Category: marketing

In artistry, the environment often plays a pivotal role in shaping creativity and vision. For art enthusiasts, industry professionals, galleries, dealers, and especially artists, understanding how changing locations can influence your creative process can unlock new dimensions of expression. Just as networking in the art industry opens doors to new collaborations and opportunities, a shift in geographical setting can usher fresh perspectives and inspirations. This exploration dives deep into the transformative power of relocation, laying out its profound impact on the canvas of imagination.

The History of Artists Changing Scenery

Throughout the rich tapestry of art history, the allure of new horizons has been a siren call for creators to pursue deeper inspiration and novel perspectives. Iconic figures like Van Gogh, who ventured from the cool terrains of the Netherlands to the sun-drenched landscapes of southern France, experienced discernible transformations in their artistic outputs post-move.

When one dedicates time to studying the history of art, this trend becomes unmistakably evident: shifts in location have often led to pivotal changes in techniques, color palettes, thematic focuses, and even emotional depth.

Moreover, the newfound exposure to contrasting cultures, environments, and aesthetic traditions broadened their worldviews and left indelible marks on their masterpieces. Beyond mere anecdotes, these historical instances offer powerful insights, revealing how changing locations can reshape and rejuvenate an artist’s creative process.

How Changing Locations Can Influence Your Creative Process

At the intersection of geography and imagination, many factors explain how changing locations can influence your creative process. Venturing into a new environment acts as a catalyst, stoking the fires of creativity by presenting a fresh tableau of sights, sounds, and experiences. The psychological impact of such a change cannot be understated. Immersing oneself in a different culture or landscape exposes an artist to novel aesthetics, traditions, and perspectives.

That broadens the horizons of inspiration and challenges the artist to experiment and adapt. As a result, their artwork may take on new themes, utilize diverse techniques, or evoke varied emotions.

Furthermore, the influence of the surrounding community, with its unique dynamics and conversations, often seeps into the artist’s work, making creation an ever-evolving journey. Hence, it becomes evident how changing locations can be a transformative tool in the artist’s arsenal.

The Practicalities: Making the Move

Embarking on a journey to a new location is not just a matter of packing brushes and canvases. The decision to relocate carries many artistic and logistical considerations that can deeply impact one’s creative journey.

Choosing Locations Aligned with Artistic Goals

The first step involves identifying destinations that resonate with your artistic vision. Whether it’s the bustling art scenes of cities like Paris or New York or the serene landscapes of Tuscany or Kyoto, the location should serve as a fertile ground for your creativity.

Considerations Beyond Art

Beyond the aesthetics, factors like the cost of living, proximity to cultural hubs, and accessibility to prominent galleries or exhibitions play a significant role. Finding a balance is crucial, ensuring the new place is inspiring and practical.

Networking in the New Location

Once the move is made, integrating into the local art scene is paramount. Attend exhibitions, join local art groups, or engage in community projects. These connections can lead to collaborations, exhibitions, and even sales. Building a strong network can also provide valuable insights into the local art market and opportunities therein.

While the allure of a new location can be enticing, the pragmatic decisions surrounding the move ensure a seamless transition and sustained artistic growth.

Image by Olesia Lebedenko for Pexels

Embracing Change While Retaining Authenticity

The artistic journey is, at its heart, a continuum of evolution. Artists, like rivers, are shaped by the terrains they traverse, constantly reshaping while maintaining their essence. This balance becomes even more profound when considering how changing locations can influence your creative process. In this exploration, we delve deeper into the juxtaposition of embracing new surroundings while staying true to one’s artistic identity.

The Balance of New Influences

Every locale is a treasure trove of inspiration. Something always beckons an artist, whether it’s the vibrant color palettes of a tropical setting, the nuanced textures of an ancient city, or the rhythms of local folklore. While drinking from these wellsprings of inspiration is essential, artists should ensure that these new influences complement rather than dominate their original voice. It’s about creating a harmonious blend that adds depth and dimension to their work.

Continual Self-Reflection

The relationship an artist has with their work is deeply reflective. As they evolve, regular moments of reflection become critical. Evaluating their body of work, understanding the nuances introduced by new environments, and discerning the essence of their artistic voice are essential. This ongoing dialogue between the artist and their creations ensures they don’t stray too far from their foundational ethos while evolving.

Image by Andre Moura for Pexels

Grounding in Artistic Roots

Every artist carries a unique signature, a DNA that permeates their creations. This signature must remain consistent as they move and absorb the world around them. Think of it as the base melody in a piece of music; while instruments and rhythms might change, the central tune remains recognizable. Revisiting old works, connecting with long-standing mentors, and occasionally stepping back to one’s original environment can act as reminders of these roots.

Artists face a beautiful challenge as they traverse the globe and let their surroundings mold them. The essence lies not just in recognizing how changing locations influence the creative process but in marrying this external evolution with the timeless authenticity of their inner voice, creating a symphony that resonates both novelty and truth.

Final Thoughts

Becoming an artist is as much about external exploration as internal reflection. From the rich annals of art history to modern-day wanderings, it’s evident how changing locations can influence your creative process. But, amid these shifts, the true essence of an artist remains unyielding. This harmonious blend of the old and the new, the familiar and the foreign, creates timeless masterpieces. So, for every artist aspiring to leave a mark, remember that every location is a chapter, but your authentic voice is the story.

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About the Author:

Miah Cunningham is a seasoned art enthusiast and writer passionate about exploring the nexus between environment and creativity. Currently associated with onlinemovers.miami, Miah’s experiences with relocation, and her keen understanding of art come together to provide unique insights. Through her writings, she aims to guide artists and art enthusiasts on the transformative journey of changing locations, shedding light on the intricate dance between new influences and authentic expression.

Oil painter Sherry Mason captures nature’s majesty in her collection of sweeping landscapes. View more from this artist by visiting her website.

I have always been inspired by how light affects the landscape, water, and sky. As a young adult, I spent quite a lot of time painting on the banks of the Green River where we once owned a 200-acre dairy farm in Kentucky.

“Blowing Rock Overlook” oil, 20″ x 24″

I didn’t start my career as a professional artist back then. My career choice was based entirely upon the urging of my father to obtain a pharmacy degree. I could have done anything, but I decided on the “safe and secure” job. My art remained a hobby for years with a completed painting from time to time. Unfortunately, I never considered doing anything more with it.

“Sunset’s Autumn Glow” oil, 24″ x 30″

It wasn’t until I retired from pharmacy that I began painting more often. My skills quickly improved to the point that I began entering competitions. I tied for first place in my first juried competition and that was enough to motivate me to take my hobby more seriously.

