sailboat art pics

Sailboats Art

3,901 Items

Summer Regatta III

Julia Purinton

9" x 12",

Multiple Sizes

Monet: Sailboat

Claude Monet

Giclee Print

16" x 12",

Breezing Up (A Fair Wind)

Winslow Homer

18" x 12",

Come Sail Away

Jane Slivka

Premium Giclee Print

12" x 16",

Yacht "America," First Winner of the America's Cup Race, in a Later Rig

Photographic Print

Boats Mirrored in the Water, 1908

Egon Schiele

Rainbow Cats

Sally Caldwell Fisher

Mount Rainier Puget Sound North Seattle Snow Mountain Sailboats, Washington State

William Perry

12" x 8",

Summerset Sailboat

The boat which joshua slocum rebuilt and sailed single- handed round the world 1895-1896.

Maurice Randall

8" x 12",

The Gypsy Moth IV

Regatta at argenteuil, c.1872, racing waters i.

Alan Hausenflock

12" x 18",

Regatta at Argenteuil

Full sail i, three sailboats, admirality head lighthouse.

Nicky Boehme

Summertime Race 6

Summertime race 5, majestic sailboat.

James Wiens

Liz Jardine

Sailing Boats, 1919

Charles Demuth

Sailing Yacht Mohawk at Sea

12" x 9",

Argenteuil, circa 1872-5

Sloops at sail, 1915.

Edwin Levick

26" x 20",

Bvi, Virgin Gorda, the Baths NP, Coastal Beach and Sail Boats

Trish Drury

Popular Moorings For Bareboaters and Charter Sail, White Bay, Jost Van Dyke, Bvi

Past the light ii, summertime race 3, navigation i.

Ingrid Abery

30" x 20",

Us Virgin Islands, St. John, Caneel Bay, High Angle View of Boats in the Sea

Louis Toffoli

20" x 16",

Richard Wallich

A Dutch Hay Barge, 1870

Edmund Thornton Crawford

Navigation II

Magnificence.

Beth A. Forst

White Water

Rigged and ready i.

Laura Denardo

Rainbow Fleet, Nantucket, Massachusetts

Smooth sailing.

Sally Swatland

16" x 16",

Boats in the Haze

Silvia Vassileva

Bay Islands, Roatan, West Bay, Man Reading Book on Catamaran, Honduras

Jane Sweeney

Sailing in the Solent

Frank Sherwin

J Class Sailboat, 1934

42" x 32",

Setting Sail Crop

Afternoon regatta i.

Dan Meneely

The Boats, or Regatta at Argenteuil, circa 1874

Dream cove ii.

Marysia Burr

Sydney Edmunds

David Knowlton

Golden Gate

Regatta at argenteuil, 1872, mackinac race.

Jeff Roberson

Aspendale Sails 2

Craig Trewin Penny

Before The Sail

Wind in my sail i.

Carolee Vitaletti

Early Morning Sea II

8" x 24",

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Voiliers à l’horizon... IV « SAILBOATS AT THE HORIZON... IV »

Paintings ,  59.1 W x 19.7 H x 0.8 D in

Olivier Messas

Paintings ,  20 W x 20 H x 1.6 D in

Sophia Oshodin

Jeux de reflets... "REFLECTIONS" (SAILING SPIRIT 2021)

Paintings ,  47.2 W x 15.7 H x 0.8 D in

Espoir à l'horizon... "HOPE AT THE HORIZON..." (2023)

Paintings ,  31.5 W x 31.5 H x 0.8 D in

changement de cap... "CHANGE OF DIRECTION..." (2024)

Paintings ,  23.6 W x 23.6 H x 0.8 D in

Prints from $51

Le temps d'un coucher de soleil... "WHEN THE SUN GOES DOWN..."

Unis... "UNITED" (SAILING SPIRIT 2021)

sunrise (series: symphony)

Paintings ,  39.4 W x 19.7 H x 1.6 D in

Martina Niederhauser-Landtwing

Prints from $59

Rêverie... "DREAM" (SAILING SPIRIT 2022)

Paintings ,  47.2 W x 31.5 H x 0.8 D in

Les mâts de l’horizon... | "MASTS AT THE HORIZON..."

