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Home image/svg+xml 2021 Timothée Giet Art law image/svg+xml 2021 Timothée Giet Artificial Intelligence versus/& Human Artists: AI as a Creative Collaborator in Art
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Artificial Intelligence versus/& Human Artists: AI as a Creative Collaborator in Art

April 16, 2024

Photo:Floragen 2.0.2 and Regen 1.0.2 by Colleen Hoffenbacker

Photo: Regen 1.0.2 by Colleen Hoffenbacker

By Atreya Mathur

“Recently, I’ve integrated artificial intelligence into my digital process to harmonize the cutting-edge technology with timeless human values, creating a blend that’s uniquely mindful and full of wonder.” ~ Colleen Hoffenbacker, Artist

In the realm of contemporary art, Artificial Intelligence (AI) has emerged as a groundbreaking force, revolutionizing the way the world conceives, creates, and appreciates artistic expression. From mesmerizing visualizations to thought-provoking installations, AI-generated artworks have captivated audiences worldwide, sparking discussions about the boundaries of human creativity and the role of technology in shaping our cultural landscape.

Under traditional copyright law, creative works are granted protection based on the principle of originality, which requires human authorship and a modicum of creativity.[1] This protection extends to various forms of expression, including literary works, visual art, music, and film.[2] However, AI-generated art blurs the lines of authorship, as it is often the result of collaborative efforts between human artists and machine algorithms. In collaborative works involving AI, questions arise regarding the respective contributions of humans and machines, complicating the determination of ownership and rights.[3] While human artists may provide the initial concepts, guidance, and input, AI algorithms play a significant role in generating and shaping the final artwork. As a result, the traditional framework of copyright law may struggle to accommodate these hybrid creations, leaving legal scholars, artists, and policymakers grappling with unresolved issues of attribution and control.

In March 2024 at an exhibit in New York, Human-Assisted Art: Gallery Party, artwork from a wide range of artists and technologists, including interactive installations that explore the use of AI to expand human creativity were showcased. This included a “Poetry Camera” by Ryan Mather and Kēlín Carolyn Zhang and an “AI Photobooth” by Nikhil Thorat and Caroline McGuire, which serve as interesting examples of the scope of AI-collaborative art. The Poetry Camera is an inventive twist on traditional photography, generating poems instead of pictures with the help of AI. Utilizing a blend of Polaroid nostalgia and modern technology, the device allows users to select the type of poem it produces with a simple knob. Powered by GPT-4, Raspberry Pi, and a thermal printer, it captures an image and then prints a poem based on the scene. For example, when used during a rainy day in March at the New York art gallery, it captured the backdrop of artwork and two friends in blue and black skirts, smiling and laughing. The resulting print produced a corresponding poetic verse, which offered a novel way to capture and commemorate the moment with the use of AI technology.

Using the Poetry Camera at the Human-Assisted Art: Gallery Party, New York

Using the Poetry Camera at the Human-Assisted Art: Gallery Party, New York

But who would own the copyright to these poems generated by the Poetry Camera? Determining copyright ownership of such works could be complex and may depend on various factors, including the involvement of human creativity in the process. Since the poems are created by the Poetry Camera, it could be argued that the copyright belongs to whoever owns or controls the device. If a company or individual created and owns the Poetry Camera, they might hold the copyright to the poems it produces. Additionally, if the camera incorporates pre-existing poems or texts as part of its algorithm or database, the copyright to those texts may belong to their respective authors or copyright holders and may likely be being used without their consent to create these poems. Further, if users of the camera provide input or influence the content of the poems produced (e.g., by selecting themes or styles), they might potentially have some claim to copyright, depending on the extent of their creative input as well.

The AI Photobooth is also a fascinating blend of traditional photography and artificial intelligence. Similar to a conventional photobooth, users strike poses for a series of three photos. However, what sets this booth apart is its AI capabilities, which allow it to recreate the images using various prompts.

While using the photobooth, one particularly intriguing prompt included a reference to the renowned artist Greg Rutkowski, a digital artist known for his vivid, surreal style. Rutkowski’s name has become a staple among enthusiasts of AI-generated art, though he has expressed his disdain for AI-generated images both vocally and through his art. Despite his objections, prompts featuring his name continue to be widely used by AI generators including the photobooth, showcasing the issues that arise with AI tech including copyright infringement and ethical considerations while creating artwork based on another person’s work without their consent.

As the world delves deeper into the intersection of AI and art, it becomes clear that navigating copyright in the age of machine creativity requires nuanced considerations and innovative solutions. This article will explore the evolving landscape of AI-generated art, examining the challenges and opportunities it presents for creators and the broader artistic community, focusing on the collaborative role AI has the potential to play. The article also includes an interview with artist Colleen Hoffenbacker on her artwork, the artistic process in collaborating with AI to create art and registering her work with the US Copyright Office (USCO).