“The Ski Slopes of Buttermilk Mountain” oil, 13″ x 20″

In late 2018, I participated in a regional paint out and saw how significantly plein air impacted my work. It made it much better! It was very hard for me to catch the light, and I hated painting that fast in those conditions. But I knew there was invaluable information to gain, and I was determined to find a way to do it!  Today, I love it and I participate in four to five regional paint outs every year.

“Come Watch With Me” oil, 16″ x 16″

I feel plein air painting has tremendously shortened the learning curve for me to go to the next level. Painting on location gives me extra references to use that translates to better work! My goals and aspirations are to continue my art journey as an eternal student, never giving way to the feeling of mastery, for that would inevitably fall to complacency.

“Memory Lane” oil, 12″ x 9″

Every painting has its unique challenges. Each is painted by a newer version and expression of myself so that my work evolves. Every next painting has an element of something new I am learning. I guess that is why I will always feel that I could have done more.

“Sandra’s Treetop View of Dobson Knob” oil, 24″ x 30″

I have already won several awards, including an Honorable Mention in the April 2023 International Plein Air Salon, Animals and Birds Category. I’ve been juried into prestigious organizations such as the Oil Painters of America, Elected Artist member of the American Artists Professional League, American Women Painters, National Oil and Acrylic Painters Society and the American Impressionist Society.

“Alone but Not Lonely” oil, 40″ x 30″

I’m excited about my art journey. I receive such wonderful feedback and support from collectors who encourage me to continue to paint in my own way.

“I must honestly say nothing really spoke to me or captivated me the way your work did… Until I saw your work in the Renaissance Center, I didn’t really think scenery by itself could be captivating.”  – D.C., Tennessee

“Don’t stop painting the way you do, nobody else paints it like that.” – S.K., North Carolina

“Meditations on the Nolichucky River” oil, 12″ x 9″

My art is different, but isn’t it supposed to be?

Sherry Mason invites you to follow on Facebook and Instagram.

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Welcome to season five, episode 26 of The Abundant Artist, the show that dispels the myth of “the starving artist” and shares how you can live an abundant life as an artist and make a living from your talent, one interview at a time.

Joining Cory in today’s podcast is Kiffanie Stahle, the “friendly” lawyer who helps artists get the legal side of their art businesses in order. A firm believer in focusing on the “why” rather than the “what”, Kiffanie advises artists to first decide what they actually need to meet their business goals, rather than just investing big in legal matters that may not be required at all in their specific circumstances.

“I have always felt responsible for saying that if we’re going to spend a thousand dollars on the trademark, it needs to be worth it. It needs to move our businesses forward.” — Kiffanie Stahle

In this episode, Kiffanie spells out the six basic rules that every professional artist must adhere to, to avoid getting caught in the legal net. She mentions some free templates available on her website that may be a good starting point for artists just beginning their art career. Kiffanie also talks about how easy it could be to gather tax and other legal information in your state – often just a phone call away.

Tune in to today’s episode for more legal insights, a bit about Kiffanie’s minimalist life traveling the western US since 2020, and her goal to make life easier for small creative businesses. Well, legally at least.

In this episode:

[1:12] Cory asks Kiffanie to tell the TAA audience a little about how she started her journey as a lawyer helping artists with legal dos and don’ts.
[3:00] Kiffanie reminisces about how she founded the artist’s J.D. as a place to provide legal tools and resources for artists, and how it has now evolved into a membership community, offering books, courses and templates.
[4:38] How the year 2020 made a big life change for Kiffanie, and how her minimalist lifestyle impacted her legal thoughts.
[6:39] Is getting a trademark necessary?
[7:00] Kiffanie believes that there are only six things that are required of artists when it comes to the legal side of their small creative businesses.
[9:49] Kiffanie explains how a simple email can also be a valid contract in the eyes of the law.
[11:39] Cory asks Kiffanie how Entrepreneur Magazine has a trademark, given that a business name that merely describes what you do is not eligible for a trademark.
[16:15] When do you need to do more legal stuff, if you have covered the six necessary tasks already?
[17:54] Kiffanie has a free template on her website which artists can use to create a really simple, easy and readable privacy policy and terms of service.
[20:04] Cory asks Kiffanie to quickly define GDPR and CCPA.
[22:02] If your creative stuff is primarily targeted at children, there’s a whole lot of separate laws that you will need to be cognisant of.
[23:25] Cory asks Kiffanie to explain what one needs to do to comply with the various tax requirements.
[24:18] Kiffanie often recommends her clients to get in touch with their respective Chambers of Commerce for understanding the tax rules and regulations applicable to them.
[31:39] At what point should artists start reviewing their tax affairs on a regular basis?
[33:30] Who are enrolled agents, and how are they different from CPAs?
[35:35] To decide what legal tasks you must complete, you must know where your business is going.
[37:29] Kiffanie has been out of social media for three years now – this is one of her experiments in life minimalism.
[38:22] Cory asks Kiffanie how artists would get in touch with her if they are curious to learn more about legal matters or need legal help.
[40:06] What is Kiffanie’s takeaway from spending so much time working with creative people?
[42:08] Cory thanks Kiffanie for a super-informative episode!

Resources mentioned:

the artist’s J.D.
Stahle Law website
Kiffanie’s Website Policy Mad Libs
Kiffanie’s Legal Roadmap book
Kiffanie’s Join me for coffee each Friday

About the guest:

Kiffanie Stahle AKA Kiff is the friendly legal eagle behind the artist’s J.D. A place designed to add ease to the legalese of running your art business. She’s a firm believer that you can protect your ass(ets) without legal confusion. When she’s not geeking out on the law, you can find her and her pup Ozzy puttering around the western United States in their travel trailer. And spending lots of time sitting on her “porch”, hiking, mountain biking, birdwatching, knitting, working on her National Park cross stitch collection or badly singing while playing the ukulele around the campfire.

Carlos Alberto Vega’s mirror art draws in the viewer for a closer examination as they hold glimpses of their own reflection amidst the vibrant and colorful symbols and icons imprinted on vintage, mixed-media mirrors.

“Some say that a mirror merely reflects, only bouncing back what is cast upon it–albeit in reverse. But what if a mirror has memory? What if the images are not only reflected but also retained–even if only as scattered images and moments, much as we remember our own past?” says the Chicano artist, about his mirror art which captures the “hybridity” of his own culture and spirit across his beloved Latinx community, “shaped and reshaped by places left behind and those to be found.”