Paintings ,  19.7 W x 39.4 H x 0.8 D in

Horizon de liberté... “FREEDOM...” | (SAILING SPIRIT 2021)

Paintings ,  70.9 W x 31.5 H x 0.8 D in

Aurore... "DAWN..." | 40x120x2cm

La nuit des voiliers... | "THE NIGHT OF SAILBOATS..." (SAILING SPIRIT 2018)

Paintings ,  47.2 W x 15.7 H x 0.1 D in

Silence en mer... | "SILENCE AT SEA..."

Paintings ,  68.9 W x 23.6 H x 0.8 D in

Un soir d’été ... | “A SUMMER EVENING...”

Le temps suspendu.. "THE SUSPENDED TIME..." (SAILING SPIRIT 2024)

Paintings ,  19.7 W x 19.7 H x 0.8 D in

Petit voilier marbré et or | "SAILBOAT GOLD & MARBLED"

Paintings ,  6.3 W x 11 H x 0.1 D in

Sailing the Caribbean

Paintings ,  51.2 W x 31.5 H x 1 D in

Cécile van Hanja

Prints from $61

Paintings ,  59.1 W x 39.4 H x 0.6 D in

Shahid Zuberi

Prints from $70

Landscape with a Sail Boat

Paintings ,  3.8 W x 5.1 H x 0.1 D in

Vita Schagen

Prints from $40

La voile rouge… “THE RED SAIL” (2023)

Paintings ,  23.6 W x 31.5 H x 0.8 D in

Couleurs en mer... "COLORS AT SEA" (SAILING SPIRIT 2022)

Paintings ,  39.4 W x 39.4 H x 0.8 D in

À l’infini... | “INFINITY...”

Paintings ,  59.1 W x 11.8 H x 0.8 D in

Paintings ,  39.5 W x 28.5 H x 0.8 D in

Karen Darbinyan

Voile en Bretagne... « SAILING IN BRETTES ANY..."

Jeux de reflet... | « REFLECTION GAMES... » (2017)

dream higher than the sky

Paintings ,  47.2 W x 13.8 H x 1.6 D in

Paintings ,  56.5 W x 44 H x 1 D in

Vahe Yeremyan

Jour de régate... | "RACING DAY..." (2019)

Contre vent et marée... | « AGAINST WIND AND LOW TIDE... »

White sailboats

Paintings ,  7.8 W x 7.8 H x 0.6 D in

Volodymyr Nezdiimynoha

Les couleurs du printemps... | "THE COLORS OF SPRING... » (2019)

Naviguer ensemble... "SAILING TOGETHER..." (SAILING SPIRIT 2023)

Prints from $43

Horizon d'éternité... "HORIZON OF ETERNITY" (2022)

Sur les vagues... "ON THE WAVES" (SAILING SPIRIT 2023)

Sailing away

Paintings ,  23.6 W x 19.7 H x 0.8 D in

Elena Ivanova

Prints from $240

Harbor Life

Paintings ,  23.6 W x 31.5 H x 1.2 D in

Jelena Djokic

Prints from $84

Un air de printemps... | "AN AIR OF SPRING..."

Paintings ,  51.2 W x 15.7 H x 0.8 D in

Coming back at Sunset

Paintings ,  11 W x 15 H x 2 D in

Armando Chiarino

Ensemble... "TOGETHER..." | SAILING SPIRIT 2022

Coucher de soleil... "SUNSET..." (2023)

Paintings ,  51.2 W x 51.2 H x 0.8 D in

Sunset in Marina di San Vincenzo

Paintings ,  13.8 W x 13.8 H x 0.8 D in

Dina Aseeva

Future Team New Zealand

Paintings ,  41.3 W x 41.3 H x 2.8 D in

ILYA VOLYKHINE

Prints from $100

Couleurs de voiles... "COLORS OF SAILS" (2023)

Paintings ,  39.4 W x 23.6 H x 0.8 D in

Paintings ,  26.4 W x 33.9 H x 0.1 D in

OSCAR ALVAREZ

Les voiliers de l’aurore... | “THE SAILBOATS OF THE DAWN..."

Régate à l'horizon... | "RACE AT THE HORIZON..."

Paintings ,  70.9 W x 19.7 H x 0.8 D in

Course en mer... "RACE AT SEA" (SAILING SPIRIT 2023)

Paintings ,  39.4 W x 51.2 H x 0.8 D in

Prints from $49

Horizon d’été... | « SUMMER HORIZON... »

1 - 50 of 432 paintings

Boat Art - Canvas Prints

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Sailboats at Sunrise

Sunset In Venice

Clipper Ship Surprise

Sail Regatta

Sailing at Sunset, Alaska...

