{"id":2210,"date":"2024-09-02T13:59:34","date_gmt":"2024-09-02T05:59:34","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2210"},"modified":"2024-09-02T14:08:42","modified_gmt":"2024-09-02T06:08:42","slug":"ai-is-trying-to-take-over-art-authentication-but-longtime-experts-are-skeptical","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/ai-is-trying-to-take-over-art-authentication-but-longtime-experts-are-skeptical\/","title":{"rendered":"AI Is Trying to Take Over Art Authentication, but Longtime Experts Are Skeptical"},"content":{"rendered":"

There\u2019s something dystopian about a tech company cofounder standing on stage and criticizing humans for being slow, expensive, and outdated in authenticating art. Why send a painting to some crusty old art expert\u2019s laboratory for subjective analysis when \u201cobjective<\/a>\u201d artificial intelligence can do the job faster and more cheaply using just photos?<\/p>\n

That was the question posed by Carina Popovici, CEO and cofounder of Art Recognition, a Swiss firm that uses AI to authenticate art, during a TEDxNuremberg talk in early 2022. The moment recalled the 1987 sci-fi blockbuster\u00a0Robocop<\/em>, specifically, the scene where an executive of evil mega-corporation OmniCorp unveils its latest police robot to a wide-eyed boardroom. Triumphantly, he tells the room that they need a cop \u201cwho doesn\u2019t eat or sleep.\u201d The robot stomps in before malfunctioning and pumping a suited board member full of hot lead. Art Recognition may be not OmniCorp\u2014and Popovici nothing like her fictional corporate counterpart\u2014but the company and art authentication outfits like it are similarly banking on technology to \u201cclean up<\/a>\u201d the art market of fakes and forgeries. They\u2019re also planning to do it with unprecedented efficiency and automation.<\/p>\n

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If you used a human \u201cyou would have to pack your painting, ship it off to a different country for appraisal \u2026 then you would have to wait for some months, or sometimes even years, for an answer,\u201d Popovici said, with apparent disdain, as she live-demonstrated Art Recognition\u2019s tech. \u201cOur program needs about three days to learn the characteristics from around 700 training images, and less than five minutes to calculate the probability of the authenticity of an artwork.\u201d<\/p>\n

Art Recognition is far from the only company leveraging AI for art authentication, which has become one of the most popular use cases for the technology in the art world.<\/p>\n

Hephaestus Analytical is a London-based tech company that integrates AI analysis and machine learning trained from sampled data sets, alongside scientific tests, provenance research, and \u201cconnoisseurly expertise to analyze works. It is focused on arguably the \u201cdirtiest<\/a>\u201d corner of the market, the Russian avant-garde, which also includes modernism that flourished in other Soviet nations during the late 19th and early 20th centuries. Denis Moiseev, the founder and CEO of Hephaestus, told\u00a0ARTnews\u00a0<\/em>that more than 95 percent of the Russian avant-garde paintings brought to him are fake. (One London-based dealer specializing in Ukrainian modernist artists, James Butterwick, told\u00a0ARTnews\u00a0<\/em>something similar, claiming that as much as 95 percent\u2014\u201cin fact, probably more\u201d\u2014of the paintings offered him are not authentic.) Hephaestus claims its system produces \u201cthe most conclusive authenticity results.\u201d<\/p>\n

\u201cThe market is so saturated with forgeries, however, that it\u2019s impossible not to talk about it,\u201d Moiseev said. \u201cWe believe our technology can clean up the market. It is a solvable problem. The issue is that there\u2019s an adversarial component to the Russian avant-garde market\u2014there are so-called experts who are authenticating, or contributing to the authentication\u2014of forgeries. There are people who say things are real and actually, they\u2019re not. This is what makes this market so complicated, but it really shouldn\u2019t be.\u201d<\/p>\n

Moiseev said that he understands some people might find Hephaestus\u2019s data-driven approach \u201ccold-hearted\u201d but he is on a mission to \u201cfind the unique features, characteristics, and data points that make artists unique.\u201d Moiseev believes the art market has \u201cbenefitted from ambiguity\u201d but now needs to \u201copen up\u201d and accept that \u201cscientific analysis and technology have a role to play in authentication.\u201d<\/p>\n

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Denis Moiseev, the founder and CEO of Hephaestus.<\/span>COURTESY OF HEPHAESTUS<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u201cAt the moment, that\u2019s not what we\u2019re seeing,\u201d he said. \u201cWe\u2019re seeing \u2026 huge \u2026 reticence from the art market to adopt these technologies.\u201d<\/p>\n

He pointed to auction houses closing their scientific research departments or placing them \u201con demand\u201d as evidence that the art market views science as a method of \u201clast resort.\u201d<\/p>\n

\u201cThis is a big problem,\u201d Moiseev said.<\/p>\n

While Sotheby\u2019s declined to comment on the use of AI in art authentication, it did tell\u00a0ARTnews<\/em>\u00a0that though its scientific research department has had \u201ca period of inactivity,\u201d it remains \u201coperational\u201d and a \u201cvaluable resource.\u201d A Christie\u2019s spokesperson told\u00a0ARTnews<\/em>\u00a0that the company is exploring how AI solutions can \u201cenhance our productivity and efficiency.\u201d<\/p>\n

\u201cOur business is constantly evolving and embracing new tools for innovation to support our ability to provide the best service to our clients,\u201d the spokesperson said. \u201cAI is no exception, and we see the value it could add. We believe this is about augmenting intelligence as no digital tool will ever replace the passionate expertise or trusted close relationships Christie\u2019s is proud to share with our clients.\u201d<\/p>\n

