Close-Up I 1966

Curator: Before us, we have Harold Cohen’s "Close-Up I," housed here at the Tate. It is an intriguing work. Editor: Intriguing is one word. At first glance, it feels like a cellular world under a microscope, both organic and slightly unsettling. Curator: Cohen’s work frequently explored the intersection of art and technology. He was particularly interested in artificial intelligence and how computers could be programmed to create art. Editor: The amoeba-like forms, outlined in blue, and filled with that cross-hatched red, feel like primordial symbols. I am curious if he meant to evoke some feeling about the dawn of artificial life? Curator: That's insightful. His practice challenged conventional notions of authorship, questioning the artist’s role in the creative process itself within institutions. The work makes you wonder if our institutions are ready for art that is not authored by humans. Editor: It really does open up so many questions, not just about the art, but about what it means to be human in a world increasingly shaped by algorithms. Curator: Indeed. It presents an image that seems simple at first, but actually speaks to a profound shift in the landscape of art.