Decisions from the Copyright Office regarding Authorship of AI-generated Work

In a pivotal decision by the USCO, the registration process for “Zarya of the Dawn,” a graphic novel incorporating AI in its image creation, sheds light on the intricate intersection of AI-assisted art and copyright law.[4] Authored by artist Kris Kashtanova, the graphic novel utilized the Midjourney AI platform to generate illustrations, sparking debates about the boundaries of creativity and copyright protection.[5] While Kashtanova initially obtained a copyright registration for the entire novel, a subsequent review led to a reevaluation, ultimately resulting in a limited registration that excluded protection for individual AI-generated images. The Copyright Office clarified that there are ways for artists to incorporate AI-generated content into copyrightable works by introducing sufficient creativity. The Office acknowledged the copyrightability of Kashtanova’s original text and the “selection and arrangement of the text and images” together, but not the AI images independently. Additionally, it stated that “works containing otherwise unprotectable material that has been edited, modified, or revised by a human author can be registered, but in this case, there was insufficient evidence of such changes.”[6] The USCO’s stance, rooted in the principle of human authorship, highlighted the perceived lack of substantial creative control exerted by Kashtanova over Midjourney’s output, underscoring the challenges of attributing authorship in collaborative AI artworks.[7]

Following the partial cancellation of the registration for “Zarya of the Dawn,” Kashtanova pursued a new application for “Rose Enigma,” another artwork created with AI tool Stable Diffusion.[8] Kashtanova’s deliberate efforts to guide the AI through specific prompts and creative decisions aimed to establish the artist’s substantial creative input and eligibility for copyright protection. This artwork, which is currently pending copyright registration exemplifies the ongoing struggle to reconcile AI-generated art with traditional copyright frameworks, as artists navigate the complexities of authorship and creative control in collaborative AI artworks.[9]

Photo: Théâtre d’Opéra Spatial created by Jason Allen
Théâtre d’Opéra Spatial created by Jason Allen

In a separate instance, the USCO’s ruling on “Théâtre d’Opéra Spatial,” an AI-generated artwork by artist Jason Allen, further underscored the challenges of attributing human authorship to AI-generated works.[10] Despite Allen’s involvement in providing prompts and shaping the final image, the USCO deemed the artwork ineligible for copyright protection, citing its non-human authorship. Allen clarified that he made numerous revisions and provided text prompts around 624 times to create the initial version of the image. Following Midjourney’s creation of the initial version, Allen then used Adobe Photoshop to eliminate imperfections and introduce new visual elements.[11] Additionally, he utilized Gigapixel AI to enhance the image’s resolution and size. Despite the examiner’s request to exclude Midjourney’s contributions from the copyright claim, Allen chose not to do so. Consequently, the USCO declined to register the claim because the submitted work contained contributions from both Allen and Midjourney that were deemed inseparable. Allen subsequently appealed the denial and requested reconsideration from the USCO.

These decisions highlight the evolving legal landscape surrounding AI-generated art and raise critical questions about the scope and applicability of copyright law in the digital age. As artists continue to push the boundaries of creativity with AI, the need for clarity and adaptability in copyright frameworks becomes increasingly evident. Balancing the interests of human creators, AI developers, and the public requires thoughtful consideration of the unique challenges posed by AI-generated artworks.

The Challenges that Arise

The collaboration between human artists and AI presents a unique set of challenges for determining copyright protection, as it blurs the lines between human and machine creativity. One fundamental question that arises is the extent of human involvement required for a work to receive copyright protection. Since protection is only granted to works with a human author, determining the human-authored elements of AI-generated works poses significant difficulties, as AI algorithms can autonomously generate content based on predefined instructions and datasets.[12] The distinction between human and AI-generated contributions becomes blurred, especially when the artist’s input involves selecting prompts, tweaking parameters, or guiding the overall creative process.[13] This ambiguity makes it challenging to ascertain the level of creative control exerted by the human artist and the extent to which the final artwork reflects their original expression.

Moreover, even if a human artist modifies or enhances an AI-generated image, it may still be challenging to delineate the human-authored elements for copyright protection.[14] The threshold for human intervention required to qualify for copyright protection remains unclear, raising questions about the sufficiency of minor modifications or alterations to AI-generated content.[15] The USCO’s requirement for human authorship further complicates matters, as artists must demonstrate their substantial creative contribution to the final work to qualify for copyright protection and not something merely created by a “mechanical process” or simply inputting text prompts to generate art.[16]

Furthermore, the question arises of whether a human work inspired by AI-generated content could potentially infringe upon the original source material.[17] AI algorithms can be trained on vast datasets, including copyrighted works, raising concerns about the potential for unintentional infringement when creating derivative works. If a human artist’s work is based on AI-generated content trained on copyrighted material, it may inadvertently incorporate elements protected by copyright, leading to legal disputes and challenges to the work’s originality.

Addressing these challenges requires a nuanced understanding of the interplay between human creativity, AI technology, and copyright law. Clear guidelines and standards for determining the human-authored elements of collaborative AI art are essential to provide clarity and certainty for artists and creators. Additionally, robust mechanisms for identifying and addressing potential copyright infringement in AI-generated content are necessary to safeguard the rights of original creators and promote a fair and equitable creative ecosystem.

Art of Collaboration: The Skill of Working with AI in Art

It also may be important to note that while AI offers unprecedented possibilities for creativity, harnessing its potential may also require a unique set of skills and expertise from human artists. To create meaningful and impactful works with AI, artists must also navigate a complex interplay of technical proficiency, creative vision, and ethical considerations. A reddit user shared that they spent 30 hours on Midjourney learning how to use AI to create art and develop their skills.[18] While some may not agree and argue that anyone can create AI art, it’s interesting to think of the skills that may be required to create more detailed or perhaps even meaningful artwork with AI.

Photo: Reddit, available at https://www.reddit.com/r/lies/comments/1765pgl/ai_art_requires_a_lot_of_skill_on_my_part/
Photo: Reddit, available at https://www.reddit.com/r/lies/comments/1765pgl/ai_art_requires_a_lot_of_skill_on_my_part/

At the heart of collaborating with AI lies the skill of effectively utilizing text prompts and other input mechanisms to guide the AI’s creative process. Unlike traditional artistic mediums where artists directly manipulate physical materials, working with AI involves crafting nuanced instructions and prompts to influence the output generated by the algorithm. This requires a deep understanding of the capabilities and limitations of AI tools, as well as a keen intuition for shaping the creative direction of the artwork. Furthermore, mastering the art of collaboration with AI entails proficiency in using AI platforms and tools to their fullest potential. From selecting the right algorithms and models to fine-tuning parameters and settings, artists must possess some technical acumen to navigate the intricacies of AI technology. Additionally, skills in editing and refining AI-generated content are essential for sculpting the final artwork into a cohesive and compelling piece of art.