Raised on the Mexico-U.S. border, Vega’s life now oscillates between New England and the South of Spain with frequent visits to the heart of Mexico. His formal training and education include studies in Paris, New York, and Boston. As a professor of Medieval Literature at Wellesley College, he understands the fascination and magnitude of mirrors in Medieval European Art as well as the mirrors of the Renaissance era. He is inspired by the closely familiar rich European civilization that is essential to his work. A braided dialogue of Europe’s golden years of creativity and artistic expression is fused in the transformative way his mirror art transgresses the old and the new and leans on the abundance of Baroque art with a refined modernity that allows the viewer to rethink the universal and essential questions of the past and the future. Who we are when we gaze at a mirror? Do we recognize the past or the future of the past?

Vega’s academic focus on literature, culture, and hagiography (the study of the lives of saints), led him to initiate the study of hagiographic motifs in an American/Hispanic context, examining the role of religious cultural icons (products of both European Catholic and Native American traditions) in a political and aesthetic agenda.

Elevating the Mexican folk art of painted mirrors to the next level of surface infiltration, Vega’s vintage mirrors, enveloped in antique frames are ladened with their own visual stories. Working on partially distressed mirrors, he further erodes the reflective surface to unveil what the glass retained as a witness of the distant past–while layering personal and cultural symbols within the work. Atop existing images are encrusted gold and metal foil, paint, ink, and powdered pigment–often using a syringe, he breaks through, forming layered impressions.

In an interplay of hide-and-seek, Vega veils parts of the mirrors, making the viewer “part of the murmurings of the mirror–a component in an ever-changing surface.” Masterfully manipulating the surface of his vintage mirrors to exhume the past in a collage, he allows the viewer to see themselves in “movement or stillness” and ponder on the “evolving context of what has been shaped by a mirror with a memory.”

Baroque Rust by Carlos Vega

Yet the mirror and the viewer, “remain distinct” he says.

Vega’s mirror art examines the exteriority and interiority of existence and meaning much the same way Diego Velazquez or Leonardo Da Vinci crossed thresholds and explored both the shadows and the iridescent of the creative act. Continuing with this tradition, Vega goes further, etching the mirrors with colorful paintings and intuiting a festive mood–a fiesta of colors–while at the same time, the mirrors dwell in shadows and in the opaque. There is a radiant playfulness in Vega’s work where illusions and playfulness inhabit the work and where the viewer is invited to engage in imaginary possibilities and in the realms of absence and presence, light and shadows. Yet these mirrors are the portals of the mysterious light we carry with resilience and frailty.

At the center of Vega’s mixed-media mirror paintings–as well as his extravagant Milagro-festooned “brooches”–are undeniable religious and spiritual motifs. He assumes religion, in all its “manifestations and transgressions,” to be as “much an image, ritual, and the material, as abstract belief.”

Twin Hearts and Eyes by Carlos Vega

Expanding beyond his mirror art, Vega’s playful, ornate collection of ex-voto rhinestone brooches offers another view of centuries-old symbolism of Milagros confirming faith while “making a deal.” He adds to existing tin-etched heart–clear and colorful rhinestones juxtaposed with Milagros, plastic flowers (no watering needed), finger puppets of monsters, dinosaur heads, and googly eyes–that reflect devotional art symbols and transform them into “fantasy emulates.”

Rhinestone skulls are a repeated theme across Vega’s brooch art–dangling, glued, popping–celebrating life and the afterlife’s miracles, seeking guidance and protection from the saints and spirits, of those here, and those who have crossed over.

Vega’s History of Mexico mirror art is a pictorial tribute– both reverent and kitsch– to his ancestral homeland. Layered symbols of leading figures in the “tragedies that have marked Mexican history–a lot of which was informed by U.S. and European policies” are juxtaposed with icons of popular culture.

“As artists, we are only conduits to some strange forces that simply seem to take over within us and make us say or do what we express. Perhaps one thing that has come more to mind is how many layers of my culture are reflected in my works. I have come to realize more and more that I am merely a ‘channel’ that no piece of art belongs to (or is the creation of) any single person,” says Vega.

The painted mirrors of Carlos Vega have a haunting quality that remains with the viewer– whispering and illuminating from within. We remain in awe of this ancient tradition now rendered in its full modernity and magnificence.

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Author’s Bio

Marjorie Agosin is a Chilean-American poet with over 60 books, an award-winning human rights activist, a literary critic, and the Andrew W. Mellon Professor in the Humanities and Spanish at Wellesley College. Jackie Abramian is a writer and corporate communications strategist, who along with her husband owns Haley Art Gallery in Kittery, Maine.

Carlos Vega is represented by Haley Art Gallery. For purchases or to arrange exhibits of Vega’s works contact: haleygallery@comcast.net or 617-584-2580

Enter the creative world of artist Jennifer Holstrom, whose vibrant paintings focus on the empowerment of women. See more of her work on her website.

I’ve been an artist my entire life. I chose to pursue graphic design as a way of making a living while staying in a creative field. Then I began painting seriously in 2008.

“Eastern Sun” acrylic, gold leaf and paper on canvas, 24″ x 36″

As a creative person, a traumatized human, and a woman in our society, I have a fire inside me to break out of feeling oppressed, hidden, and silenced. I have an innate desire to express myself and my feelings through my artwork. Expressing oneself in authenticity is a scary concept.

“Tipsy” acrylic on canvas, 24″ x 36″

In my life and my creative work, I am committed to meeting my fear head-on, and to stretching beyond it, perhaps even eviscerating it. I explore powerful color, contrast and texture. I also explore subject matter that is compelling to me and my sense of rebellion.

“Unstoppable” acrylic and paper on canvas, 20″ x 20″

I’ve been playing with the portrayal of people, specifically women, as beautiful, enigmatic and elegant, while also being multi-faceted, gorgeously human messes.

“21 Grams Carbohydrate” acrylic and paper on canvas, 24″ x 36″

In our society, women are held to a ridiculous standard of perfection. But we are still just humans, coiffed, with lipstick, jewelry, to-do lists, and plowing through a bag of chips.

“Mother” acrylic on canvas, 42″ x 42″

Conversely, women who are salt-of-the-earth types naturally contain within themselves the elegant and divine feminine—a powerful spirit, beauty, and awareness that comes through in their presence. I’m looking to capture that ferocity.

“Come Hither” acrylic, gold leaf & paper on canvas 36″ x 48″

I am inspired by black and white reference images from 1920s-50s photography of women in burlesque, actresses, musicians, dancers, performers of all kinds, shapes, ethnicities, and backgrounds. I am also inspired by my own trauma healing journey. I’m always making efforts to connect to the true power within myself.

