A common and controversial use of text-to-image models is to generate pictures by explicitly naming artists, such as "in the style of Greg Rutkowski". We introduce a benchmark for prompted-artist recognition: predicting which artist names were invoked in the prompt from the image alone. The dataset contains 1.95M images covering 110 artists and spans four generalization settings: held-out artists, increasing prompt complexity, multiple-artist prompts, and different text-to-image models. We evaluate feature similarity baselines, contrastive style descriptors, data attribution methods, supervised classifiers, and few-shot prototypical networks. Generalization patterns vary: supervised and few-shot models excel on seen artists and complex prompts, whereas style descriptors transfer better when the artist's style is pronounced; multi-artist prompts remain the most challenging. Our benchmark reveals substantial headroom and provides a public testbed to advance the responsible moderation of text-to-image models. We release the dataset and benchmark to foster further research: https://graceduansu.github.io/IdentifyingPromptedArtists/
The item cold-start problem poses a fundamental challenge for music recommendation: newly added tracks lack the interaction history that collaborative filtering (CF) requires. Existing approaches often address this problem by learning mappings from content features such as audio, text, and metadata to the CF latent space. However, previous works either omit artist information or treat it as just another input modality, missing the fundamental hierarchy of artists and items. Since most new tracks come from artists with previous history available, we frame cold-start track recommendation as 'semi-cold' by leveraging the rich collaborative signal that exists at the artist level. We show that artist-aware methods can more than double Recall and NDCG compared to content-only baselines, and propose ACARec, an attention-based architecture that generates CF embeddings for new tracks by attending over the artist's existing catalog. We show that our approach has notable advantages in predicting user preferences for new tracks, especially for new artist discovery and more accurate estimation of cold item popularity.
Generative AI tools are used to create art-like outputs and sometimes aid in the creative process. These tools have potential benefits for artists, but they also have the potential to harm the art workforce and infringe upon artistic and intellectual property rights. Without explicit consent from artists, Generative AI creators scrape artists' digital work to train Generative AI models and produce art-like outputs at scale. These outputs are now being used to compete with human artists in the marketplace as well as being used by some artists in their generative processes to create art. We surveyed 459 artists to investigate the tension between artists' opinions on Generative AI art's potential utility and harm. This study surveys artists' opinions on the utility and threat of Generative AI art models, fair practices in the disclosure of artistic works in AI art training models, ownership and rights of AI art derivatives, and fair compensation. Results show that a majority of artists believe creators should disclose what art is being used in AI training, that AI outputs should not belong to model creators, and express concerns about AI's impact on the art workforce and who profits f
Creativity support tools (CSTs) aim to elevate the quality of artists' creative processes and artifacts. Yet most current CST evaluations overlook temporal and social aspects of tool use. To address this gap, we present a longitudinal, group-based CST evaluation through a three-week deployment of ArtKrit, a computational drawing tool that supports disciplined drawing. Nine digital artists, organized into three communities of practice, completed weekly "master studies" alongside a researcher-artist. Our results show users' evolving relationships with ArtKrit over time - from early experimentation to selective incorporation or misuse - alongside changes in their ways of artistic seeing. These changes unfolded within artist support networks that fostered confidence and creative safety, and validated individual expression. Overall, our findings suggest that CST evaluations can - and should - be designed as opportunities for meaningful artistic engagement rather than purely extractive measurement exercises. We contribute this longitudinal, group-based approach as one CST evaluation method.
