The portrait in its gilt frame depicts a portly gentleman, possibly French and — to judge by his dark frockcoat and plain white collar — a man of the church. The work appears unfinished: the facial features are somewhat indistinct and there are blank areas of canvas. Oddly, the whole composition is displaced slightly to the north-west. A label on the wall states that the sitter is a man named Edmond Belamy, but the giveaway clue as to the origins of the work is the artist’s signature at the bottom right.
The painting, if that is the right term, is one of a group of portraits of the fictional Belamy family created by Obvious, a Paris-based collective consisting of Hugo Caselles-Dupré, Pierre Fautrel and Gauthier Vernier. They are engaged in exploring the interface between art and artificial intelligence, and their method goes by the acronym GAN, which stands for ‘generative adversarial network’.
Read more @ Christie’s (“Is artificial intelligence set to become art’s next medium?”)
See also Obvious (AI & Art)