Some may once again argue otherwise, since works can be generated even with a simple text prompt: “Midjourney allows anyone to generate unique, creative pieces with just a command. The only element that the AI art generator requires from a human being is a prompt: The user types in whatever they want, and the AI gives them four new images within 60 seconds.As long as you can access Discord, you’re good to go. Midjourney is in beta mode for public use.”[19] However, creating different types of artworks may demand a high degree of creativity and artistic sensibility from human artists, especially if the AI art will be built upon by human artists in the process through hand-drawn images, like in the case of Rose Enigma or more detailed text prompts.

While AI algorithms can generate content autonomously, it is the human artist’s unique vision, aesthetic sensibility, and emotional depth that perhaps imbue the artwork with more meaning and resonance, which might be a factor to consider when thinking of copyright registration. Whether it’s crafting evocative text prompts, guiding the AI’s interpretation of visual concepts, or infusing personal narrative and symbolism into the artwork, human creativity remains indispensable in the collaborative process. Maybe anyone can generate an AI created artwork, but making it into something creative with AI could be a whole other story.

As an example to consider, comparing the use of AI to traditional creative tools like Photoshop highlights the distinct skill set required for each. While both platforms enable artists to manipulate and transform visual content, AI introduces a new dimension of complexity and nuance. Unlike Photoshop, which relies on manual input and manipulation, AI algorithms operate autonomously, requiring artists to adapt their creative process to interact with machine intelligence.[20] This shift necessitates a learning curve and ongoing skill development to effectively use AI in artistic expression. Moreover, now Photshop softwares like Adobe also have AI software built in to assist with Photoshop as well, which shows the wide usage of AI for different purposes to edit and generate images. In essence, mastering the art of collaboration with AI could require a multifaceted skill set encompassing some level of technical proficiency and creative vision.

Ownership of Collaborative Works

When it comes to protecting their works in the context of AI collaboration, artists must carefully consider issues of ownership, authorship, and intellectual property rights.[21] Firstly, it’s important to distinguish between authorship and ownership in copyright law. Authorship refers to the individual or entity that creates the work, while ownership refers to the legal rights and interests associated with that work.[22] Generally authors of the work are also the owners of the work unless they sign away the rights to another entity. In the case of collaborative works involving AI, the question of ownership becomes particularly complex. AI platforms often assert ownership over the outputs generated by their algorithms, but the rights to these outputs may be transferred to the user who inputs the text prompts or provides other input. Analyzing the terms of various AI platforms sheds light on the implications for ownership and intellectual property rights:

OpenAI: OpenAI’s terms state that users retain ownership rights in their input and own the output generated by the AI. This grants users a degree of control over the content they create using the platform.[23]

Midjourney: Midjourney’s terms stipulate that users own all assets created with the services, subject to certain exceptions. However, users grant Midjourney a broad license to reproduce, prepare derivative works of, and distribute the text and image prompts they input into the services, as well as any assets produced through the service. This raises concerns about the extent of control users have over their creations and the rights they retain.[24]

Stable Diffusion: Users retain all rights, title, and interest, including any intellectual property rights, of the generated images. This agreement explicitly states that users do not grant ownership rights to the services, indicating a more favorable approach to user ownership.[25]

These terms have significant implications for the ownership and protection of works created through AI collaboration. While some platforms may grant users ownership rights over their creations, others retain broad licensing rights that could impact users’ control and autonomy over their works. Issues may arise if users are not fully aware of the rights they are granting to AI platforms or if the terms are unclear or overly restrictive. Furthermore, determining ownership and authorship in collaborative AI works can be challenging, especially when multiple parties contribute to the creation process. Artists must carefully review the terms of AI platforms and consider the implications for their rights and interests before engaging in collaborative projects.

Protection of AI-collaborated works

Given the complexities surrounding the ownership and protection of collaborative works with AI, artists must adopt proactive strategies to safeguard their creations. Here are some steps artists can take to protect their collaborative works:

Use Watermarks and Digital Signatures: Artists can add watermarks or digital signatures to their works to establish ownership and authenticity. Watermarks can deter unauthorized use or reproduction of the work, while digital signatures provide a cryptographic seal of authenticity that verifies the creator’s identity.[26]

Document the Creation Process: Keeping detailed records of the creation process, including text prompts, input parameters, and revisions, can serve as evidence of the artist’s creative contribution and ownership of the work. Documentation can help establish a clear chain of ownership and provide valuable insights into how and when the work was created. Perhaps as more registrations are looked over and decided by the copyright office or more lawsuits are heard and decided, documentation would be helpful in attaining any legal protection at a later stage.

Blockchain Registration: While blockchain registration does not replace copyright registration, it can provide additional evidence of ownership and authenticity. By timestamping and storing transaction data on a decentralized blockchain ledger, artists can establish a permanent record of their creations, including details such as the creator’s identity, creation date, and platform used. This can help mitigate disputes over ownership and provide proof of authorship in case of infringement claims.[27]

Explore Alternative Licensing Models: Artists can consider alternative licensing models, such as Creative Commons licenses, to govern the use and distribution of their collaborative works. Creative Commons licenses allow artists to retain certain rights while granting others permission to use, share, or modify the work under specified conditions. Creative Commons’s General Counsel Kat Walsh has stated that “If you create works using generative AI, you can still apply CC licenses to the work you create with the use of those tools and share your work in the ways that you wish. The CC license you choose will apply to the creative work that you contribute to the final product, even if the portion produced by the generative AI system itself may be uncopyrightable.”[28] By choosing a licensing model that aligns with their preferences and goals, artists can maintain control over their creations while promoting collaboration and sharing within the creative community.

