Fortunately, the annals of art history paint a different, brighter picture. Viewed from a distance, the pressure AI exerts on human artists appears as part of an evolutionary process that far predates its own invention. Throughout history, technological innovation, by extending and facilitating our capacity to create, has shifted attention from form to content: from what the finished product looks like towards how and why it is made.
To be sure, AI is not the first technology to face the accusation that it will ruin art forever. When photography emerged in the nineteenth century, painters feared the worst. In 1840, after seeing a photograph for the first time, the French painter Paul Delaroche famously declared, “From today, painting is dead!”
Today’s artists, in any medium, must also wrestle with this question. Only this time, the answer will be harder to find. AI is a more versatile tool than the camera, not to mention increasingly capable of acting on its own accord. It also evolves at a quicker pace and along a more unpredictable trajectory, so much so that even its creators can’t agree on what the future will and should look like. We do have a general idea of how human artists will cope, though, not least because their options are increasingly limited.
Where previous generations of artists organized themselves into schools, collectives, and cooperatives, their future counterparts will work alone or, if together, then polyphonously, their different voices kept distinctly identifiable, like family members at a Thanksgiving dinner discussion.
Currently, AI has little trouble creating images in the familiar aesthetic of a Pixar or Studio Ghibli film—here is someone who used AI tools to imagine what The Lord of the Rings would look with Hayao Miyazaki as its director)—but AI can’t reliably grasp the essence of animators who didn’t stick to a consistent look, like Richard Williams or Satoshi Kon.
One medium where we already see these shifts happening is the YouTube video essay. Previously, most content creators did voice-overs, their commentary set to tightly edited footage in a style that traces back to a handful of successful pioneers. Now, more and more creators are delivering their monologues on camera with little to no editing—partly to prove their humanity amidst the rise of AI-generated content, but also so they can better lean into what distinguishes them from the competition: themselves.
If the relationship between technology and art is often one of repulsion, with one pushing the other in opposite direction, it follows that the better the AI artist becomes at doing its job—be it writing a page-turning thriller or stirring up heated philosophical debates in the vein of Marcel Duchamp’s urinal or Maurizio Cattelan’s banana—the worse human artists will get at doing theirs.
In contrast to AI’s glossy finish, human art will also become more inchoate: unpolished, half-baked, and rough around the edges. Think rough sketches rather than finished paintings, or first drafts of novels sent to the printers without edits or proofreading.
Artists will no longer want to become or be seen as masters of their craft. Instead, they will strive to remain amateurs and preserve the untrained, uninformed spirit of their earliest work. To some extent, human art will become the mirror image of present-day AI slop: wrong in ways that are almost instinctively obvious, but difficult to articulate. Only this type of art won’t be the stuff of social media ragebait or weird gambling commercials, but galleries and festivals.
The more AI can do, the more our notion of what makes us human will change, and human-made art will reflect that.
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