“Forty Five” acrylic on canvas, 36″ x 48″

My desire is to connect with those who can look at a person, or themselves, and see all the different facets. I’m calling out the juxtapositions of truths and facades that are inherent in our existence.

“Moment In The Light” acrylic and paper on canvas, 30″ x 30″

I have shown my work in several exhibitions around the Seattle area since 2011, as well as New York City, Portland, Oregon, and Taos, New Mexico.

“Bone and Petal” acrylic, 32″ x 46″

As a professional graphic designer by day, painting offers me a release from the structure of purpose and monetary-driven design. Painting offers me a license to create the things I want to see in the world. It allows me to shine a light on the issues that I feel need more consideration and discussion.

Jennifer Holstrom invites you to follow her on Instagram.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

Alexandra Rose Day: Flowers for Change was founded by artist and philanthropist, Alex Rudin. Her illustrations tackle issues of social justice, women’s rights and abstract political theory while focusing on fundraising for nonprofits and human rights organizations. To broaden the scope of beneficiaries and fundraising capacities through her work, Alex has created a new widely accessible vehicle to deliver her message. By bringing joy and hope through uplifting floral images, Alex’s goal is to increase fundraising by broadening awareness and engaging in the issues of the day.

Alexandra Rose Day is inspired by a 1912 historic fundraising event in the U.K. While collecting materials for her work, Alex received an unexpected photograph in a cache of vintage papers.  It pictured women selling flowers to raise money for wounded war vets. Incidentally, Alex’s full name is Alexandra Rose. After being urged to paint florals for some time, the arrival of this photograph seemed prophetic.

Alex began exploring the notion of creating work that did not directly engage with the issue of said philanthropic cause, but to use beauty and life as a motivator for engagement. Rudin’s other work, focusing on reproductive rights, gun violence and systemic issues in America, revealed to be challenging for audiences to digest and/or purchase. In refocusing the narrative surrounding her work, she began to see an increase in engagement and inevitably, fundraising. Alexandra Rose Day exemplifies the concept that positivity, rather than negativity promotes actionable change in a more reliable and impactful way. People prefer to be surrounded by representations of beauty, life, and inspiration.

Summer Heat Peonies by Alex Rudin

Fundraising for nonprofits, human rights and political organizations is fundamental to ARD. Alexandra Rose Day: Flowers for Change selects new beneficiaries for each round of modern botanical images. 25% of all proceeds will be donated directly to the selected organization. Through engagement with art, Alex seeks to strengthen her core mission of philanthropic awareness and giving. The inaugural beneficiary for Alexandra Rose Day: Flowers for Change was Moms Demand Action. After the Sandy Hook tragedy, Shannon Watts, mother of five, started a Facebook group with the message that all Americans can and should do more to reduce gun violence. The online conversation turned into a movement of moms, dads, students, families, concerned citizens, and survivors working in concert with partners in the gun violence prevention movement to end this uniquely American crisis.

MDA is a grassroots movement fighting for public safety measures that can protect people from gun violence. “We pass stronger gun laws and work to close the loopholes that jeopardize the safety of our families. We also work in our own communities and with business leaders to encourage a culture of responsible gun ownership. We know that gun violence is preventable, and we’re committed to doing what it takes to keep families safe.”

Moms Demand Action has established a volunteer chapter in every state of the country. It is part of Everytown for Gun Safety, the largest gun violence prevention organization in the country with nearly 10 million supporters. Considering Alexandra Rose Day’s launch date on Mother’s Day 2023, as well as the tragic spate of mass shootings, Moms Demand Action seemed like the perfect choice for our initial round of print sales. ARD is pleased to announce that the first round of floral sales raised thousands of dollars for Moms Demand Action, a success they hope to replicate moving forward.

Blue Hydrangea by Alex Rudin

For the 2023 Holiday Season, Alexandra Rose Day has decided to support and fundraise for Covenant House NYC, a vital organization in the fight to stop human trafficking and youth homelessness. Youth homelessness is a complex issue. Each year, an estimated 4.2 million young people in the United States experience a form of homelessness. Many different factors contribute to the misfortune faced by our most vulnerable at-risk populations. Covenant House combats this crisis by providing shelter and support services to youth facing homelessness including, but not limited to, housing and stability, mental healthcare, crisis care and education and workforce development.

America is one of the wealthiest countries in the world. Quite simply, there should not be millions of children in this country without access to basic human rights and needs such as shelter, food, education, and healthcare. The demographics at risk are the same minorities constantly under attack in the American social and political system— LGBTQ+ youth, pregnant and parenting youth, and young people of color. While these children’s rights and futures are being debated and manipulated by the establishment, we as individuals can make a difference. This holiday season, it’s important to open our hearts, minds and wallets to at-risk youth who need our support.

Alexandra Rose Day: Flowers For Change’s ultimate goal is to spread care, attention, empathy, and support to those in need.  While there are innumerable causes and organizations that need engagement and backing, Alex hopes to be able to create a significant impact for smaller, budding organizations by using art as a mode of philanthropy. Throughout history, flowers have been a symbol of care, appreciation, love, vitality, and compassion. In purchasing an ARD print, one receives florals for a lifetime, while simultaneously contributing to making our society a better place. Quite simply, Alex Rudin has created a gift that keeps on giving.

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Author’s Bio

Alex Rudin is a NYC based multimedia artist & illustrator focused on social justice, abstract political theory and fundraising. Alex attended both Parsons New School for Design and the School of Visual arts. Her artwork is narratively focused with a strong emphasis on expressive portraiture. Alex’s focus lies in uncovering and expressing the truths of what it is like to live in modern America. Alex has partnered with organizations such as Women For Biden Harris 2020, WomenRising, Women’s Rights Information Center, P.O.W.E.Repro, ARC-Southeast, Her Bold Move and Planned Parenthood among numerous other female led socio-political orgs in addition to working in the human rights space with organizations such as Article 3, The Representation Project and the Sam & Devorah Foundation for Trans youth. Rudin’s work has been featured in publications such as Art Daily, Art Business News, Authority Magazine, yahoo!, and USA Today, to name a few. Alex’s fine artwork has been shown in both solo and group exhibitions in New York City, Jersey City, Delaware, Philadelphia, and the Hamptons. Currently, Alex sits as the art director for P.O.W.E.Repro and is planning art fundraising events for numerous non-profits. Additionally, Alex is currently building her sister business Alexandra Rose Day: Flowers for Change as well as working towards her Masters in Art, Activism and Philanthropy NYU.

See more at Alexandra Rose Day: Flowers for Change www.alexandraroseday.com

Mixed media artist Chrissa Star presents a delightful portfolio filled with spontaneity and magic. Enjoy and learn more by visiting her website.

