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Will AI-generate Art Excitement, or Fail To?

It’s only a matter of months since Portrait of Edmond de Belamy – a 19th Century style portrait generated by artificial intelligence – sold for $432,500, against a valuation of below $10,000. Some are predicting a gold rush of AI-generated art.

But things don’t look so positive on this side of the Atlantic. This week, Sotheby’s put Mario Klingemann’s Memories of Passersby I under the hammer, selling for £32,000, well below the estimate of £40,000.

So why did it fail to excite?

Tim Ensor, Commercial Director Artificial Intelligence at Cambridge Consultants, comments:

“The ‘first-ever’ hype surrounding Portrait of Edmond de Belamy created an inflated value. The value of future AI-generated art will come down the to the same interpretation of creativity and value that art buyers have applied for centuries.

On its own, AI will not resonate with people on a creative level or make a significant impact on the art market. Mario Klingemann said that “neural networks are my brushes”, but creativity and artistic talent cannot be abstracted away like that. Buyers need to see the brush work, in addition to the machine.  

It won’t be long before AI-generated art makes a major and sustained impact in the art world, by combining emerging AI techniques with the artist’s imagination in ways never seen before, but only where the human creativity and ingenuity remains clear. At this point, we may not even be aware that AI has played a role.”

Food for thought…

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Joanne Carter is a British photography journalist, editor, curator, and the founder of *TheAppWhisperer.com*, one of the world’s leading platforms dedicated to mobile photography and art. Since its launch in 2009, TheAppWhisperer has become an international hub for artists of all levels to discover, learn, exhibit, and engage with contemporary photographic practice.Built on principles of inclusivity, accessibility, and artistic excellence, Joanne has spent almost two decades championing mobile photography as a serious artistic medium. Through interviews, critical essays, exhibitions, competitions, and education, she has helped shape and document the evolution of mobile art on a global scale.Her work has taken her internationally, lecturing on photography and mobile art at institutions and events including the Museum of Art in Seoul, South Korea, alongside appearances in the UK and Europe. She has served as a juror for international photography and mobile art awards across Portugal, Canada, the United States, South Korea, Italy, and the UK.Joanne is also the founder of *TheAppWhispererPrintSales.com*, one of the first online galleries dedicated exclusively to collectible mobile art, connecting artists with collectors across Europe, the United States, and Asia.Before founding TheAppWhisperer, Joanne worked extensively in print journalism and photographic publishing, including roles at a paparazzi photo agency and as deputy editor of a leading photography magazine. Her freelance journalism, criticism, and commentary have been published widely in both the UK and the US, with bylines in *The Times*, *The Sunday Times*, *The Guardian*, *Popular Photography*, *NikonPro*, *DPReview*, *Which?*, *Vogue Italia*, *LensCulture*, the *BBC*, and more recently, the *Financial Times*, where her published letters on photography continue to contribute to wider conversations around the medium.Alongside her editorial and curatorial work, Joanne’s own photographic practice has been exhibited internationally across the UK, Europe, South Korea, and the United States. Her work increasingly explores themes of grief, loss, death, memory, and the body.Her current research interests centre on grief, death, and poverty, with forthcoming postgraduate study leading towards doctoral research in these areas.Joanne is currently developing new long-form writing and photographic projects and is available for commissions, editorial projects, speaking engagements, and collaborations.Contact: joannetheappwhisperer@gmail.com)