By adopting these measures, artists can protect their collaborative works with AI and assert their rights as creators in the digital age.

Examples of AI-collaborative Artwork

Due to AI’s rapid development and advances in tech, there has been a notable surge in innovative collaborations between human creators and AI, with artists navigating legal frameworks or actively testing boundaries to explore AI’s potential as a creative partner. This dynamic experimentation underscores the excitement surrounding AI’s ability to inspire and elevate the creative process, offering fresh perspectives and innovative techniques to produce exceptional work. When approached ethically and responsibly, AI really could serve as an enjoyable collaborator, sparking new ideas and pushing artistic boundaries in ways previously unimaginable. Here’s a brief overview of how a few artists are collaborating with AI to create extraordinary pieces:[29]

Photo: Unsupervised, Refik Anadol at MoMA, New York
Unsupervised, Refik Anadol at MoMA, New York
  • Sougwen Chung: Explores human-machine relationships through interactive installations, incorporating AI in her creative process to delve into the intersection of technology, robotics, and the arts.
  • Refik Anadol: Specializes in immersive installations, transforming large datasets into mesmerizing visual and auditory experiences using advanced algorithms for data visualization.
  • Alexander Reben: Known for his “Blind Self-Portrait” series, Reben explores human behaviors through AI-generated artworks, including the world’s first TED talk written entirely by AI and presented as a cyborg.
  • Sofia Crespo: Utilizes AI algorithms to create hybrid organisms and speculative life forms, challenging the boundaries between organic and artificial life through her digital artworks.
  • Stephanie Dinkins: Explores issues of race, gender, and identity through conversational AI systems and virtual characters, engaging in dialogues around human experiences and consciousness.
  • Ross Goodwin: Combines storytelling with computational creativity, blurring the lines between human and machine authorship, as demonstrated in his AI-generated screenplay and short film “Sunspring.”
  • Jake Elwes: Explores identity and perception through surreal visuals generated by AI models trained on vast datasets, including his project “The Uncanny Archive” which generates portraits of influential figures in AI and technology.
  • Taryn Southern: Collaborates with AI systems to create music compositions and performances, co-writing and co-producing her album “I AM AI” with AI algorithms, showcasing the fusion of human creativity and machine intelligence in the music industry.

Interview with Colleen Hoffenbacker on AI-collaborative Art and Copyright Registration

Through her vibrant floral oil paintings, American artist Colleen Hoffenbacker blends both traditional and digital mediums to explore the captivating interplay among humanity, nature, and technological progress. Following a successful career in commercial art and vintage poster restoration, she studied traditional realism at the Academy of Classical Design. Her work is recognized in the permanent Lunar Codex collections, the first curated art mission to include over 35,000 artists from around the globe on the surface of the moon. An award-winning member of American Women Artists, her artworks grace galleries, museums, and private collections worldwide, while also supporting the conservation efforts of environmental organizations through her artistic advocacy.

This interview was conducted by Atreya Mathur, Center for Art Law to understand Colleen Hoffenbacker’s artwork, the mediums she uses to create and her process of working with AI to create art, particularly her Regen and Floragen works as part of her ongoing RenAIssance and Ufloria series, which she received copyright registration for. Thank you to Hoffenbacker for taking the time and speaking with the Center about her work.

What kind of art do you enjoy creating? What are the mediums you usually use to create?

I specialize in oil painting, particularly exploring florals that gracefully balance on the edge of imaginative realism. Grounded in classical training, my approach emphasizes the rich, tactile qualities inherent in oil paint and is founded on an admiration for the interplay of light with natural forms. I also use digital 2D and 3D skills from my commercial art background to design custom references. Recently, I’ve integrated artificial intelligence into my digital process to harmonize the cutting-edge technology with timeless human values, creating a blend that’s uniquely mindful and full of wonder.

Where do you draw inspiration from to create?

I draw inspiration from visions of a synergistic coevolution between nature and technology, creating biophilic metaphors to align their delicate equilibrium, and using the visual power of AI to unveil the hidden, intricate, ethereal, and surreal beauty inherent in our natural world. Reflecting on the Renaissance era, I find parallels in their excitement for new artistic designs and mediums, such as oils, mirroring today’s enthusiasm for AI. The Renaissance’s reverence for nature as a teacher and belief in combining eclectic elements resonate with me, fostering a dynamic interplay between tradition and innovation in my work.

How did you come up with the series of artworks you created: (for the Regen and Floragen works)

This floral series is rooted in the conceptual fusion of enduring, nature-centric ideals from the past with the optimistic possibilities of today’s flourishing technological renaissance, using AI to reimagine and highlight nature’s beauty and diverse essence beyond traditional human observation. The metaphorical concept of generating with seeds inspires prompts that evoke botanical evolution, rebirth, and growth to guide the creations, providing fresh perspectives on nature. The integration of AI becomes not just a tool but a collaborator, contributing to the unfolding narrative of the artwork.

What was the process of creating these works? Can you let us know more about the AI software used and more about the original images first produced?

