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What you need to know about AI-generated art

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AI-generated art has been around for several years, although it wasn’t until recently that it became mainstream. In terms of its market, AI art creation platforms fall into the AI-generated content (AIGC) bucket.

DALL-E 2 is one type of AIGC. It creates images of comparable quality to those produced by human artists by inputting certain keywords into the machines’ parameters. And that ease of use translates into big business. According to InsightSLICE, the global AIGC market will reach $38.2 billion by 2030.

In early 2022, a series of AI-powered algorithms were introduced that gave users of all skill levels the power to generate images from single-line text. And these programs have steadily grown in number and complexity, reflecting an insatiable user demand for a diverse range of artistic styles and content types.

For example, NightCafe Studio users have generated more than 75 million images and DALL-E 2’s 1.5 million users are generating more than 2 million images daily. However, what those numbers don’t reveal is where the industry is headed.

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As an industry insider, I can assure you that it will look a whole lot different than where it is today.

The state of the AI-generated art industry

Before looking ahead, it’s worth looking back on how far the industry has come in just a few short years. When I first entered the industry, there were only four or five AI art generators. This was in 2019 before text-to-image algorithms existed. Back then, the only AI art algorithms were “deep dream,” which made images look like they had dog noses all over them, and “neural style transfer,” which copied the style of one image and transferred it to another.

When text-to-image algorithms came out in early 2021, starting with the announcement of DALL-E followed by some open-source algorithms like VQGAN+CLIP, a few more AI art generators popped up. But by the end of 2021, there were probably only another ten or so apps. Then, In 2022, the space started accelerating and finally exploded when Stability AI released “Stable Diffusion” as open source.

As of now, there are far more AI art generators than even I can keep track of. It’s easy enough now to create a new AI art generator app as a side project, so there are hundreds of those. But we’re also seeing big players like Microsoft and Canva, and slightly smaller ones like Picsart, and other big mobile apps add text-to-image generation into their existing product offerings.

Where is the AI-generated art industry headed?

AIGC, and more specifically, AI image generation as an industry, is still extremely young. The big players are generally less than a year old, and the big names that have adopted image generation into their services have only done so within the last month or so. But today, we’re nearing the point where AI will be good enough to use in video games. Concept artists and traditional artists are already using AI image generation for inspiration, and even incorporating the results into their artworks.

However, in the end, AI-generated art could be a victim of its own success. Progress on image generation technology is moving so quickly that it’s nearing a point where outputs are nearly perfect. And when this happens, which will be soon, the algorithms and models will become commoditized and the winners will be defined less by their AI models and more by the technology and user experiences they build around those models. That means the industry, in its current form, could cease to exist.

AI image generators may simply be a function of larger platforms and applications. There might still be some powerful, specialized AI-powered image and/or video generation apps for pros, or maybe they’ll all end up as features of existing tools like Photoshop and Final Cut. Canva and Jasper are already diving into the space, and I can see a day when Salesforce, Hubspot and even proposal software like PandaDoc could include AI-generated art creation.

And once image generation becomes “solved,” the smart people working on the technology will move on to other modalities like audio, video, writing or other problems.

Hobbyists and creators will remain loyal

Even after AIGC becomes intertwined with systems like CRMs, marketing automation platforms, Web development tools and more, the AI art hobbyists — who just create art with AI for fun or self-therapy — will still exist.

Creators will also continue to monetize their time by utilizing AI-generated art platforms by selling their work as NFT collections, prints for print-on-demand service, stock photography or even on talent platforms like Fiverr and Upwork. Others will continue to use AI image generation to save money on things like book or album covers or in place of stock photos on a blog article.

But, the most overlooked use-case is people simply using AI art generators for fun or to wind down. Many people love creating art with AI. We often get feedback that AI art has scratched a creative itch that people didn’t know they had. We also often hear that people use it religiously as a way to wind down and de-stress or forget about the outside world for a while. For some subset of the population, AI art triggers a dopamine hit and a sense of pride and accomplishment that people simply couldn’t get before.

Final thoughts

For many of us in the industry, the problem we are solving is how to best democratize art and other creative services. And I believe we have made progress. Since discovering AI art, it’s become many people’s number one hobby and they do it every day. Before AI, learning to create beautiful art took thousands of hours of practice.

With AI, the same sense of pride and accomplishment can be gained in just a few minutes. Whether they are new users typing a few words and choosing a preset style, or proficient users adjusting a wide range of settings and trying new algorithms, people are proud of their work. They discuss it online, share prompts and tips, complement each other’s work and share their favorite images.

I don’t think that’s going to change; an entire industry will develop around these “hobbyists.” I’m betting my livelihood on it!

Angus Russell is founder of NightCafe Studio.

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

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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.

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

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



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

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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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