I grew up in a suburb of Wisconsin and graduated with a BFA, with emphasis on Painting and Drawing, from the University of Wisconsin-Milwaukee in 1992. After moving to Arizona for a couple of years, I settled in Seattle, Washington in 1998.

“Bubble Cloud Rain” alcohol ink and graphite, 8″ x 8″

I was an only child until I was 14 and my brother was born, with whom I’m very close. I’m married and a mom to two fur babies, our dog and cat, Monkey and Monster. I dig swimming, gardening, and wine tasting. When I’m not working in my studio, I have a side hustle working Events for the City of Seattle Park and Recreation.

“Paddlecade” alcohol ink on Yupo paper, 8″ x 8″

Many of the inspirations I found while I was in college are still with me today. Learning about Egon Schiele, Gustav Klimpt, Julia Margaret Cameron, Milton Avery, and Mark Rothko deeply influenced the direction of my artwork. I loved the teachings of technical aspects my work needed to have.

“Flutter Love” alcohol ink and mixed media on Yupo paper, 9″ x 12″

That doesn’t mean I liked college, though. I was more into going out clubbing and dancing and being creative with what I was wearing. The hardware store had cheap unexpected items that ended up in my paintings and on my clothes.

“Bubble Everything” alcohol ink on panel, 8″ x 8″

Music was also profoundly inspiring and at that time, it was making history. I would regularly walk around the city for hours while listening to alternative music, hip hop, rap, industrial, house, electronica, R&B, and classical. Music, and everything that went along with it, fueled my work hugely. It affirmed the thoughts and beliefs I had that were different from the norm. Poetry and writing helped me tie stray ends of my creative thinking together.

“When I’m Walking I Feel Protected” alcohol Ink on panel, 8″ x 8″

Techniques change around quite a bit for me. I love trying to think of things I haven’t ever seen before. When I’m in the studio, I really allow myself to follow spontaneity and appreciate the joy of trying something new, creatively.

“Wallflower” encaustic and mixed media on panel, 4″ x 4″

One of the reasons I enjoy working with new material is that it gives me the freedom to explore new techniques and methods while expanding my creative process in ways that I can relate to other mediums as well.

“Finding You on Jagged Rocks and Float” alcohol ink and mixed media on Yupo paper, 20″ x 26″

Once I latch onto a few pieces showing repetition, I build a series. Currently, I am working on Flutters, which is alcohol ink and oil on liquid art panels, with the additions of collage mixed media, like glitter, sequins, lace, feathers, moth and butterfly wings, snowflakes, and flowers.

“Rooted” alcohol ink on panel, 10″ x 10″

Moving forward, I’m excited to see what materials and mediums I work with next. I continue to be thankful for my studio, my colleagues, and this amazing journey that is art.

Chrissa Star invites you to follow on Instagram, Facebook and LinkedIn.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

“I don't walk away from anything. I'm gonna have to do this now.”

“I just jumped in the water and thought, what's the worst that can happen? The worst that can happen is no one likes it, and I'm talking to myself on video. But at least it's keeping me amused.”

“You gotta have a passion to impart and to engage with people.”

“They're paying for the content. They're not paying for the quality of your video.”

“I think about going back to the reasons why people liked it. I think there's an authenticity. I am who I am.”

“I learned very quickly that key to a good course is you don't get the questions. It's all in the course. They don't need to ask me questions.”

“My mantra through all my teaching career has been everyone can paddle, but some of them will swim. Everyone can achieve something.”

“I'm not a great believer in things like talent, because if you say it's about talent, then actually you are saying there's a whole percentage of the population who have no access to that because they don't feel they have the talent.”

The Artist Book Foundation (TABF) proudly presents its latest exhibition, ROBERT KIPNISS: Shades of Nature, in coordination with the tenth anniversary of its publication, Robert Kipniss: Paintings and Poetry, 1950–1964. This compelling retrospective offers art enthusiasts a rare opportunity to explore the life and artistic evolution of acclaimed painter, printmaker, and recognized poet Robert Kipniss, and features a selection of his works from different periods of his illustrious career.

Robert Kipniss is a renowned figure in the art world, recognized for his exceptional contributions as a painter, printmaker, and poet. Since his first exhibition in New York in 1951, Kipniss has had over 200 solo shows. His printmaking began with lithographs, but since 1990, he has worked almost exclusively in intaglio, with the majority of his prints being mezzotints. The forms in his work are reduced to essentials and his subject matter may be trees close up or at a distance, landscapes, bridges, or interiors. His use of exceptionally subtle black-and-white tones creates atmospheric effects of solitude and introspection. Throughout his career, Kipniss has left an indelible mark on the art community with his distinctive style and profound vision, making him a notable influence in the realm of visual expression.

Kipniss’s works are represented in the permanent collections of The Metropolitan Museum of Art; the Whitney Museum of American Art; the Los Angeles County Museum of Art; the New Orleans Museum of Art; the British Museum; the Bibliothèque Nationale, Paris; and the Pinakothek Moderne, Munich, among others. He was elected to the National Academy of Design in 1980 and to the Royal Society of Painters–Printmakers, London, in 1998. He lives in New York and Connecticut.

Photo courtesy of The Artist Book Foundation (Robert Kipniss: Shades of Nature exhibition at The Artist Book Foundation gallery)

ROBERT KIPNISS: Shades of Nature delves into two significant periods of Kipniss’s artistic career. The exhibition opens with a visual exploration of the young poet and painter discovering his artistic voice during the 1950s and 1960s. On the gallery wall opposite the paintings, three poems featured in the Robert Kipniss: Paintings and Poetry, 1950–1964 book are exhibited for visitors to read and ponder. This display mirrors the interplay and the contrasts between his paintings and poetry, inviting viewers to immerse themselves in the artist’s differing visual and literary expressions, thereby enriching the journey through his artistic realm. The early drawings and paintings offer a profound insight into this critical phase of Kipniss’s career when he made the pivotal decision to devote himself entirely to painting.

He recalls that “while I found the act of writing poetry painful—no doubt because I was writing about the anger and darkness within me—I found only pleasure and excitement in painting. In the very act of putting paint on canvas I found an exuberant and unrestrained exploration of form, color, texture, and emotion—all of it intense and thrilling. . . . It stunned me to see that when I stopped writing poetry, my paintings turned dark and surreal, filled with foreboding and anger—eerie, aggressive, and imbued with the emotions of the poetry I was no longer writing.”