My preferred model is Stable Diffusion 1.5 and I use Photoshop, along with some upscaling software, for the manual editing and compositing of the initial input images to guide the model towards my vision as well as to create the final painting references. The Regen and Floragen works are part of my ongoing RenAIssance and Ufloria series, which are based on a single modified AI-generated source image with a Romanesque aesthetic, setting the tone for the output.

The generation process is quite fascinating—I generate AI-assisted preliminary reference images, not aiming for a single image of perfection but creating a photorealistic cache to work from. Many of them generally contain artifacts and are lacking in detail and composition considerations. The whole iterative process spans a few days, refining the floral prompt motif for consistency to generate the hundreds of raw material images and elements I will need to create a visually cohesive series of small paintings.

The two images above are the AI generated outputs which I combined in Photoshop to use as my Floragen 2.0.1 painting reference. The image below is a closeup detail of the final painting to show the composited flower transformed with oil paint onto an aluminum panel.

The resulting final amalgamated images become like my own version of stock photography, serving as inspirational springboards for my paintings. This is where my 20+ years of atelier training and experience come into play. I take these images and transform them through paint, gradually layering in nuanced details and bringing the scenes to vivid realism. It’s a fascinating blend of emerging technology and my classical artistic roots, and I’m excited to see how it continues to evolve.

These images above are closeups of the AI generated images compared with the final detailed results in oil paint for the Floragen 2.0.2 painting.

What was the process of copyright registration? Did you file for registration yourself or did you get in touch with an attorney?

I closely followed Kris Kashtanova’s and others’ AI copyright journeys. Though I did consider seeking legal advice, my background as a former graphic designer gave me a basic grasp of copyright laws related to images, so I decided to navigate the process independently. I was curious to see the outcome of forging my own path and opted to file for the copyright registration of these works on my own. It was a thrilling experience to receive the letter confirming their approval.

Photo: Copyright Registration Letter for the Regen and Floragen works
Photo: Copyright Registration Letter for the Regen and Floragen works

What would you say inspired this series? Did you have any goal or objective of sorts in mind for this artwork?

My studio is set in a beautiful high-tech region surrounded by forests, tulip farms, water, and mountains. I have always used digital technology as part of my creative process while feeling deeply connected with nature through decades of studio and outdoor painting. The Renaissance laid the groundwork for technological advancements by fostering a spirit of inquiry, exploration, and innovation. My goal is to create thought-provoking works that connect with viewers today and perhaps challenge traditional perceptions as we venture into a future realm shaped by AI.

Do you have any plans for what you may want to do with the art you have created?

As a female artist, I’m motivated by the increasing support for women in the art and tech spheres. My overarching goal is to contribute to the dynamic art scene and actively participate in essential conversations offering varied perspectives and cultivating a mindful stewardship of AI. A significant aspiration is to see my works housed in museums and tech art collections.

Conclusion

As artists continue to explore the delicate relationship between human creativity and artificial intelligence, the path forward is both exciting and nuanced. Through innovative collaborations and bold experimentation, creators are harnessing AI’s potential to push the boundaries of artistic expression. The artwork and collaborative process of creating the Regen and Floragen works by Colleen Hoffenbacker is a good example of combining AI-generated work with traditional oil paint to create collaborative AI-generated art which was also granted copyright protection. The skill of using AI along with traditional mediums of art to create artwork is an important factor to consider in the process of copyright registration with the USCO.

However, the journey for all artists is not without its challenges, regarding copyright issues, ownership concerns, and the delineation of human versus AI-generated contributions. Moving forward, it’s crucial for artists, AI developers, and legal experts to engage in dialogue and collaboration to address these complexities. Clearer guidelines and legal frameworks are needed to navigate the evolving landscape of AI-assisted creativity, ensuring that both human and machine contributions are recognized and protected appropriately. Additionally, increased transparency and accountability in AI platforms’ terms of service can empower artists to assert their rights and negotiate fair terms for collaboration.

Moreover, the integration of blockchain technology offers promising avenues for securing and verifying ownership of collaborative works, providing a decentralized and immutable record of creative contributions. By leveraging digital signatures, smart contracts, and blockchain-based registries, artists can potentially establish clear proof of authorship and ownership, enhancing trust and accountability in the creative process. As the world forges ahead into this new era of artistic collaboration, embracing the potential of AI while safeguarding the rights and integrity of creators will be paramount.

About the Author

Atreya Mathur is the Director of Legal Research at the Center for Art Law.

Select Sources:

