Art

Sony World Photography Award 2023: Winner refuses award after revealing AI creation

Published

1 year ago

April 17, 2023

Harry Miller

By Paul Glynn

Entertainment reporter

The winner of a major photography award has refused his prize after revealing his work was in fact an AI creation.

German artist Boris Eldagsen’s entry, entitled Pseudomnesia: The Electrician, won the creative open category at last week’s Sony World Photography Award.

He said he used the picture to test the competition and to create a discussion about the future of photography.

Organisers of the award told BBC News Eldagsen had mis-led them about the extent of AI that would be involved.

In a statement shared on his website, Eldagsen admitted he had been a “cheeky monkey”, thanking the judges for “selecting my image and making this a historic moment”, while questioning if any of them “knew or suspected that it was AI-generated”.

“AI images and photography should not compete with each other in an award like this,” he continued.

“They are different entities. AI is not photography. Therefore I will not accept the award.”

The image in question showed a haunting black-and-white portrait of two women from different generations.

But as Eldagsen pointed out in his statement: “Something about this doesn’t feel right, does it?” That something, of course, being the fact that it’s not a real photograph at all – but a synthetically-produced image.

The use of AI in everything from song and essay writing, to driverless cars, chatbox therapists and the development of medicine has been widely debated in recent months; now its utility around photography has come into focus.

A spokesperson for the World Photography Organisation said that during their discussions with the artist, before he was announced as the winner, he had confirmed the piece was a “co-creation” of his image using AI.

He noted his interest in “the creative possibilities of AI generators”, they added, while “emphasising the image heavily relies on his wealth of photographic knowledge.

“The creative category of the open competition welcomes various experimental approaches to image making from cyanotypes and rayographs to cutting-edge digital practices,” they said.

“As such, following our correspondence with Boris and the warranties he provided, we felt that his entry fulfilled the criteria for this category, and we were supportive of his participation.

“Additionally, we were looking forward to engaging in a more in-depth discussion on this topic and welcomed Boris’ wish for dialogue by preparing questions for a dedicated Q&A with him for our website.”

They continued: “As he has now decided to decline his award we have suspended our activities with him and in keeping with his wishes have removed him from the competition.

They said they recognised “the importance of this subject [AI] and its impact on image-making today” but stressed the awards “always have been and will continue to be a platform for championing the excellence and skill of photographers and artists working in the medium.”

Analysis by Chris Vallance, BBC senior technology reporter

When an AI generated image won a US state art competition last September it ignited a debate that has raged ever since.

All the while the power of the technology increases seemingly week by week.

Photographers and artists who previously could console themselves by pointing out the flaws in AI generated images – it struggles with hands for example – now find they are becoming ever harder to spot.

Last month, Tim Flach president of the Association of Photographers, told me of his shock at how easy it was to generate an AI image of a tiger that closely resembled a photo he’d had to step into the cage to capture.

A photography student who spoke to me at the time worried whether his planned career would still exist in a few years.

Many artists and photographers accuse AI systems of unfairly exploiting the works of hundreds of thousands of human creators on which the systems are trained – some have even launched legal action.

But others simply regard AI as just another tool, a new category of art perhaps, but no less valuable.

Photography itself was once a new and, to some, threatening invention they point out.

But a host of very basic issues remain unclear, including who owns the copyright for an AI image.

As well as pictures, AI has generated a raft of as yet unanswered ethical and legal questions.

‘I don’t blame Boris’

Photographer and blogger Feroz Khan took a particular interest in how the events unfolded. He said he did not blame the artist for showing “there is a problem here in the photography industry”.

“For starters, most people have a tough time distinguishing AI-generated images from photographs (at least at first glance),” he wrote. “In a few months, it will probably become even harder to determine critical differences unless scrutinised.

“With this intention, Boris has stated that he wants photography contest organisers to have separate categories for AI images.

“I appreciate him for wanting this distinction in photo contests. Yes, he entered an AI image into the competition, but it doesn’t seem he was out to defraud anyone. He wanted to highlight an issue that certainly needs a lot more attention from everyone.”

He concluded that “he’s clearly shown that even experienced photographers and art experts can be fooled.”

An exhibition of the winners and shortlisted images from this year’s Sony World Photography Awards takes place at Somerset House, London from 14 April to 1 May 2023.

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Art

A misspelled memorial to the Brontë sisters gets its dots back at last

Published

5 days ago

September 26, 2024

Anne Joseph

LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.

More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.

The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.

They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.

“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”

It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.

Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”

Rebecca Yorke, director of the Brontë Society, welcomed the restoration.

“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.

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Art

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

Published

3 weeks 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.