As with every emerging technology, new tools in the hands of artists reshape the nature of artwork creation. Current frameworks for robotics in arts deploy the robot as an autonomous creator or a collaborator, thus leaving a certain gap between the human artist and the machine. Now, we stand at the dawn of an era where artists can escape physical limitations and reshape their creative identity by inhabiting an alternative body. This new paradigm allows artists not only to command a robot remotely, but also to {\it be} a robot, to see and feel through it, experiencing a new embodied reality. Unlike virtual reality, where art is created in a digital dimension, in this case art creation is still firmly grounded in the material world: clay molded by mechanical hands, paint swept across a canvas or gestures performed on a physical stage alongside human actors. Through the robot avatar Alter-Ego, we explore the Alter-Art paradigm in dance, theater, and painting; it integrates immersive teleoperation and compliant actuation to enable a first-person creative experience. Analyzing qualitative artistic feedback, we investigate how embodiment shapes creative agency, identity and interaction w
The recent proliferation of diffusion models has made style mimicry effortless, enabling users to imitate unique artistic styles without authorization. In deployed platforms, this raises copyright and intellectual-property risks and calls for reliable protection. However, existing countermeasures either require costly weight editing as new styles emerge or rely on an explicitly specified editing style, limiting their practicality for deployment-side safety. To address this challenge, we propose DICE (Disentanglement of artist Style from Content via Contrastive Subspace Decomposition), a training-free framework for on-the-fly artist style erasure. Unlike style editing that require an explicitly specified replacement style, DICE performs style purification, removing the artist's characteristics while preserving the user-intended content. Our core insight is that a model cannot truly comprehend the artist style from a single text or image alone. Consequently, we abandon the traditional paradigm of identifying style from isolated samples. Instead, we construct contrastive triplets to compel the model to distinguish between style and non-style features in the latent space. By formalizin
Artistic text generation aims to amplify the aesthetic qualities of text while maintaining readability. It can make the text more attractive and better convey its expression, thus enjoying a wide range of application scenarios such as social media display, consumer electronics, fashion, and graphic design. Artistic text generation includes artistic text stylization and semantic typography. Artistic text stylization concentrates on the text effect overlaid upon the text, such as shadows, outlines, colors, glows, and textures. By comparison, semantic typography focuses on the deformation of the characters to strengthen their visual representation by mimicking the semantic understanding within the text. This overview paper provides an introduction to both artistic text stylization and semantic typography, including the taxonomy, the key ideas of representative methods, and the applications in static and dynamic artistic text generation. Furthermore, the dataset and evaluation metrics are introduced, and the future directions of artistic text generation are discussed. A comprehensive list of artistic text generation models studied in this review is available at https://github.com/willi
Existing computational studies of popular music primarily model aggregate trends or predict chart performance, offering limited support for interpreting artist-level alignment against historical stylistic baselines. We introduce an interactive visual analytics framework that treats each artist-decade as a unit defined relative to an era-specific baseline, characterized along two complementary dimensions: profile shape similarity, capturing directional correspondence with the era's feature pattern, and profile contrast ratio, capturing stylistic intensity relative to the era's dispersion. Together, these dimensions define a quadrant-based trajectory space for reasoning about conformity, divergence, and amplification over time. Applied to weekly U.S. Billboard Hot 100 chart entries from the all-time top-10 artists across six decades (1960s-2010s), linked with Spotify audio features, the framework reveals that alignment and intensity can meaningfully diverge across artist trajectories.
We present PaintCopilot, a co-creative neural painting assistant that models painting as an open-ended autoregressive artistic behavior conditioned on evolving canvas states and prior brushstroke history, without requiring a target image. Unlike existing neural painting methods that frame painting as pixel reconstruction toward a predefined reference, PaintCopilot predicts future strokes directly from learned artistic dynamics, analogous to how large language models continue text sequences from prior context. The framework proposes three complementary models: a ViT-based Target Predictor that infers artist intent from partial canvas observations, an autoregressive Next Stroke Predictor that generates temporally coherent brushstrokes via flow matching, and a VAE-based Region Sampler that synthesizes semantically localized stroke sequences on demand. Built on three differentiable brush representations (Hard Round, Brush Tip, and 2D Gaussian), the system supports four interactive workflows: Optimize History, Stroke Completion, Region Inpainting, and Dynamic Brush. Through case studies with professional artists, we demonstrate that PaintCopilot enables fluid co-creative painting workfl
Recent advancements in autoregressive transformers have demonstrated remarkable potential for generating artist-quality meshes. However, the token ordering strategies employed by existing methods typically fail to meet professional artist standards, where coordinate-based sorting yields inefficiently long sequences, and patch-based heuristics disrupt the continuous edge flow and structural regularity essential for high-quality modeling. To address these limitations, we propose Strips as Tokens (SATO), a novel framework with a token ordering strategy inspired by triangle strips. By constructing the sequence as a connected chain of faces that explicitly encodes UV boundaries, our method naturally preserves the organized edge flow and semantic layout characteristic of artist-created meshes. A key advantage of this formulation is its unified representation, enabling the same token sequence to be decoded into either a triangle or quadrilateral mesh. This flexibility facilitates joint training on both data types: large-scale triangle data provides fundamental structural priors, while high-quality quad data enhances the geometric regularity of the outputs. Extensive experiments demonstrat
Photo retouching is integral to photographic art, extending far beyond simple technical fixes to heighten emotional expression and narrative depth. While artists leverage expertise to create unique visual effects through deliberate adjustments, non-professional users often rely on automated tools that produce visually pleasing results but lack interpretative depth and interactive transparency. In this paper, we introduce PhotoArtAgent, an intelligent system that combines Vision-Language Models (VLMs) with advanced natural language reasoning to emulate the creative process of a professional artist. The agent performs explicit artistic analysis, plans retouching strategies, and outputs precise parameters to Lightroom through an API. It then evaluates the resulting images and iteratively refines them until the desired artistic vision is achieved. Throughout this process, PhotoArtAgent provides transparent, text-based explanations of its creative rationale, fostering meaningful interaction and user control. Experimental results show that PhotoArtAgent not only surpasses existing automated tools in user studies but also achieves results comparable to those of professional human artists.
