In the borderlands between art and technology, no single development has sucked up more oxygen this year than the rise of image generators powered by artificial intelligence. Not so long ago, projects like these were a fringe experiment whose results were usually more intriguing for what they got wrong than for what they got right.
But in 2022, A.I.-driven image generators have made a quantum leap in quality, speed, and affordability. It’s not an exaggeration to say that, thanks to these tools, never in the history of civilization has it been easier, faster, or cheaper to produce professional-looking visuals of anything a person could dream up, even if they have no artistic training whatsoever.
This is both extremely cool, and extremely concerning, especially if you happen to be a human who makes a living as a commercial illustrator. This October, a strange saga that played out on the live-streaming platform Twitch showed how the tension between flesh and blood image-makers and A.I. is getting stronger and weirder every day, with serious consequences for age-old debates about plagiarism, ownership, and the value of making art in the first place.
Thankfully, knowledgeable and intrepid Artnet News contributor, Zachary Small, joins Art Business Editor, Tim Schneider to discuss the initial scandal and the murky future of commercial art in the age of A.I. Buckle up, because this is going to get a little surreal...

How A.I. Is Changing the Business of Being an Artist

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What is a connoisseur? Who can be one? What role do they play in shaping tastes of the art market and the large expanse of art history?
There's perhaps no better place to ask these kind of questions than at TEFAF, the many splendored Dutch fair where art, antiquities, and antiques take center stage. Each spring, the event returns to New York City and a swath of visitors—international and local, new and returning, celebrity and, well, not—flock to the storied Park Avenue Armory. Last week amid those festivities, as dealers sold every kind of treasure from ancient Roman sculptures to contemporary Korean paintings, Artnet and TEFAF hosted a panel  featuring three experts discussing the state of connoisseurship today, and how a new generation of collectors is approaching that field.
This week, listen to a recorded version of that lively conversation moderated by Artnet Pro Editor Andrew Russeth, joined by Adam Charlap Hyman, Principal at Charlap Hyman & Herrero; Eleanor Cayre, Art Advisor, Cayre Art Group; and Ebony L. Haynes, Senior Director, David Zwirner & Director, 52 Walker.

What 'Good Taste' Looks Like in 2024

Who are the rising talents in the art world poised for greatness? Discover them in ‘Up Next’, Artnet’s popular series of profiles introducing you to key visionaries on the verge of stardom. This month, we’re airing two special Art Angle episodes spotlighting two figures shaping their fields in innovative ways. Subscribe to The Art Angle wherever you get podcasts to hear both episodes, and visit News.Artnet.com to catch the latest up-and-comers we’re celebrating in ‘Up Next’.
Alexander Shulan has a knack for spotting emerging talents. The founder and curator of Lomex Gallery is a born-and-bred New Yorker who began the venture as a sort of "collaborative project" between himself and a group of artist friends. That lark turned into a full-blown commercial enterprise showing the likes of Robert Bittenbender, Emma McMillan, and Andrea Fourchy, and Maggie Lee. While the gallery's ethos has long been dedicated to showing new-New York artists, when the gallery moved from its original home in the Bowery to the new art mecca of Tribeca, Shulan has begun to expand his purview beyond "hyper-local" confines. In a roving interview with Artnet's Wet Paint columnist Annie Armstrong, Shulan discusses how the gallery is forging a new path in the ever-crowded art world.