  1. What is Copyright, U.S Copyright Office, available at https://www.copyright.gov/what-is-copyright/ ↑
  2. Id. ↑
  3. Atreya Mathur, Art-istic or Art-ificial? Ownership and copyright concerns in AI-generated artwork, Center for Art Law (Nov. 2022), available at https://itsartlaw.org/2022/11/21/artistic-or-artificial-ai/ ↑
  4. United States Copyright Office, Registration #VAu001480196, available at https://www.copyright.gov/docs/zarya-of-the-dawn.pdf ↑
  5. Id. ↑
  6. Stephen Wolfson, Zarya of the Dawn: US Copyright Office Affirms Limits on Copyright of AI Outputs, Creative Commons (February 27, 2023) available at https://creativecommons.org/2023/02/27/zarya-of-the-dawn-us-copyright-office-affirms-limits-on-copyright-of-ai-outputs/ ↑
  7. See Atreya Mathur, Copyright Registration for AI Generated Works: Zarya of the Dawn and the Dawn of a New Creator, Center for Art Law (Jul. 6, 2023) available at https://itsartlaw.org/2023/07/06/copyright-registration-for-ai-generated-works-zarya-of-the-dawn-and-the-dawn-of-a-new-creator/ ↑
  8. Registration Cover Letter for Rose Enigma, available at https://drive.google.com/drive/u/0/folders/1MOZe5wLRJF3hR6I-x77GXeuTG-QAUv37 ↑
  9. See Atreya Mathur, A Rose Enigma: Pending (Right) Protection, Center for Art Law (Dec. 8, 2023) available at https://itsartlaw.org/2023/12/08/rose-enigma/ ↑
  10. United States Copyright Office, Second Request for Reconsideration for Refusal to Register Théâtre D’opéra Spatial (SR # 1-11743923581; Correspondence ID: 1-5T5320R), available at https://www.copyright.gov/rulings-filings/review-board/docs/Theatre-Dopera-Spatial.pdf ↑
  11. Amol Parikh, Tragic Ending: Award-Winning AI Artwork Refused Copyright Registration, IPupdate (Sept. 21, 2023) available at https://www.ipupdate.com/2023/09/tragic-ending-award-winning-ai-artwork-refused-copyright-registration/ ↑
  12. Pavan Vadapalli, Generative AI vs Traditional AI: Understanding the Differences and Advantages, upGrad (Aug. 15, 2023) available at https://www.upgrad.com/blog/generative-ai-vs-traditional-ai/ ↑
  13. Arthur Roberts, et.al., Who owns the copyright in AI-generated art?, Murgitroyd Blog (2022), available at https://www.murgitroyd.com/en-us/blog/who-owns-the-copyright-in-ai-generated-art/ ↑
  14. Id. ↑
  15. See Atreya Mathur, Art-istic or Art-ificial? Ownership and copyright concerns in AI-generated artwork, Center for Art Law (Nov. 2022), available at https://itsartlaw.org/2022/11/21/artistic-or-artificial-ai/ ↑
  16. Id. ↑
  17. Alex Springer, Publishers’group warns that generative AI content could violate copyright law, Marketing Brew, available at https://www.marketingbrew.com/stories/2023/06/05/publishers-group-warns-that-generative-ai-content-could-violate-copyright-law ↑
  18. See AI art requires a lot of skill on my part, Reddit, available at https://www.reddit.com/r/lies/comments/1765pgl/ai_art_requires_a_lot_of_skill_on_my_part/ ↑
  19. Sherin Shibu, I tested out an AI art generator and here’s what I learned, zdnet (Sep. 27, 2022), available at https://www.zdnet.com/article/i-tested-out-an-ai-art-generator-and-heres-what-i-learned/ ↑
  20. See Katie Terrell Hanna, What is Photoshop, techtarget, available at https://www.techtarget.com/whatis/definition/Photoshop#:~:text=It%20uses%20a%20layer%2Dbased,as%20a%20tool%20for%20professionals. ↑
  21. Atreya Mathur, Art-istic or Art-ificial? Ownership and copyright concerns in AI-generated artwork, Center for Art Law (Nov. 2022), available at https://itsartlaw.org/2022/11/21/artistic-or-artificial-ai/ ↑
  22. The Compendium of the U.S. Copyright Office Practices (3d.), available at https://www.copyright.gov/comp3/chap300/ch300-copyrightable-authorship.pdf ↑
  23. See OpenAI Terms of Use, available at https://openai.com/policies/terms-of-use ↑
  24. See Midjourney Terms of Service, available at https://docs.midjourney.com/docs/terms-of-service ↑
  25. See Stable Diffusion Terms and Conditions, available at https://stablediffusionapi.com/p/Terms-and-Conditions ↑
  26. Atreya Mathur, Patrick K. Lin, Irina Tarsis, U.S. Copyright Office, Comment from Center for Art Law (Nov.1, 2023) available at https://www.regulations.gov/comment/COLC-2023-0006-8315 ↑
  27. Id. ↑
  28. Kat Walsh, UNDERSTANDING CC LICENSES AND GENERATIVE AI, Creative Commons (Aug. 2023) available at https://creativecommons.org/2023/08/18/understanding-cc-licenses-and-generative-ai/ ↑
  29. See the list of artist: Karen Garces, 12 AI Artists Who Exemplify the Weird World of AI Art, penji (Jul. 29, 2023) available at https://penji.co/ai-artists/ ↑

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Readers should not construe or rely on any comment or statement in this article as legal advice. For legal advice, readers should seek a consultation with an attorney.

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2026 Annual Conference

Let’s explore Visual Art, AI, and the Law in the 21st Century together.

 

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We hope you join us for our Annual Art Law Confere We hope you join us for our Annual Art Law Conference 2026 on May 27, 2026. You can join in-person at Brooklyn Law School or online via Zoom.

The 2026 conference will focus on copyright law as it relates to visual art, artificial intelligence, and the rapidly evolving legal landscape of the 21st century. The program will begin with a keynote address, followed by three substantive panels designed to build on one another throughout the afternoon. In addition, we will host a curated group of exhibitors featuring databases, legal tools, and technology platforms relevant to artists’ rights, copyright, and AI. The program will conclude with a reception, providing time for continued discussion, networking, and engagement among speakers, exhibitors, and attendees.

The opening panel will examine the current state of copyright law in the visual arts and the practical challenges facing artists, galleries, institutions, and practitioners. Subsequent panels will address artificial intelligence, recent legislative and regulatory developments, the role of the U.S. Copyright Office, and emerging questions around licensing, enforcement, and appropriation in a contemporary digital environment.

The conference convenes artists, attorneys, scholars, collectors, arts administrators, students, and policy professionals for in-depth and timely discussion, and will be accompanied by a silent auction and exhibitor networking opportunities. 

Closing Remarks by Lindsay Korotkin, Partner, ArentFox Schiff
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for Panel 3: Registration Is Dead? Long Live Licensing?