Regatta at Argenteuil,...

The Days Catch

Black Dog Canoe Co. II

Lazy Afternoon, Venice,...

Blue Boat On Deck

Frames Venezia

Adela, 1908

Magnificence

Caress, 1895

Close Encounter

Bow To Bow, Tellaro, Italy

Two Boats at Sunrise,...

Diamond Shoal, 1905

Three Fishing Boats

October Sail

Wave (Night)

Venice Romance

Bold Boats I

Cape Cod Sail

Sailing Boats at Argenteuil

Fuchsia On Blue, Venice,...

Boaters at Argenteuil, 1874

After the Races

Sunset Fires, 1880

Fading Glow

Starry Night Seascape

The Boat at Giverny, c.1887

Bella Venizia

Nautical Whimsy IV

Sailing at Argenteuil,...

The Cat Boat

Wind And Waves VII

Sailboats And Light

Sunny Beach Panel II

GloucesterMackerel Fleet...

Dort or Dordrecht: The...

The Shrimping Fleet

Beached Boat I

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757,984 sailboat stock photos, vectors, and illustrations are available royalty-free for download., sailboat in the sea, summer adventure, active vacation. seagoing vessel, marine ship or nautical caravel. water transport in the ocean for sailor and.

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Sailing boat, hand painted watercolor illustration

A sailboat sails in blue concentric circles

3d Vector Travel and journey boat, Holiday Vacation, Travel and Transport concept. Eps 10 Vector.

Simple Sailboat dhow boat ship on Sea Ocean Wave with Doodle line art style for Sailing Travel Transport logo design

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Silhouette of sailboat sailing during sunset. Golden hour, Santos city bay, Brazil.

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Classical yachting. sketch sail graphic design.Can be used as t shirt printing design

Aerial view of a sailboat in open seas

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Hand drawn painted sailboat isolated object on white background. illustration

A Sailboat Approaching Sun Rays With A Storm Looming Overhead Banner

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Aerial view of a boat sailing in the sea of Sicily, Italy.

A Sailboat Is Sailing Along The Ocean Against A Colorful Sunset Sky

Journey of the paper sailboat in the winding blue sea, Paper art and digital craft style background, Vector illustration

Hand Drawn Engraving Pen and Ink Sail Boat Vintage Vector Illustration

Landscape, sea, sailboat, lighthouse. Hand drawn vector illustration

Yacht on the sea wave. Vector illustration of a yacht with sails located on the crest of a sea wave. Sketch for creativity.

Sails and rigging on a large sailboat

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Aerial of Sailboat in Flat Calm Seas Anchored in the Bahamas at Sunset

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Cruising sailboat sailing in the Mediterranean Sea at sunset

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One single ship in black and white on ocean

Businessmen Team Floating on Paper Ship Rowing with Paddles and Looking into Spyglass. Characters Sailing on Origami Boat. Work, Leadership, Motivation Concept. Cartoon People Vector illustration

Old sailboat, compass and ancient map historical background. A concept on the topic of sea voyages, discoveries, pirates, sailors, geography and history. Efect of overlay on old texture of paper.

Sailboat Sailing Through Turquoise Bahamas Waters with Woman on Bow

Aerial top down view of a sailing boat anchored on a emerald reef in the turquoise sea

Aerial view of Gocek bays in Turkey

Sailing Boat Silhouette - Sailing Ship

Sailing boat in the sea against the backdrop of mountains

Seascape in oriental style with fishing sailboat in calm waters. Traditional oriental ink painting sumi-e, u-sin, go-hua. Hieroglyph - clarity

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Happy friends diving from sailing boat into the sea - Young people jumping inside ocean in summer excursion day - Vacation, youth and fun concept - Soft focus on left man - Fisheye lens distortion

Sailing luxury yacht along the route over dark sea - Northern lights aurora borealis

Beautiful little red sailboat in the arctic next to a massive iceberg showing the scale in pink dawn light. Ilulissat, Disko Bay, Greenland.

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Cartoon sailboats and waves on a light blue background, seamless pattern

Aswan city and sailboats beautiful Nile panorama, aerial view, Egypt

White sailboat or sailing yacht at sea vector illustration

A Sailboat Sails Along The Ocean At Sunset In Vertical Image Format

Sailboat in the sea in the sunset, luxury summer adventure, in Mediterranean sea, Europe

Pirate ship sailing on the ocean at sunset. Vintage cruise. 3D illustration

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Couple standing on boat together

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Portrait couple steering sailboat together

Couple sharing towel in boat on water

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3d Render Old Row Boat Isolated on Blue Background.