Photo courtesy of The Artist Book Foundation (Robert Kipniss, Sheds and Fence, 1969, lithograph, 12 x 18 inches, on view at The Artist Book Foundation gallery)

The exhibition also presents Kipniss’s foray into the medium of printmaking, which he reluctantly began in 1967 but for which he ultimately developed a deep affinity. Visitors to TABF’s gallery will have the opportunity to appreciate early print works, highlighting the artist’s enduring passion for printmaking that has resulted in over 750 editions in drypoint, etching, lithography, and mezzotint.

In addition to early works, ROBERT KIPNISS: Shades of Nature unveils later works of the 1990s and 2000s that explore the refined and ephemeral landscapes of Kipniss’s mature style. While the artist quit painting in 2018 due to the physical challenges of standing for long stretches at the easel, he continues to draw and make prints. As ever, the majesty of trees and the transformative power of the natural world remains central to his practice.

Photo courtesy of The Artist Book Foundation (Front cover of the Robert Kipniss: Paintings and Poetry, 1950–1964 book published by The Artist Book Foundation)

Kipniss’s engrossing book, Robert Kipniss: Paintings and Poetry, 1950–1964, is the result of many arduous months of revisiting his writing from more than half a century ago, poems that he stashed away and essentially forgot. “Writing was a struggle: a few lines, maybe six or seven, and then rewriting followed by more rewriting before going on. . . . Some of the poems are straightforward, some are infused with surreal irony, and some are angry,” says the artist in his candid and honest preface to the book. Thoughtful and articulate from conception to completion, his never-before-published poems are choreographed with his early paintings in the exhibition’s contemplation of the influential and foundational years from 1950 to 1964. “When I stopped writing [in 1961] my vision was no longer divided between word-thinking and picture-thinking: these approaches had merged and in expressing myself I was more whole,” reflects Kipniss in his reflective musings.

Readers of this gorgeous volume are all the richer for catching a glimpse of an intensely personal segment of this accomplished artist’s private history. In an unambiguous assessment, Kipniss elaborates: “The most significant insight that arose in this undertaking . . . came when I began to collate reproductions of my paintings of the 1950s. I could clearly see that my work in the two mediums was from very different parts of my psyche, and that while they were both in themselves completely engaged, they were not in any way together.”

This written and visual account of previously unpublished poems and early paintings, which received critical acclaim, are accompanied by two astute and illustrative essays by Marshall N. Price and Robin Magowan, that will further inform readers familiar with this highly respected American artist as well as those just discovering the beauty and mystery of his work. Price was curator of modern and contemporary art at the National Academy Museum in New York, New York and is now the curator of Modern and Contemporary Art at the Nasher Museum of Art at Duke University. Magowan is an award-winning poet based in Santa Fe, New Mexico. He is the author of 10 books of poetry as well as two collections of travel writing and two books on bicycle racing.

ROBERT KIPNISS: Shades of Nature is a must-see exhibition for anyone passionate about the enduring allure of visual expression and the timeless legacy of a remarkable artist. Admission to TABF’s gallery is always free and all are welcome.

______________________________

Author Bio: 

​​The Artist Book Foundation (TABF) is a nonprofit art book publisher that celebrates artists’ lives and work through publications, related exhibitions, and public programs. TABF works collaboratively with artists, museum curators, art historians, and collectors to develop catalogues raisonnés, monographs, surveys, and exhibition catalogues. It is dedicated to preserving, promoting, and celebrating the artistic legacy of acclaimed as well as underrepresented artists. With a focus on producing artist-centered publications that delve into the lives and works of these remarkable individuals, TABF plays a vital role in fostering appreciation for the arts and their lasting impact on culture and society. Additionally, TABF’s book donations program provides access to the arts to the widest audience possible by delivering thousands of copies of their publications to underserved public libraries, schools, and prisons across the country.

The importance of artist books is not in question, but their existence could be if they are not published by a nonprofit whose mission is to ensure their future and to capture the legacy that is found on the page—print and digital—for generations to come. If you consider that museums are run as nonprofits for the common good, rather than to satisfy shareholders, then you can appreciate what inspired the creation of The Artist Book Foundation. Connecting artist books with markets worldwide is essential and easier than ever as the foundation has contacts internationally to ensure that promotion, sales, distribution, and specialized content reach all corners of the globe. 

It is critical to be where the art world is getting the greatest attention and setting the highest standards. Located on the campus of the Massachusetts Museum of Contemporary Art (MASS MoCA), TABF’s scholarly publications help to inspire and develop a growing interest in the arts. Art historians, museum curators, and other experts in their fields author and contribute to all of the foundation’s richly illustrated books, with the ultimate goal of clearly communicating the artist’s practice. The foundation partners with artists, galleries, museums, and others to create publications of exceptional quality and design. The books are supported financially through these partnerships to produce the most comprehensive presentation of an artist’s history and work.

Painter Julie Feldman presents a collection of expressive portraits that capture the mystery and soul of women. See more of her portfolio on her website.

As a contemporary American oil painter, my abstract figurative portraits focus primarily on the female face. They explore the complexities and contradictions, the vulnerabilities and strengths, and of course, the innate beauty found there.

“Anna” Damaged Photo Series, oil, tea, plaster, 20″ x 16″

My journey to  becoming an artist began in Baltimore when I was five years old. One Saturday morning, my mother took me to the Baltimore Museum of Art for my first art class.

“Prima Donna” oil, acrylic, 48″ x 30″

I still remember the  painting in one of the galleries that we walked past on our way to the art studio. It was Picasso’s Mother and Child. It made quite an impression on me. So much so that as I was conducting  research for my Muse series, and encountered the Picasso again, the remembrance of that Saturday morning made me realize that exquisite memories of the past are what inform my work.

“Between Desire and Devotion” oil, 48″ x 36″

I returned to full-time painting in 2015, after living in Los Angeles for many years where I had a decorative arts business. My first paintings were in acrylic. Most of my work is now done in oil. It allows me the freedom of texture, stroke, light and intensity to create portraits that I hope speak to you from the canvas.

“Second Sight l” oil, 48″ x 36″

My work has been described as evocative, accessible, mysterious, and sometimes haunting. What I know is that as I paint, I often feel as if I am visiting with the soul, the life of this face I am creating. I somehow hear their story and translate what I have heard into a visible form.

“Second Sight ll” oil, 48″ x 36″

Inspiration for my latest series comes from the quote, “In order to turn a life into a memoir, we must cultivate the art of looking back…” This latest collection, entitled Looking Back explores the art of revisiting memories and the emotions they evoke. Often I become caught up in the faces I am creating, pondering their past, in trying to see what they see when they “look back.”