As copyright enforcement becomes more complex, this panel explores the evolving role of registration and the growing importance of licensing agreements in protecting creative works. Panelists will discuss how artists, rights holders, and legal practitioners navigate enforcement today, examining when registration still matters, how licensing structures are being used strategically, and what effective rights management looks like in a shifting legal and art market landscape.

Moderator: Carol J. Steinberg, Art, Copyright & Entertainment Law Attorney, Faculty, School of Visual Arts

Speakers: Janet Hicks, Vice President and Director of Licensing, Artists Rights Society; Yayoi Shionoiri, art lawyer and Vice President of External Affairs and General Counsel at Powerhouse Arts; Martin Cribbs, Intellectual Property Licensing Strategist

You can join us in-person or online! Grab your tickets using the link in our bio! 🎟️ 

#centerforartlaw #artlaw #copyrightregistration #copyrightlaw #copyrightlawandart
Where does this newsletter find you? Checking your Where does this newsletter find you? Checking your passport and tickets on your way to Venice, or floating toward the Most Serene City on the waves of your imagination? Yes, this newsletter is inspired by the 61st Venice Biennale, entitled In Minor Keys, and by the May flurry of activities. For us the month of May closes books on FY 2026 (thanks to you and our programming, we are ending this year strong and ready for the 2026-2027 encore), and it makes our heads spin with final preparations for the Summer School and Annual Conference, punctuated by the arrival of the summer interns (final count is still a mystery). Please share with us your art law stories and experiences as we strive to do the same in New York, Zurich, London, Venice…

The eyes of the art and law world are on La Serenissima because the world needs serenity instead of sirens and because people love art, it imitates life, art that allows us to experiment with real feelings and overcome the drama. From lessons in artistic advocacy with the “Invisible Pavilion” (2026) to historical echoes of the Biennale del Dissenso [Biennial of Dissent] (1977), this Biennale is giving us a lot to process. Hope and joy, loss and disappointment, reunions and new encounters, memorialization and belonging, realization that different motivations drive us to take to the road. Don’t lose your moral compass or your keys, and remember: even minor movements can lead to major reverberations. 

🔗 Check out our May newsletter, using the link in our bio, to get a curated collection of art law news, our most recent published articles, upcoming events, and much more!!

#centerforartlaw #artlaw #artlawyer #lawyer #artissues #newsletter #may #legalresearch
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for Panel 2: The Copyright Office Weighs In — Three Reports on AI and the Law

This panel examines the U.S. Copyright Office’s three recent reports on artificial intelligence and copyright, unpacking what they clarify, and what they leave unresolved about authorship, ownership, and protection in the age of AI. Panelists will also situate these reports within the broader legal landscape, touching on emerging litigation and contested issues shaping how AI‑generated and AI‑assisted works are treated under current copyright law.

Moderator: Atreya Mathur, Director of Legal Research, Center for Art Law

Speakers: Miriam Lord, Associate Register of Copyrights and Director of Public Information and Education; Ben Zhao, Neubauer Professor of Computer Science at University of Chicago and Founder, Nightshade & Glaze; Katherine Wilson-Milne, Partner, Schindler Cohen & Hochman LLP 

Reserve your tickets today! 🎟️ 

#artlaw #centerforartlaw #copyrightlaw #copyrightlawandart
Round, like a circle in a spiral, like a wheel wit Round, like a circle in a spiral, like a wheel within a wheel… Case law is fascinating, and litigation is often the only path when disputes over valuable art cannot be resolved through negotiation or ADR. 

As news of the renewed HEAR Act spreads through the restitution community, we invite you to read a case review by two of our legal interns, Donyea James (Fordham Law, JD Candidate 2026) and Lauren Stein (Wake Forest University School of Law, JD Candidate 2027), who spent this semester immersed in the facts and law of "Bennigson et al. v. Solomon R. Guggenheim Foundation."

$1,552. That is what a Picasso sold for in 1938 by a Jewish businessman fleeing Nazi Germany. Roughly one-tenth of what he sought just six years earlier. The heirs went to court and two courts said the claim came too late. HEAR Act might very well challenge that conclusion. The case is now pending before New York's highest court. 

🔗 Link in bio.

#ArtLaw #Restitution #HolocaustArt #HEARAct #Guggenheim #Picasso #ProvenanceResearch
Whose collections? Whose heritage? What happens wh Whose collections? Whose heritage? What happens when the present confronts colonial memory? Join us in Zurich for a special screening of "Elephants & Squirrels," a documentary following Sri Lankan artist Deneth Piumakshi Veda Arachchige as she traces looted artifacts and human remains of the indigenous Wanniyala-Aetto people, held in Swiss museum collections for over a century, and fights for their return home.

Film director Gregor Brändli and the artist will open the evening with reflections on colonial collecting, cultural heritage, and the ethics of museum stewardship.

📅 May 12, 2026 | 18:00 – 21:00
📍 schwarzescafé | Luma Westbau, Limmatstrasse 270, Zurich

This event is free to attend and is offered as part of the CineLöwenbräukunst series. Link in bio for more information.

#ArtLaw #CulturalHeritage #Restitution #Repatriation #Zurich #FilmScreening #ColonialHistory #MuseumEthics 

#MuseumEthics
Join us on May 27th at Brooklyn Law School for our Join us on May 27th at Brooklyn Law School for our Annual Art Law Conference 2026: What is Copy, Right? 

We are very excited to introduce you to the topic and speakers for, Panel 1: So Inappropriate — Lessons About Copyright Law and Art: First There Was Art, Then Copyright, Then Fair Use… and Now AI?