Sailing in the Mediterranean Sea along the italian coast

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Banksy's Glastonbury migrant boat artwork is ‘vile’, says UK home secretary

The inflatable boat with dummies of migrants is a “celebration of loss of life in the channel”, claims the conservative politician.

Banksy's inflatable migrant boat artwork is carried across the crowds during Lil Simz's set at Glastonbury 2024 Photo: Luke Brennan/ Getty Images

The British home secretary James Cleverly has branded Banksy’s migrant boat artwork “vile”, describing it as a “celebration of loss of life in the Channel”, after the British artist confirmed he was behind the performance at Glastonbury music festival over the weekend.

On Sunday, Banksy uploaded a video of the inflatable boat holding dummies of migrants being lifted above the heads of thousands of revellers during a set by the Bristol punk band Idles on Friday night. The raft was launched as the band performed Danny Nedelko, a song from 2018 that opens with the lyrics: “My blood brother is an immigrant, a beautiful immigrant.” A spokesman for the band said they were not aware of the stunt until after the gig had finished. The boat appeared again during rapper Little Simz's set as she performed on the Pyramid stage on Saturday.

Seemingly missing the point of both Banksy’s and Idles’ work, Cleverly told Sky News today: “There are a bunch of people there joking and celebrating about criminal actions which costs lives. People die. People die in the Mediterranean, they die in the Channel. This is not funny. It is vile.”

Asked if the work could have been a commentary on the right-wing Conservative party’s failure to address the issue of migrant crossings, he said: “Our ability to sort that problem out has been hampered at every stage by the Labour party, who aspire to border control.”

Cleverly added: “The hypocrisy of the left on this issue is breath-taking and to joke about it, to celebrate it at a pop festival when there have been children dying in the Channel, is completely unacceptable.”

Cleverly was taking part in an interview ahead of Thursday's general election, in which his party will lose heavily, polling predicts.

Banksy has a long history of engaging with the migrant crisis in his work. In August 2020, he financed an actual boat , named the Louise Michel after the 19th-century French feminist and anarchist, to rescue refugees making the perilous crossing to Europe from North Africa. The boat was impounded—and later released—by the Italian authorities in March 2023 as Giorgia Meloni’s government clamped down on humanitarian operations in an attempt to halt a surge in Mediterranean crossings.

In 2019, Banksy left his mark on the Venice Biennale with a stencil of a migrant child wearing a lifejacket holding aloft a fizzing neon pink flare, while, in 2015, he stencilled an image of the late Steve Jobs, the founder of Apple, with a black bin bag thrown over one shoulder and an original Apple computer in his hand, in the Calais refugee camp known as “the Jungle”.

In a statement accompanying the Calais work, Banksy said: “We’re often led to believe migration is a drain on the country’s resources but Steve Jobs was the son of a Syrian migrant. Apple is the world’s most profitable company, it pays over $7bn (£4.6bn) a year in taxes – and it only exists because they allowed in a young man from Homs.”

Banksy claims migrant boat artwork in crowd at Glastonbury

The art installation drew criticism from government ministers after Rishi Sunak made "stopping the boats" one of his five priorities.

Monday 1 July 2024 11:45, UK

Banksy has claimed responsibility for a migrant boat artwork that appeared above the crowds during a set at Glastonbury.

The inflatable boat was filled with dummies designed to look like migrants attempting to cross the Channel.

It was hoisted above the crowd and passed around by festival-goers during Idles' performance on the Other Stage at Worthy Farm on Friday night.

The boat appeared again during rapper Little Simz's set as she performed on the Pyramid stage on Saturday.

Banksy later posted a video of the boat on his Instagram page - appearing to confirm it was his work.

It emerged as the Bristol-based band the Idles sang the lyrics: "My blood brother is an immigrant, a beautiful immigrant", according to The Guardian.

Read more: All Glastonbury 2024's best bits The politics of Glastonbury Coldplay joined by Michael J Fox on stage Glastonbury masterclass from Dua Lipa

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Posting on X, formerly Twitter, Home Secretary James Cleverly said: "Small boats crossings are deadly and have cost the lives of too many people.

