejection of traditional hierarchies of taste. Postmodern art is characterized by its questioning of authenticity, originality, and the very definition of art. Jean-François Lyotard: A key postmodern theorist, Lyotard emphasized the incredulity toward metanarratives, arguing that there is no single truth or unified narrative that can explain all human experience, including art. Postmodern art often plays with pastiche, irony, and the mixing of different styles and genres. «Simplifying to the extreme, I define postmodern as incredulity toward metanarratives.» Postmodern art questions the authority of grand narratives and embraces fragmentation, irony, and multiplicity in the creation and interpretation of art. Fredric Jameson: A Marxist postmodern theorist, Jameson discussed the commodification of culture and the blurring of boundaries between high art and popular culture in the postmodern era. Postmodern art reflects the commodification of culture and challenges traditional distinctions between high and low art, often through pastiche and parody. Postmodern art theory rejects the notion of a single, universal definition of art, instead embracing pluralism, deconstruction, and the blurring of boundaries between high art, popular culture, and everyday life. Contemporary Approaches Another attempt to define art that emerged in the twentieth century is Jerrold Levinson's historical theory of art. The theory has a historical nature because it connects candidate works to art history. A work is approved as art if it was created to support a pre-existing and well-known artistic recognition. Noël Carroll points out that this principle is what gives consistency to the concept of art (Carroll, 2016, p. 356). In his book Conversations on Art and Aesthetics, Hans Maes mentions Levinson's intentional and historical definition of art before beginning his conversation with him. He explains that Levinson defines a work of art as an object created with the intention of being viewed as a work of art — that is, seen in the same way as previous works of art were correctly viewed, whether today or in the past (Maes, 2022, p. 33). When asked about his attitude towards those who see defining art as unnecessary in an interview, Levinson said that instead of defining art, he wants to understand what is meant by art: "I hope to characterize the concept of art in its broadest sense, providing a fundamental characterization that can serve as a basis. I believe this is undoubtedly a very important and conceptual area of interest" (Maes, 2022, p. 56). Noël Carroll also appears as one of the developers of a similar historical narrative theory. In Hans Maes' interview with him, the philosopher of art expresses his opposition to the tendency to think of art as a single monolithic category and to capital-A Art (Maes, 2022, p. 271). He explains his theory with these words: "I developed an approach that can be called the historical narrative approach to art. If we can present a precise historical narrative about how such a strange object was produced in response to a historically recognizable situation that can be validated by the past, we can be sure that this object is a work of art" (Maes, 2022, p. 284) AI & ART “Théâtre D’opéra Spatial” Jason M.Allen with Midjourney https://twitter.com/colostatefair/status/1565486317839863809  Piper, D. (2022). Wow, The Artstation Homepage Is Getting Seriously Trolled Right Now. https://www. creativebloq.com/news/artstation-homepage adresinden alındı. Beeple Crap The Battle of AI Art. https://www.instagram.com/p/CmLb27MOciu/ "_Disgusting… Art is dying before our eyes... _He created it with the help of Midjourney. No, he didn’t create anything... _Paintings should be painted, not made with a computer. Generating visuals with artificial intelligence has nothing to do with skill. _Horrible. Feeding something into a machine and getting a visual doesn’t make you an artist. As artists, we spend time on style/technique, struggling to create. He wrote a few things, refreshed the page a few times, and this is being compared to craftsmanship? _What’s the point of hard and intense work anymore? _Everyone is defending AI art, but I think they’re all stupid. This guy put no effort into the work. Typing a few keywords and getting a good sequence is not art."(ColoradoStateFair, 2022) Is this by Rothko or a robot? We ask the experts to tell the difference between human and AI art | Art | The Guardian Duchamp’s work was rejected from the exhibition that was to be held at Grand Central Gallery in 1917 because it was considered “a common, crude, and immoral plumbing material” (Yılmaz, 2013, p. 151) and “by no definition a work of art” (Bugler, Kramer, Weeks, Whatley, & Zaczek, 2017, p. 308) The words of Tokyo-based curator Maholo Uchida , from a statement made in 2019, will illuminate our path “Think about Marcel Duchamp installing a toilet in a gallery in New York and calling it art,” she said. “It was so radical, and it happened in 1917! A.I. is still catching up with that.”