From early copyright doctrines to contemporary fair use debates, this panel examines how artists and lawyers have navigated questions of ownership, appropriation, and originality in visual art. Panelists will explore key developments in copyright law affecting traditional artistic practices, from borrowing and remixing to transformative use, while also considering how emerging technologies, including AI, are beginning to reshape long‑standing legal frameworks and artistic norms.

Moderator: Irina Tarsis, Founder, Center for Art Law
Speakers: Vivek Jayaram, Founder, Jayaram Law; Vincent Wilcke, Pace Gallery; Greg Allen, Artist and writer 

Reserve your tickets using the link in our bio or by visiting our website itsartlaw.org 🎟️ 
See you soon!
Next stop: Venice. The 61st Biennale has been maki Next stop: Venice. The 61st Biennale has been making waves and headlines for weeks and the doors have not even opened yet. The jury refused to award prizes and resigned nine days before the opening over geopolitical controversies. Some artists boycott while others show up even if unwelcome. Some pavilions will be empty, some will not be open to the public… Sources of funds, sources of inspiration, so many questions, so much on display for critical eyes. Meanwhile the boats are waiting for anyone lucky enough to find themselves in the floating world.

Help us reflect on the Biennale by sharing your art law stories.

#ArtLaw #Venice #Biennale2026 #ArtWorld #BiennaleofDissent #LaSerenissima #GoldenLion #SeeArtThinkArtLaw
Center for Art Law is very pleased to welcome Prof Center for Art Law is very pleased to welcome Professor Ben Zhao as the Keynote Speaker for our Annual Art Law Conference 2026! 

Ben Zhao is the Neubauer Professor of Computer Science at the University of Chicago where he, and a team of researchers at the university, developed NightShade & Glaze, two data-poisoning tools which protects artists' work from being scraped for AI data training. 

Professor Zhao will discuss tools, such as NightShade, which can assist in defending art in the age of AI. 

The 2026 conference will focus on copyright law as it relates to visual art, artificial intelligence, and the rapidly evolving legal landscape of the 21st century. The program will begin with Professor Zhao's keynote address, followed by three substantive panels designed to build on one another throughout the afternoon. In addition, we will host a curated group of exhibitors featuring databases, legal tools, and technology platforms relevant to artists’ rights, copyright, and AI. The program will conclude with a reception, providing time for continued discussion, networking, and engagement among speakers, exhibitors, and attendees. 

We hope you join us! Reserve your tickets now using the link in our bio 🎟️ 

#centerforartlaw #artlaw #copyrightlaw
A huge thank you to our hosts and incredible speak A huge thank you to our hosts and incredible speakers who made this London panel discussion truly special! 🙏✨ 🇬🇧 🇺🇦 

We were so fortunate to hear from:

🎤 Rakhi Talwar | RTalwar Compliance
🎤 Raminta Dereskeviciute | McDermott Will & Schulte
🎤 Daryna Pidhorna, Lawyer & Analyst | The Raphael Lemkin Society
🎤 Timothy Kompancheko | Bernard, Inc.
🎤 Yuliia Hnat | Museum of Contemporary Art NGO
🎤 Irina Tarsis | Center for Art Law

Your insights, expertise, and passion made this a conversation we won't forget. Thank you for sharing your time and knowledge with us! 💫

Bottom Line: the art market has power and responsibility. Our panel "Art, Money, and the Law: Sanctions & AML Enforcement in 2026" tackled the hard questions around money laundering, sanctions compliance, and what's at stake for art market participants in today's regulatory landscape.

⚠️ Regulators are watching and "history has it's eyes on you..." too We don't have to navigate the legal waters alone. Let's keep the conversation going.

What was your biggest takeaway? 

#ArtLaw #AMLCompliance #Sanctions #ArtMarket #ArtAndMoney #Enforcement2026
At the Center for Art Law we are preparing for our At the Center for Art Law we are preparing for our Annual Art Law Conference 2026, "What is Copy, Right? Visual Art, AI, and the Law in the 21st Century", and we hope you are as excited as we are! The event will take place on May 27th at Brooklyn Law School. 

In addition to the panels throughout the day, which will offer insights into the rapidly shifting landscape of art and copyright law, our conference will feature exhibitors showcasing resources for promoting artists' rights, and a silent auction aimed at bolstering the Center's efforts. 

We would like to invite you to take part in and support this year's Annual Art Law Conference by being an exhibitor or sponsor. We express our sincere appreciation to all of our sponsors, exhibitors and you! 

Find more information and reserve your tickets using the link in our bio! See you soon!
In this episode, we speak with art market expert D In this episode, we speak with art market expert Doug Woodham to unpack how Jean-Michel Basquiat became one of the most enduring cultural icons of our time.

Moving beyond his rise in 1980s New York, this episode focuses on what happened after his death. We explore how his estate, led by his father, shaped his legacy through control of supply, copyright, and narrative; how early collectors and market forces drove the value of his work; and how museums and media cemented his place in art history.

Together, we explore the bigger question: is creating great art enough, or does becoming an icon require an entire ecosystem working behind the scenes?

🎙️ Check out the podcast anywhere you get your podcasts using the link in our bio!

Also, please join us on May 27  for the highly anticipated Art Law Conference 2026, held at Brooklyn Law School and Online (Hybrid). Entitled “What is Copy, Right? Visual Art, AI, and the Law in the 21st Century,” this year’s conference explores the evolving relationship between visual art, copyright law, and artificial intelligence!

#centerforartlaw #artlaw #artlawyer #podcast #legal #research #legalresearch #newepisode #artmarket #basquiat
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