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Beautiful thank you images1/6/2024 I thought, “I need help here.” Everything that’s happened in technology has been such a gift for me, starting with the world wide interweb, then Photoshop, and now A.I. I was always pulling in from other image sources because I always felt so inept as an artist. I’ve always had illustrators draw things. I invited body painters in more recently, to paint children and family, to paint eyes on models. In my case, I’ve always invited other people in. We both come from that deep-rooted connection to conceptual art. In a way, it goes back to that 1960s, 1970s a language-related conceptual art. The same as Sol LeWitt making a rule like, all the lines drawn from one side of a canvas to another, it’s the same way the A.I. It’s very much the same as an idea an ordinary painter would get for an artwork. For instance, I want to prompt a picture of a couple passionately embracing. ROBINSON: It’s fascinating, the parallels between using an A.I. I feel like, “Oh my god, I can take these sentences and twist them, and work with them, and generate these images from two parts of my brain.” I don’t know if you feel that way. For both of us, the idea of text to image was a great platform. We’re not afraid of talking about our work, or talking about anyone else’s work. SIMMONS: To get to the essence of it, you and I, unlike some of our colleagues, are on record as being really interested in language. As my old boss, Charlie Finch, used to say, “My readers never ceased to disappoint me.” They want that messy, muddy stuff on the end of a stick rubbed over the canvas. From my point of view, they want the artist’s hand. And here we are, one million years later, both using this new technology that some people think is the gateway to the end of the world. It’s a kind of photograph, in that it’s an inkjet print, but it’s on canvas and the image is generated by A.I. Actually, the painting was a painting I made from an A.I. I also went to an opening in a small Connecticut town and saw two of your works, which were both beautiful, and one was an A.I. is photography, but whether it’s art at all. The whole idea that Paris Photo, this bastion of both traditional and contemporary photography, could have such a big focus on A.I., because obviously, there are questions about not only whether A.I. I think this whole thing came up because Fellowship, who I’ve worked with a lot for my A.I. ROBINSON: You’re preparing for a show in Florida, right? Do you want to talk about that? ROBINSON: It’s nice to see you! I feel humbled. This is a brand new computer I set up yesterday. LAURIE SIMMONS: Should I start? But I don’t see you. “Images of beautiful, busty young women,” he explains, “there has to be the largest number of that particular image in the world.” On Zoom, the two visionaries talked about polyamory, Midjourney, and the “erotic plenitude” of A.I. “And here we are, one million years later, both using this new technology that some people think is the gateway to the end of the world.” Unlike much of the art world establishment, Simmons and Robinson are feeling rather Pollyannaish about the possibilities of A.I., which Robinson relates to “that 1960s, 1970s a language-related conceptual art”-just with bigger boobs. “ We came up together as kids,” she told the artist Walter Robinson a few weeks before the opening of her now show. Last week, Autofiction, a new exhibition by Laurie Simmons, opened at the YoungArts Jewel Box in Miami, marking the artist and photographer’s official foray into Artificial Intelligence, which she’s leveraged to recreate scenes from her own life using platforms like DALL – E and Stable Diffusion in both this new show and In and Around The House II, her recent exhibition with the photography organization Fellowship. Laurie Simmons, photographed by Danielle Bartholomew.
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