“The Engagement 1938″ (damaged photo series), oil, 48″ x 36”

My paintings are based on personal memories, family photographs, and found imagery. I am influenced by reality versus memory, vulnerability versus strength, and beauty for the sake of beauty.

“View from a Paris Balcony” oil, chalk, 48″ x 36

My paintings all narrate a story of fragile presences and the essence of human emotions. I hope they give the viewer a deeply moving experience.

Julie Feldman invites you to follow on Instagram and Facebook.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

Welcome to season five, episode 25 of The Abundant Artist, the show that dispels the myth of “the starving artist” and shares how you can live an abundant life as an artist and make a living from your talent, one interview at a time.

Our guest today is Marisa S White, an award-winning artist-photographer based in Colorado. A drawing and painting major, Marisa fell in love with photography in college and eventually began to incorporate it into her work, creating mixed media collages. In 2012, she was introduced to Photoshop, and her artistic world changed forever.

“I’ve got a decent personality for sales and that has served me well.” — Marisa White

In this episode, Marisa shares her journey as an artist, why she went from art school to setting up her own payroll business to back in school learning photography, how her “decent personality for sales” has served her well, how she handles her gallery relations, and many more tidbits about her art life.

Join us for today’s podcast to learn more about Marisa’s “trials-and-errors” in life which, she believes, have got her to the point where she is now.

In this episode:

[1:20] Cory kicks off the conversation with Marisa asking how she came up with the idea for her series titled Certain These Clouds Go Somewhere.
[4:48] Cory reminisces about his growing up years in Utah, and how he resonates with Marisa’s creative feelings emanating from being surrounded by giant mountains and being in and among the clouds.
[7:19] How does Marisa describe herself – a photographer, an artist, or a collage artist?
[8:12] Marisa shares her art journey with the TAA audience, from art school to where she is today.
[11:20] How going to the Rocky Mountain School of Photography and being exposed to Photoshop there changed the course of Marisa’s art career.
[14:35] Cory asks Marisa why she decided to sell her payroll business and go back to school to learn photography.
[17:22] What does Marisa mean when she says she has “a decent personality for sales?”
[19:40] Cory compares the sales cycle in the mid-upper tier of the art market with that of enterprise software solutions.
[22:23] How Marisa loves to share the stories behind her artworks with visitors in art fairs.
[24:20] Marisa talks about her creative process.
[28:48] Why Marisa thinks that making behind-the-scenes videos of their creative process can be a bit frustrating for artists since they do a lot of things “in the moment,” but why she still recommends doing so.
[30:43] How do buyers find Marisa?
[31:40] Apart from galleries and art fairs, sales through social media have started picking up lately for Marisa.
[32:10] How does Marisa choose the art fairs she goes to?
[34:14] Why it is important as an artist to keep track of where your sales are coming from.
[36:13] Cory asks Marisa whether she has formal contracts with the galleries she is working with.
[39:46] Marisa explains how she handles her relationships with multiple galleries.
[43:10] Why is Marisa using both Photobiz and ArtStoreFronts for her website?
[45:22] Marisa is going to get her own retail space soon.
[47:31] Cory thanks Marisa for joining the podcast!

Resources mentioned:

Marisa S White’s website
Marisa’s series Certain These Clouds Go Somewhere
Marisa’s Instagram
Marisa’s Facebook
Kelli Erdmann’s Instagram (kelladactyl)

About the guest:

Marisa S White is an award-winning artist best known for seamlessly stitching multiple photographs together, weaving personal narratives through surreal and fantastical imagery. She uses surrealism to hyperbolize emotions and experiences that aren’t always so easy to put into words. Marisa has received numerous accolades for her art, is collected internationally, and has exhibited across the US and in Europe; most notably at the Crocker Art Museum in Sacramento, California. She currently resides in Colorado with her husband, whom she fondly refers to as Captain Awesome, and their two rescue fur babies.

“The pandemic wiped my calendar clean in a matter of a week … so I used the time as a little sabbatical.”

“I [used to love] color for color's sake … Now I'm seeing color more as a harmonic journey….”

“I'll check [my blog stats] periodically, but I really don't wanna use it as any sort of religion or anything to steer business decisions too heavily with.”

“My problem is that there are so many shiny things that it's really, it can be difficult for me to narrow down and choose something.”

“You have to show up regularly for your supporter base.”

“My biggest secret [for using Patreon] was trying not to create extra work for myself. The fewer barriers between my creative process and the delivery of that content to … my supporters, the easier it is for me.”

Before ChatGPT and other artificial intelligence (AI) large language models exploded on the scene last fall, there were AI art generators, based on many of the same technologies. Simplifying, in the context of art generation, these technologies involve a company first setting up a software-based network loosely modeled on the brain with millions of artificial “neurons.” Then, the company collects millions of data digital images, oftentimes scraped from the web. Finally, it runs the images through the neural network. The network performs billions (or even trillions) of mathematical operations on the data samples, measuring various features of the images and relationships between them, and then updating the values of the artificial neurons based on those calculations. This final step is called “model training” and it enables AI art generators to create entirely new images, typically in response to a user typing in a text prompt, as explained further below. Online digital images used as training data are an indispensable part of this process.

OpenAI, the company behind ChatGPT, released the DALL-E text-to-image art generator in January 2021 and its successor, DALL-E 2, the following April. Two other text-to-image AI systems, Midjourney and Stable Diffusion, came out in 2022. It is well known that these models were created by training on millions of digital images downloaded from the web. This article has two goals: to provide a reader-friendly introduction to the copyright and right-of-publicity issues raised by such AI model training, and to offer practical tips about what art owners can do, currently, if they want to keep their works away from such training uses.

A GENTLE PRIMER ON GENERATIVE AI ART MODELS

Before diving in, it helps to have a big-picture sense of how generative AI art models are built and how users interact with them. The technical details are fascinating, but too complex to dwell on. Here’s the bare technological minimum to let us get to work:

• From the user’s perspective: You type in some text, e.g., “A vase of flowers with some orchids and other pretty things. Make the vase emerald blue, and the final image photorealistic.” You hit enter. The model runs, using conceptual linkages created during its training between millions of word labels and billions of image features to synthesize a new work, prompted by the criteria you typed in.

Djordje Petrovic for Pexels

• Under the hood: As noted above, AI art generators are virtual neural networks defined by billions of numbers called “weights” or “parameters.” Model developers set those parameters by running millions of images, along with text labels for each image, through training algorithms. These training images aren’t stored as perfect bit-by-bit digital replicas. They are compressed into complex mathematical entities (vectors), each of which is a huge matrix of numbers. The word labels are similarly converted (“embedded”) into vectors and combined with their corresponding image vectors. The training algorithms then run each image-word vector through a series of incremental steps, first gradually adding and then gradually removing random noise from the vector. Through this “diffusion” process, the model adjusts the numerical values of its parameters to capture the conceptual linkages between the word concepts and image features. It may seem like magic, but it is a chain of probabilistic mathematical operations run on an incomprehensively massive scale.