"Festival-goers cosplaying as migrants, and celebrating the actions of people smugglers, while they party is awful. Whatever your political views, this isn't something we should trivialise."

Deputy Prime Minister Oliver Dowden told Times Radio: "I was really saddened by it, actually.

"If you look at what happens with men, women, children being shoved on to those dinghies - the criminal gangs only fill them half with petrol, so they run out halfway across the English Channel and start to sink, endangering people's lives.

"I don't think this is a sort of thing to joke around with at Glastonbury."

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Shechet’s indoor and outdoor works on display at storm king art center.

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Storm King Art Center, an outdoor museum in New York’s Hudson Valley, is offering Arlene Shechet: Girl Group , the most ambitious exhibition yet of her outdoor sculpture, and the first to pair this body of work with her indoor ceramics.

Arlene Shechet's studio in New York City. (Photo by Lexie Moreland/WWD/Penske Media via Getty ... [+] Images)

On display through November 10, the exhibition displays six new large-scale commissions—spanning heights of ten to twenty feet and lengths of up to thirty feet—plus indoor works in wood, steel and ceramic.

Shechet’s Girl Group “ responds to and expands upon the legacy and techniques of post-war and contemporary sculpture at Storm King through the artist’s signature emphasis on process, color and form,” the museum said.

“Girl Group asserts a feminine sensibility across Storm King’s hills, fields, and galleries. This series of sculptures adapts the monumental vocabulary of Storm King to Shechet’s unique voice. Recognized as a leading sculptor who has radicalized ceramics, Shechet now takes on industrial materials and inaugurates a new phase of her work. She brings an array of vibrant colors—pinks, oranges, yellows, greens, blues, and purples—to Storm King's terrain for the first time. The works in Girl Group incorporate nature as material by harnessing it as negative space and reflected image,” it added.

Said Shechet, “For a sculptor, Storm King is ‘the promised land’: a landscape of rolling hills, mountain views and fields populated with significant works by renowned artists. I am honored and thrilled to join the dialogue at this historic place and coax it forward with my exhibition Girl Group .”

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“This exhibition is exemplary of Storm King’s collaborative approach to exhibition making—the creative support we offer and our incomparable landscape invite artists to achieve new and ambitious directions in

their practice,” said Nora Lawrence, Storm King’s artistic director and chief curator.

Arlene Shechet: Girl Group has grown from the artist’s work in ceramics—specifically her recent Together series—which will be displayed in the museum building galleries. Developing the new outdoor sculptures over the course of three years, Shechet prioritized process and improvisation over pre-conception by alternating between digital means and intuitive handmade methods, always finalizing with the handmade, Storm King added.

“Like a musical band whose harmonies the show’s title evokes, Shechet’s sculptures make rhythms together. Installed throughout the landscape and gesturing dynamically toward one another, they create frames for nature and sky. Experiential works that change as a viewer moves around them, the sculptures’ stillness prompts the viewer’s movement. And for those who wish to pause and further contemplate the works, a new series of artist-designed benches provides seating close to Shechet’s spirited outdoor forms,” the museum concluded.

The exhibition is accompanied by pubic programs, including walking tours with Shechet and dance performances at dusk through her works.

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The deluge of bonkers AI art is literally surreal

Technology has unleashed a wave of images that are too weird to be legitimate, but real enough to stir feelings. Are we seeing a new age of surrealism?

T he stuff of Salvador Dali’s wildest dreams is no match for Facebook these days: Amputee kittens using crutches. Strawberries in the shape of lifelike frogs. Bosomy conjoined twins, structurally impossible sand sculptures, snakes swallowing fully-grown lions, airplanes with human hands. An underwater Jesus covered in shrimp.

These unsettling images appear in our social media feeds, sometimes as a jump scare, and sometimes as a Trojan horse. They might be accompanied by a manipulative caption — “99% of people will scroll past without clicking like” — or hashtag gobbledygook that often includes, for some reason, a combination of the words “Scarlett Johansson beautiful cabin crew.” The replies, a medley of gullible users and likely bots, are usually full of compliments for the insane image.

Khan Schoolcraft, 33, moderates a Facebook group called “AI Boomertrap,” which collects examples of the genre (the cheeky name refers to the demographic that seems to get duped into thinking the images are real — though anyone can fall for it). Schoolcraft has seen it all. “Tiger Jesus saving his beautiful cabin crew from a plane that’s slowly sinking in the mud,” he says, by way of example. “You’ll see, like, a half-human, half-baby monkey hybrid getting eaten alive by fire ants, and people are commenting, ‘Oh so beautiful, I love it. Amen. God bless.’”