The Art Angle Presents: How Dealer Alexander Shulan Is Building New Markets for Underrecognized Artists

There is a lot to unpack—literally and figuratively—in the Metropolitan Museum’s new Costume Institute show, “Sleeping Beauties: Reawakening Fashion” which opens on Friday May 10.
It’s about nature and the cycle of life (and as it turns out, there is a lot about death). It also touches on chemistry, biology, mythology, and so much more, all told through the lens of fashion. Added to this litany of themes, the show also tells the story of The Met itself, and the goings-on behind the scenes. It’s about how archived garments are preserved and how they are disintegrating. It’s not just about clothes, but about how they were worn and who wore them. It tells the story of us.
It's a visceral exhibition of over 400 years of fashion that engages the senses. It can be a heady experience. There are the sounds of waves crashing, and birds calling, and poems being read aloud. There is textured wallpaper you can touch—and courtesy of the German artist Sissel Tollas, wallpaper you can scratch and sniff and tubes you can snort. Frankly, this portion of the exhibit kicks like a mule and is unforgettable, with scent being such a powerfully triggering memory force.
“Sleeping Beauties” was curated by this week’s guest Andrew Bolton, the Curator in Charge of The Costume Institute at The Metropolitan Museum of Art, who previously helmed such blockbusters as "Alexander McQueen: Savage Beauty," "China Through the Looking Glass," and "Heavenly Bodies: Fashion and the Catholic Imagination," which were some of the most visited exhibitions in the museum’s entire history. Today’s fashion-exhibit-heavy museum landscape has a lot to do with Bolton’s successes, but with his trained anthropologist’s eye, he never fails to zero in on the intellectual and human connotations in the garments.

Andrew Bolton, The Reanimator: Life, Death, and Sleeping Beauties at the Met

We're sharing a special preview of Previously Unknown, a podcast from our friends at Independent New York.  Previously Unknown reframes and reevaluates what we think we know about contemporary art. 
In this segment from the latest episode, Artnet News Pro Editor Andrew Russeth moderates a discussion with Independent art fair founder Elizabeth Dee, curatorial advisor Matthew Higgs and artist Joel Mesler. In 2019, Mesler performed an act of radical generosity by painting portraits of visitors at the fair, to benefit the not for profit gallery White Columns. Mesler will return to Independent this year, to restage the memorable presentation with a series of new portraits made on-site, in honor of the 15th anniversary of the art fair. 
Tune in to Previously Unknown on your favorite podcast platform.

Special Preview: Previously Unknown |  A History of Independent

As anyone who has been listening to this show recently will already know, the world's largest and most closely scrutinized art event—the Venice Biennale— is now open in Italy. Every two years, different countries compete for the attention of art lovers and judges with individual national pavilions. For the 2024 Biennale, among the most talked about is that of the United States, which chose Jeffrey Gibson as its representative artist.
Gibson is one of the most visible artists currently working, and with his Cherokee and Choctaw heritage, he is also the first Native American to represent the U.S. in Venice. Representing your country at the Biennale is among the highest honors that any artist might receive, and also among the most fraught. Even from this show's title, which is "The Space in Which to Place Me," you can tell that Gibson is pondering what national representation means.
Gibson has transformed the U.S. pavilion's brick exterior with prismatic murals. Inside you find a spectacle that is clearly the work of vast amounts of team labor. There are 10-foot-high figures with ceramic faces draped in beads, ribbons, and large fringe; sculptures of large birds and human busts meticulously decked out in detailed rainbow bead work. Vibrant paintings that incorporate artifacts by unknown indigenous makers were sourced from estate and garage sales.
Meanwhile, a bright red central chamber contains one of the types of work that has become Jeffrey Gibson's signature, a punching bag that he has transformed via intricate bead work into a hanging sculpture, this one featuring the vaunted phrase, "we hold these truths to be self-evident." Whether that line refers to the truths of the Declaration of Independence that it is citing, or to the truths of the other art that surrounds it, you have to decide for yourself.  Gibson's pavilion climaxes with a nine screen video installation featuring a dancer performing a traditional Ojibwe powwow dance to a techno beat, the images ultimately breaking apart into kaleidoscopic abstraction in its mix of historical references and pop, and above all, in its color and warmth.
"The Space in Which to Place Me" is a fine introduction to the themes that define Jeffrey Gibson's career. In the lead up to the opening, host Ben Davis spoke with him about his long road to the Venice Biennale.

How A.I. Is Changing the Business of Being an Artist

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