Because of the intentional randomness inherent in this diffusion process, only rarely will an AI model output a copy of an original training image (or something close to it) in response to a text prompt. Even in those rare cases, close reproduction typically occurs only when a user deliberately forces that result through careful prompt selection. So if outright copying is unlikely at the output stage, what are the copyright and right-of-publicity issues at stake? We’ll focus on two of them.

TRAINING ON COPYRIGHTED ARTWORK

The first big issue many in the creative and tech industries are grappling with is the permissibility of reproducing training images as an intermediate step in the training process. Many text-to-image generators are trained on massive datasets, such as LAION-5B, that include many copyrighted images. Copyright protects against unauthorized electronic reproduction. The AI model’s neural-network parameters do not store digital copies of a training image, but interim copies are typically made temporarily during training, usually in the stage of converting images to vectors. At the same time, copyright has a fair use doctrine, permitting certain copying without permission of the owner based on balancing four factors, like whether the copier’s use is transformative and whether the copying would impact the value or potential market for the image. So the question arises: When a model developer copies a digital image for training—but the model never outputs that same original image—should the intermediate-step copying be excused by fair use?

Antori Shkraba for Pexels

IMITATING ARTISTIC STYLE

The other core issue is that text-to-image AI art generators often can reproduce elements of an artist’s style, even when the content of the synthesized image is not at all similar to the original work. Think of Van Gogh’s “Starry Night” and its distinctive stylistic aspects—the swirling, strong brushstrokes; the tones of the yellows and blues; and the soft light emanating seemingly from underneath. Now take that stylistic “skin” and apply it to a wholly different scene, a bowl of fruit, or an airport runway. Van Gogh’s style may be carried over, but a copyright claim is challenging. Because the content of the picture is fundamentally different, the work is not substantially similar. Generally, copyright protection does not extend to abstractions like styles standing alone.

Style transfer in AI art generators has received considerable attention. The best-known example is digital artist Greg Rutkowski, recognized for his dark moody fantasy scenes used in games like Dungeons & Dragons. At one point last fall, users had explicitly prompted Stable Diffusion to create images “in the style of Greg Rutkowski” over 93,000 times. Because the content of the synthesized images was different, a copyright claim would be a stretch. Another possibility is a right-to-publicity claim. Generally, this right guards against an unauthorized commercial use of a person’s name, likeness, persona, or identity. But courts, at least so far, have not clearly decided whether a visual artist’s style can qualify as a kind of “persona” or “identity,” nor have they discussed what level of distinctiveness may be necessary to create such “personas” or “identities,” nor how such distinctiveness is to be measured.

Andrea Piacquadio for Pexels

PRACTICAL TIPS

Eventually, courts will weigh in on these training data and style transfer issues. Earlier this year, Getty Images sued Stability, the company behind the Stable Diffusion model, in Delaware federal court over the use of Getty copyrighted photos in Stable Diffusion’s training. Similarly, a group of visual artists sued both Stability and Midjourney in California federal court over their copyrighted artwork and included right-to-publicity claims. But those cases are still in their early stages. It will take time before we receive clear, actionable guidance from the courts. In the meantime, what can artists concerned about style imitation nor training usage do?

Your current options are mostly technological, not entirely satisfactory, but better than nothing. First is detection. Software tools exist to help you determine whether an AI art model used a training dataset that included your image. The startup Spawning offers the free site Have I Been Trained? where you can upload your file and check to see whether it exists in the LAION-5B dataset used to train Stable Diffusion and other AI art generators. Or, if your artwork is highly distinctive, you can try to “hack” the model by experimenting with different text prompts to induce the model to output something close to your original image.

The next step is communication. If you believe your artwork was improperly used to train an AI model, you can write the developer’s legal department, identifying your images with specificity and asking them to remove those images from the training dataset. There’s no guarantee your request will be honored, but you will have provided notice of your objection. There are also ways to communicate your anti-scraping intent through metadata instructions. If you publish your artwork on your website, make sure the site’s “robot.txt” file includes tags prohibiting web crawlers. OpenAI recently announced that its GPTBot scraper would respect these tags. Similarly, DeviantArt, an online site where artists showcase and sell their digital works, includes a “NoAI” HTML tag by default for uploads to its platform. Also for individual digital images, the Adobe-led Content Authenticity Initiative has issued a technical standard—C2PA “content credentials”—for cryptographically binding a metadata “manifest” to images. The newest version of the standard (1.3) allows users to include an instruction in the manifest prohibiting AI model training on the image. Of course, these metadata systems are not ideal solutions, because they are not legally mandated or widely adopted yet. But they offer a promising path for future protection.

A final step you can take is prevention. Academics are developing and have released tools that would allow artists to electronically modify their digital artwork and photo files to inhibit their downstream reproduction. To specifically address the issue of style mimicry, a team at the University of Chicago developed Glaze, a software program that manipulates individual pixels to alter the style. The change is imperceptible to the human eye, but the AI art model is “tricked” into thinking the image has a different style, cubist instead of photorealistic, for example. Glaze is now publicly available to artists through the University of Chicago website. A similar tool, still in the prototype stage, is PhotoGuard from the Massachusetts Institute of Technology. PhotoGuard alters digital photos, also at the pixel level, so that any AI-synthesized outputs using those photos have degraded appearances—key areas of the output may be grayed out, for instance.

Campus Production for Pexels

PARTING THOUGHTS 

Issues around artistic style transfer and the use of copyrighted works as AI training data will be with us for the foreseeable future. Legitimate, provocative, vital debate between creators, developers, and the public continues in the news, in legislatures, and in the courts. But while we wait for the right balances to be struck, it behooves visual artists to understand both the basics of how AI image generators work and the technological tools available to them to help control unauthorized uses of their works. The times are ever-changing―and we must keep up with the times.

______________________________

Author Bio: 

Aleksander J. Goranin is a partner in the intellectual property practice of Duane Morris LLP. He is a software copyright and patent litigator and counselor, specializing in technology-driven cases, high-stakes problems, and turning the complex into the understandable. Alex is active in the leadership of the Copyright Society and co-chairs its AI Series of educational programming. At Duane Morris, he helps lead the firm’s AI Steering Committee and publishes its biweekly newsletter summarizing legal developments in artificial intelligence, The AI Update.