Text-to-audio (TTA) systems are rapidly transforming music creation and distribution, with platforms like Udio and Suno generating thousands of tracks daily and integrating into mainstream music platforms and ecosystems. These systems, trained on vast and largely undisclosed datasets, are fundamentally reshaping how music is produced, reproduced and consumed. This paper presents empirical evidence that artist-conditioned regions can be systematically microlocated through metatag-based prompt design, effectively enabling the spawning of artist-like content through strategic prompt engineering. Through systematic exploration of metatag-based prompt engineering techniques this research reveals how users can access the distinctive sonic signatures of specific artists, evidencing their inclusion in training datasets. Using descriptor constellations drawn from public music taxonomies, the paper demonstrates reproducible proximity to artists such as Bon Iver, Philip Glass, Panda Bear and William Basinski. The results indicate stable text-audio correspondences consistent with artist-specific training signals, enabling precise traversal of stylistic microlocations without explicitly naming
Art created using generated Artificial Intelligence has taken the world by storm and generated excitement for many digital creators and technologists. However, the reception and reaction from artists have been mixed. Concerns about plagiarizing their artworks and styles for datasets and uncertainty around the future of digital art sparked movements in artist communities shunning the use of AI for generating art and protecting artists' rights. Collaborating with these tools for novel creative use cases also sparked hope from some creators. Artists are an integral stakeholder in the rapidly evolving digital creativity industry and understanding their concerns and hopes inform responsible development and use of creativity support tools. In this work, we study artists' sentiments about AI-generated art. We interviewed 7 artists and analyzed public posts from artists on social media platforms Reddit, Twitter and Artstation. We report artists' main concerns and hopes around AI-generated artwork, informing a way forward for inclusive development of these tools.
Artists occupy a paradoxical position in generative AI: their work trains the models reshaping creative labor. We tested whether their concerns achieve proportional representation in public discourse shaping AI governance. Analyzing public AI-art discourse (news, podcasts, legal filings, research; 2013--2025) and projecting 1,259 survey-derived artist statements into this semantic space, we find stark compression: 95% of artist concerns cluster in 4 of 22 discourse topics, while 14 topics (62% of discourse) contain no artist perspective. This compression is selective - governance concerns (ownership, transparency) are 7x underrepresented; affective themes (threat, utility) show only 1.4x underrepresentation after style controls. The pattern indicates semantic, not stylistic, marginalization. These findings demonstrate a measurable representational gap: decision-makers relying on public discourse as a proxy for stakeholder priorities will systematically underweight those most affected. We introduce a consensus-based semantic projection methodology that is currently being validated across domains and generalizes to other stakeholder-technology contexts.
Recent text-to-image diffusion models such as MidJourney and Stable Diffusion threaten to displace many in the professional artist community. In particular, models can learn to mimic the artistic style of specific artists after "fine-tuning" on samples of their art. In this paper, we describe the design, implementation and evaluation of Glaze, a tool that enables artists to apply "style cloaks" to their art before sharing online. These cloaks apply barely perceptible perturbations to images, and when used as training data, mislead generative models that try to mimic a specific artist. In coordination with the professional artist community, we deploy user studies to more than 1000 artists, assessing their views of AI art, as well as the efficacy of our tool, its usability and tolerability of perturbations, and robustness across different scenarios and against adaptive countermeasures. Both surveyed artists and empirical CLIP-based scores show that even at low perturbation levels (p=0.05), Glaze is highly successful at disrupting mimicry under normal conditions (>92%) and against adaptive countermeasures (>85%).
