Art

The folly of making art with text-to-image generative AI

Published

1 year ago

June 24, 2023

Making art using artificial intelligence isn’t new. It’s as old as AI itself.

What’s new is that a wave of tools now let most people generate images by entering a text prompt. All you need to do is write “a landscape in the style of van Gogh” into a text box, and the AI can create a beautiful image as instructed.

The power of this technology lies in its capacity to use human language to control art generation. But do these systems accurately translate an artist’s vision? Can bringing language into art-making truly lead to artistic breakthroughs?

Engineering outputs

I’ve worked with generative AI as an artist and computer scientist for years, and I would argue that this new type of tool constrains the creative process.

When you write a text prompt to generate an image with AI, there are infinite possibilities. If you’re a casual user, you might be happy with what AI generates for you. And startups and investors have poured billions into this technology, seeing it as an easy way to generate graphics for articles, video game characters and advertisements.

Grid of many images of cartoon women in various costumes. — Generative AI is seen as a promising tool for coming up with video game characters.
Benlisquare/Wikimedia Commons, CC BY-SA

In contrast, an artist might need to write an essaylike prompt to generate a high-quality image that reflects their vision – with the right composition, the right lighting and the correct shading. That long prompt is not necessarily descriptive of the image but typically uses lots of keywords to invoke the system of what’s in the artist’s mind. There’s a relatively new term for this: prompt engineering.

Basically, the role of an artist using these tools is reduced to reverse-engineering the system to find the right keywords to compel the system to generate the desired output. It takes a lot of effort, and much trial and error, to find the right words.

AI isn’t as intelligent as it seems

To learn how to better control the outputs, it’s important to recognize that most of these systems are trained on images and captions from the internet.

Think about what a typical image caption tells about an image. Captions are typically written to complement the visual experience in web browsing.

For example, the caption might describe the name of the photographer and the copyright holder. On some websites, like Flickr, a caption typically describes the type of camera and the lens used. On other sites, the caption describes the graphic engine and hardware used to render an image.

So to write a useful text prompt, users need to insert many nondescriptive keywords for the AI system to create a corresponding image.

Today’s AI systems are not as intelligent as they seem; they are essentially smart retrieval systems that have a huge memory and work by association.

Artists frustrated by a lack of control

Is this really the sort of tool that can help artists create great work?

At Playform AI, a generative AI art platform that I founded, we conducted a survey to better understand artists’ experiences with generative AI. We collected responses from over 500 digital artists, traditional painters, photographers, illustrators and graphic designers who had used platforms such as DALL-E, Stable Diffusion and Midjourney, among others.

Only 46% of the respondents found such tools to be “very useful,” while 32% found them somewhat useful but couldn’t integrate them to their workflow. The rest of the users – 22% – didn’t find them useful at all.

The main limitation artists and designers highlighted was a lack of control. On a scale 0 to 10, with 10 being most control, respondents described their ability to control the outcome to be between 4 and 5. Half the respondents found the outputs interesting, but not of a high enough quality to be used in their practice.

When it came to beliefs about whether generative AI would influence their practice, 90% of the artists surveyed thought that it would; 46% believed that the effect would be a positive one, with 7% predicting that it would have a negative effect. And 37% thought their practice would be affected but weren’t sure in what way.

The best visual art transcends language

Are these limitations fundamental, or will they just go away as the technology improves?

Of course, newer versions of generative AI will give users more control over outputs, along with higher resolutions and better image quality.

But to me, the main limitation, as far as art is concerned, is foundational: it’s the process of using language as the main driver in generating the image.

Visual artists, by definition, are visual thinkers. When they imagine their work, they usually draw from visual references, not words – a memory, a collection of photographs or other art they’ve encountered.

When language is in the driver’s seat of image generation, I see an extra barrier between the artist and the digital canvas. Pixels will be rendered only through the lens of language. Artists lose the freedom of manipulating pixels outside the boundaries of semantics.

Grid of different cartoon images of an animal with wings. — The same input can lead to a range of random outputs.
OpenAI/Wikimedia Commons

There’s another fundamental limitation in text-to-image technology.

If two artists enter the exact same prompt, it’s very unlikely that the system will generate the same image. That’s not due to anything the artist did; the different outcomes are simply due the AI’s starting from different random initial images.

In other words, the artist’s output is boiled down to chance.

Nearly two-thirds of the artists we surveyed had concerns that their AI generations might be similar to other artists’ works and that the technology does not reflect their identity – or even replaces it altogether.

The issue of artist identity is crucial when it comes to making and recognizing art. In the 19th century, when photography started to become popular, there was a debate about whether photography was a form of art. It came down to a court case in France in 1861 to decide whether photography could be copyrighted as an art form. The decision hinged on whether an artist’s unique identity could be expressed through photographs.

Those same questions emerge when considering AI systems that are taught with the internet’s existing images.

Before the emergence of text-to-image prompting, creating art with AI was a more elaborate process: Artists usually trained their own AI models based on their own images. That allowed them to use their own work as visual references and retain more control over the outputs, which better reflected their unique style.

Text-to-image tools might be useful for certain creators and casual everyday users who want to create graphics for a work presentation or a social media post.

But when it comes to art, I can’t see how text-to-image software can adequately reflect the artist’s true intentions or capture the beauty and emotional resonance or works that grip viewers and makes them see the world anew.

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

6 hours ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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