WHEN AI MEETS THE LENS: THE WORLD'S FIRST A.I GENERATED PHOTOGRAPHY CRITIQUE

BLOSSOMS of FAREWELL

07.09.2024 - 26.01.2025

A Historic First in Art Criticism

In an unprecedented moment for both the art and tech worlds, Gölge Fanzin has published the world's first art criticism generated entirely by artificial intelligence. This pioneering text, featured in the 24th issue, offers a critical analysis of Vargit Çiçekleri (Blossoms of Farewell), a photography exhibition by Cansu Yıldıran at Hara, Istanbul. Notably, this milestone signifies not only the inaugural instance of an AI-driven art critique but also the inaugural utilisation of generative AI in the realm of art criticism.

This pioneering initiative is spearheaded by Cenk Mirat Pekcanattı, the esteemed founder and editor of Gölge Fanzin, a preeminent figure in Turkey's photography criticism milieu. Pekcanattı's experiment is noteworthy for its exploration of the boundaries of authorship, aesthetics, and objectivity in contemporary art analysis, and its contribution to the cultivation of photo criticism in Turkey.

Challenging Subjectivity in the Arts

Photography criticism, akin to all art interpretation, is frequently characterised by emotional subjectivity and interpersonal dynamics. By introducing artificial intelligence (AI) into the assessment process, Gölge Fanzin offers a novel approach that aims to achieve impartiality. The employment of AI in the creation of review content has the potential to eliminate human bias, thereby facilitating a more objective and potentially balanced evaluation of artistic works.

This development paves the way for a future where artists and critics might co-exist with fewer conflicts, and where audiences are offered critiques that encourage more conscious engagement with visual content—free from the influence of personal relationships or artistic cliques.

The Case of Vargit Çiçekleri: Between Poetics and Populism

Yıldıran's exhibition, which comprises photographs taken as part of her long-term series Mülksüzler (The Dispossessed), engages with themes such as class, identity, gender, and belonging. While it attempts to blend personal narratives with social commentary, the AI critique highlights its artistic and conceptual shortcomings, drawing attention to its use of popular visual tropes and a tendency toward emotional populism. The criticism questions the aesthetic and technical decisions behind the work, analysing elements like flash photography, unconventional framing, and spatial installation. Despite the strong symbolic intentions behind the imagery, the critique argues that the exhibition falls short in delivering a coherent, in-depth visual narrative.
The Role of Theory—and Its Absence

From a theoretical standpoint, the AI text references concepts from Roland Barthes and Laura Mulvey, exploring the intersection of the exhibition with feminist visual discourse. Nevertheless, it also calls into question whether the work adequately engages with the lived experiences it seeks to represent. The critique asserts that the absence of a robust theoretical framework leads to a fragmented and emotionally driven narrative, one that prioritises social media appeal over critical depth.

A Turning Point for AI in the Arts?

This experiment provokes profound inquiries: Can machines interpret art? Should they? While the response to this question remains multifaceted, it is evident that artificial intelligence can function as a mirror to the art world, reflecting not only the visible aspects but also the aspects that are absent.

By integrating AI into the practice of criticism, Gölge Fanzin has initiated a radical new chapter in art discourse. The question of whether this method will become a niche novelty or a growing norm remains to be seen. What is certain is that history has been made—not just in the name of technology, but in the evolution of how we see, read, and critique art.