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Even the more prosaic images have a certain aesthetic — like the trend of AI-generated human quadruplets or centenarians asking for birthday wishes with their supposedly handmade cakes, whose designs defy the contours of reality. People somehow don’t see, or look past, the obvious signs of software-generated fakery and surreality.

The craziness of the content is balanced by “this incredibly banal, realistic style” that’s “very easy to process,” says Jonathan Gilmore, a professor of philosophy at the City University of New York, and co-editor of the Journal of Aesthetics and Art Criticism.

These pictures are “slop,” the tech world’s term for the image equivalent of spam. But they’re also a new category of surrealism. From a certain perspective — if your interpretation is broad enough — they may even be art. Not good art, by any definition, but they raise interesting philosophical questions about how we think about and classify images generated by AI.

Maybe these images — designed to attract attention to scam pages or click-baity sites full of ads — are a sign of the rise of the “ zombie internet ,” populated by AI and bots. But that’s not what we’re going to talk about.

We’re going to talk about why they look the way they do: flat, mawkish, uncanny. There’s a good reason one of the AI image generation programs is named DALL-E (a fusion of Dali and the title character of the Pixar movie “WALL-E”). Everything feels surreal these days. Can these surreal images somehow bring us to a clear truth?

T he French writer André Breton wrote, in his 1924 “Manifesto of Surrealism,” that the genre elevates the “superior reality” of the subconscious mind — that dreams and reality can combine to create a reality that is somehow more real. But what happens when the entity creating a surreal image isn’t human? What if the creator itself is surreal?

“These are serious questions in philosophy of art right now,” says Gilmore. The questions “cut to the core of our concept of art, and what we mean by art, and what we think art should do for us.”

Art should make us feel something. On that metric, Facebook slop actually succeeds, but in the most obvious, lowbrow way. Because the images are designed to get people to interact with certain Facebook pages, they tug at the heartstrings with subject matter that’s sympathetic or titillating: puppies, babies, patriotism, religion, elderly people, attractive people. This is the well-trod territory of cringe and kitsch.

“Because it is so kitschy, it’s essentially conservative, which might sound counterintuitive because it’s so bizarre and uncanny,” says Gilmore. Each image is its own melodrama, manipulating the viewer’s emotions.

He means conservative with a lowercase “c,” though the AI slop is usually politically conservative, too: Schoolcraft’s Facebook group is full of examples of troop-saluting, anti-LGBTQ+, pro-Trump schlock. A recent example: an elderly man in an American flag shirt and MAGA-esque red hat, reading the Bible to a dozen attentive drag queens. At a quick glance, the image might seem like a photo-illustration — but the letters on his hat are garbled, and he only has three fingers on each hand.

Robert Hopkins, a professor of philosophy at New York University who studies aesthetics, offers some other questions to evaluate whether an AI-generated work is Art with a capital A.

“Does it have real expressive power?” asks Hopkins, “Does it articulate feelings and moods and thoughts, and make them clear to you in a way that is distinctly artistic? … Is it interacting interestingly with preceding art?”

Humans do make AI art, in one sense: They must string together a description, or prompt, to tell the AI what image to make. In this sense, AI is a tool, like a sort of magic, automated paintbrush.

Art history is full of suspicious reactions to new technology. “Machines have come, art has fled,” said the painter Paul Gauguin, of photography . In its early days, critics thought artists could “never create great art out of photography, because all the photographer had to do was to set up the camera and … hit the shutter,” says Gilmore. “That was obviously untrue.”

Using any artistic tool requires skill. What separates “real” AI art and social media slop is refinement and context.

Polina Kostanda, a 45-year-old Ukraine-based AI artist who posts her work as Polly in Wonderland , also makes surreal, uncanny and dreamy images: grandmothers with mermaid tails, frogs smoking cigarettes, pepperoni pizzas growing like wildflowers. These descriptions might fit with the weird crap reposted on “AI Boomertrap,” except Kostanda sells prints and NFTs of her work, and is represented by a photo agency in Milan. Her objective is for viewers of her work to confront the boundaries of reality and “inspire them to go beyond their usual perceptions,” she says via email.