Recent text-to-image generative models such as Stable Diffusion are extremely adept at mimicking and generating copyrighted content, raising concerns amongst artists that their unique styles may be improperly copied. Understanding how generative models copy "artistic style" is more complex than duplicating a single image, as style is comprised by a set of elements (or signature) that frequently co-occurs across a body of work, where each individual work may vary significantly. In our paper, we first reformulate the problem of "artistic copyright infringement" to a classification problem over image sets, instead of probing image-wise similarities. We then introduce ArtSavant, a practical (i.e., efficient and easy to understand) tool to (i) determine the unique style of an artist by comparing it to a reference dataset of works from 372 artists curated from WikiArt, and (ii) recognize if the identified style reappears in generated images. We leverage two complementary methods to perform artistic style classification over image sets, includingTagMatch, which is a novel inherently interpretable and attributable method, making it more suitable for broader use by non-technical stake holde
Non-Fungible Tokens (NFTs) offer a promising mechanism to protect Australian and Indigenous artists' copyright. They represent and transfer the value of artwork in digital form. Before adopting NFTs to protect Australian artwork, we in this paper investigate them empericially. We focus on examining the details of NFT structure. We start from the underlying structure of NFTs to show how they represent copyright for both artists and production owners, as well as how they aim to safeguard or secure the value of digital artworks. We then involve data collection from various types of sources with different storage methods, including on-chain, centralized, and decentralized systems. Based on both metadata and artwork content, we present our analysis and discussion on the following key issues: copyright, security and artist identification. The final results of the evaluation, unfortnately, show that the NFT is NOT ready to protect Australian and Indigenous artists' copyright.
Modern diffusion models have set the state-of-the-art in AI image generation. Their success is due, in part, to training on Internet-scale data which often includes copyrighted work. This prompts questions about the extent to which these models learn from, imitate, or copy the work of human artists. This work suggests that tying copyright liability to the capabilities of the model may be useful given the evolving ecosystem of generative models. Specifically, much of the legal analysis of copyright and generative systems focuses on the use of protected data for training. As a result, the connections between data, training, and the system are often obscured. In our approach, we consider simple image classification techniques to measure a model's ability to imitate specific artists. Specifically, we use Contrastive Language-Image Pretrained (CLIP) encoders to classify images in a zero-shot fashion. Our process first prompts a model to imitate a specific artist. Then, we test whether CLIP can be used to reclassify the artist (or the artist's work) from the imitation. If these tests match the imitation back to the original artist, this suggests the model can imitate that artist's expres
Art and science collaborations that go beyond outreach and advertisement in service of science have the potential to unlock new ways of seeing and understanding the Universe that science alone cannot reach. In this white paper for the NASA Decadal Astrobiology Research and Exploration Strategy (DARES) request for information, we outline examples and benefits of artscience and research-creation methods for astrobiology. The search for life and its origin is inherently interdisciplinary and requires novel approaches that could benefit from the training artists receive in design thinking, contextualization, speculation, and community building. We take a look at this process in action through the work of Robert Irwin during the 1970 NASA Habitability Symposium, Carl Sagan's approach to mixing art and science, and the Transition Design framework of creativity-led problem solving. Each example underscores a specific advantage of deeper art-science collaborations: Irwin's creative approach to problem-solving broke scientists from conventional thought patterns, Sagan's contextualization helped align scientific work with ethical and societal considerations, and design-led research is shown
Revival is an innovative live audiovisual performance and music improvisation by our artist collective K-Phi-A, blending human and AI musicianship to create electronic music with audio-reactive visuals. The performance features real-time co-creative improvisation between a percussionist, an electronic music artist, and AI musical agents. Trained in works by deceased composers and the collective's compositions, these agents dynamically respond to human input and emulate complex musical styles. An AI-driven visual synthesizer, guided by a human VJ, produces visuals that evolve with the musical landscape. Revival showcases the potential of AI and human collaboration in improvisational artistic creation.