Kostanda’s work — for which she uses AI image-generating software called Midjourney — is free of the flat affect that plagues much of the social media art you see on Facebook, because she knows how to create a skilled prompt that evokes real photographic quality. In addition to prescribing the subject matter, she will also specify a film and camera as part of the prompt. “For example, Kodak Portra 800,” Kostanda says. “And the camera this photo was ‘taken’ with, for example: Hasselblad 503CW.”

What pushes an AI-generated image into the realm of art, she says, is whether it conveys a message, and whether it “catches the soul.”

“There are a lot of ‘dead’ physical paintings and photographs, without an idea or message,” says Kostanda. “And there are ‘live’ AI images” — images imbued with rich depth and meaning — “that can confidently be called art.”

I f some images are live, and some are dead, here’s the Schrödinger’s Cat of AI: This month photographer Miles Astray won — and then was disqualified from — an AI photography contest. He submitted a real photograph of a flamingo whose head is tucked so far into its wing that it appears to just be a ball of feathers with legs — like a comically askew AI misinterpretation of what a bird is. On his website, Astray said he entered his photograph “to prove that human-made content has not lost its relevance, that Mother Nature and her human interpreters can still beat the machine, and that creativity and emotion are more than just a string of digits.”

The flip side could also become true: These schlocky, kitschy Facebook images could, in the proper context, become Real Art. Think of them as the digital equivalent to Readymades, artist Marcel Duchamp’s word for works he made with commercially manufactured objects like bicycle wheels or urinals. A savvy artist could emulate or exploit the style of these images to create a commentary on social media, consumerism, patriotism or religion. (Or — like the members of AI Boomertrap — for memes.)

Could AI Facebook slop even be beautiful ? Vadim Meyl thinks so. Meyl, a researcher with the Central European University, published a paper in February asserting that “artificial intelligence stands as a defining beauty of our era.” The beauty of the system itself — not just its outputs but also its code and its algorithms that enable machine learning — “is of a new kind, one that may only be wholly grasped in future centuries,” Meyl writes in his paper.

Facebook slop, Meyl writes in an email, is more a problem of intent than aesthetics.

Dreamy, strange, thought provoking surrealism “which once seemed exclusive to the geniuses of their generation is now accessible through AI,” he says. But if those qualities become more associated with anonymous scammers on phishing pages than artistic geniuses in galleries, it may give us surrealism fatigue. Writes Meyl: “We will expect [the] ‘unexpected’ and lose [the] wow-effect of AI art.”

A s an artistic tool, AI is still in its infancy. We’re still not sure how to appraise it, says Hopkins. Will it be judged along with the various forms of handmade art it emulates, or will it be in a category of its own?

One argument for the latter is that we judge works of art not only by how we experience them, but also by our understanding of how they were made.

“We value works of art sometimes when they are the product of great struggle, or a virtuoso ability,” says Gilmore. The perception of AI art is that it’s “undermined by the fact that it was just too easy to produce.”

Meyl believes that art created by human-made algorithms should be judged no differently than art created by human hands. He sees AI as a tool, like a pottery wheel. “It operates within the parameters set by the human creator,” he says.

So AI slop is art, in Meyl’s eyes. It’s just really amateurish, really corny, really bad art — kind of like most amateur art that humans have created across media throughout history.

Set aside the AI generator’s tendency to add or subtract fingers, and its ability to deceive. The question, then, is: Why are so many AI creators — from scammers to professional artists — stuck on this flat, kitschy, sometimes hackneyed form of surrealism?

“With this absolutely massive, seemingly infinite capacity to create a visual image, the work ends up looking so conventional,” says Gilmore. Unsettling and uncanny, yes, but somehow “so boring, so familiar.”

For example: several recent posts from a Facebook page simply called “Fascination,” which appears to be run from Armenia. The posts depict the same subject — a little boy who has purportedly painted, with skills beyond his years, a beach landscape — with the same caption: “My new artwork, please appreciate it.” The children look real enough, but the details of the images are giveaways. One of the lighthouses protrudes off the canvas; the ground shown under the easel is also rendered in brushstroke.

The image isn’t real. The boy isn’t real. The fake boy’s painting isn’t real. The posts are the modern rendition of the famous Rene Magritte work “ La Condition Humaine ,” a painting of a painting that blends into its background so seamlessly that you can’t tell what part of the scene is real.

“You are so talented,” a commenter named Daphne (is she real?) replied to one of the posts. “That’s what I call a work of art.”