Nicholas Eastaugh, the CEO of Vasarik, another London-based AI art authentication company, is optimistic about the role humans will continue to play in the field.<\/p>\n

\u201cThis should not be seen as a process of either\/or with regards to AI replacing human judgment, but one of AI providing tools that experts can use,\u201d Eastaugh told\u00a0ARTnews<\/em>. \u201cCurrently, the weakest link I see is in the sets of images used to train AIs. Frequently, these are badly chosen, failing to reflect the kinds of judgments art experts need to make. Art historical knowledge allows us to ask better questions of the AIs and consequently get better results that can be trusted.\u201d<\/p>\n

To Eastaugh, because AI only produces a probability of how\u00a0likely<\/em>\u00a0a painting is to have been created by a particular artist, the results are \u201calways in a sense provisional.\u201d Other information needs to be considered to reach the most reliable results, such as chemical composition. This is how Vasarik works, combining AI analysis with art historical knowledge and scholarship.<\/p>\n

Hephaestus\u2019s Moiseev also emphasized that AI is a tool, \u201cnot a silver bullet,\u201d and should be used alongside human expertise and scientific testing. In fact, the company\u2019s founding mission was to eliminate forgery and misattribution from the art market with a protocol including chemical analysis, provenance research, and connoisseurship.<\/p>\n

\u201cChemical analysis allowed us to date materials, but not evaluate the likelihood that a given artist produced a picture,\u201d Moiseev said. \u201cMachine learning provided a way of scientifically identifying the unique characteristics in an artist\u2019s work.\u201d<\/p>\n

Hephaestus\u2019s AI needs only 30 images of an artist\u2019s work to train its AI to authenticate a painting, a number that Moiseev concedes is \u201cincredibly low,\u201d particularly given that Art Recognition\u2019s AI, by comparison, needs several hundred.<\/p>\n

\u201cWe work by effectively training algorithms on a set of carefully curated images of 100 percent authentic artworks that have never been questioned. The technology extracts unique features related to brushstrokes, including the variation and curvature of the stroke, which are linked to the characteristics and motor skills of each artist,\u201d he explained. \u201cOne way to describe it is like this\u2014scientific analysis looks into the painting or through the painting; provenance research looks at the history; connoisseurship looks at the current picture in front of you; while AI looks across the body of work for these granular details, these clustering of brushstrokes to identify whether something is unique.\u201d<\/p>\n

While Popovici of Art Recognition said she was reluctant to comment directly on Hephaestus needing only 30 images to train its AI, she said \u201cany AI developer would tell you that no serious AI can be trained on such a low number of images.\u201d She added that her statement in the TEDx talk about Art Recognition needing 700 images for an artist was \u201coversimplified<\/a>.\u201d For artists with more complex or varied oeuvres, the AI might need thousands of images.<\/p>\n

\u201cThe number of images is a poor unit of measure when it comes to determining the effectiveness of AI,\u201d Moiseev said. \u201cNot all images are equal\u2014there are many factors at play, such as resolution or image quality\u2014and not all algorithms are designed the same. Claiming that quantity trumps quality in data is like saying a crowd of amateurs is more effective than a handful of experts.\u201d<\/p>\n

Simon Gillespie, who runs an eponymous art authentication and restoration studio in London, told\u00a0ARTnews<\/em>\u00a0that he thinks of himself as a \u201ctop-class surgeon\u201d whose \u201csubtlety of touch\u201d will always be required over AI. He said that while it\u2019s inevitable humans will be substituted for technology in some aspects of authentication, he believes that any company using AI to fully attribute a painting \u201cshould be treated with [substantial] doubt.\u201d<\/p>\n

\u201cSo far, I have not seen any of the AI companies give a 100 percent attribution, this would be very arrogant,\u201d Gillespie said. \u201cBut AI can be a very useful tool and it will undoubtedly improve the process.\u201d<\/p>\n

Art Recognition, Popovici\u2019s firm, uses a \u201cstandalone AI,\u201d in which humans select and curate the dataset, but execute \u201cno human judgment in the actual authenticity evaluation.\u201d Popovici did warn that AI should not be relied upon alone, noting that the results are only as good as the dataset provided, and that there are some cases, as with Amedeo Modigliani, where there are multiple catalogues raisonn\u00e9s and no consensus on which one is correct.<\/p>\n

\u201cIn such scenarios, while we are fully transparent about the images we use for training, it is crucial to combine our results with those of human experts,\u201d she said. \u201cI strongly believe that the future of art authentication lies in the collaboration between AI and experts.\u201d<\/p>\n

Art Recognition, Popovici explained, provides clients with authenticity probabilities. But when that probability is greater than 95 percent, consulting another expert may not be necessary. When below 80 percent, she often recommends material analysis or evaluations from other experts.<\/p>\n

While emphasizing the importance of scientific vetting, Popovici said, \u201cit\u2019s true that not every single detail of our models has been submitted to scientific journals [but] the core components \u2013\u00a0including very detailed descriptions of the architectures we use \u2013 are thoroughly described [in\u00a0two<\/a>\u00a0scientific\u00a0papers<\/a>].\u201d<\/p>\n

Moiseev, however, seemed more skeptical about the peer-review process. \u201cPeer review can sometimes be used as a bit of a smokescreen,\u201d he said. \u201cIn the field of art authentication, you are either right or wrong, your results are either accepted by the market, or they are not. At Hephaestus, we\u2019ve seen too many paintings pass external AI examination only to fail basic scientific tests. For us, AI is part of a robust multimodal authentication protocol.\u201d<\/p>\n

Bendor Grosvenor, a leading British art historian who has discovered several lost old master paintings, told\u00a0ARTnews<\/em>\u00a0that he is wary of AI.<\/p>\n

\u201cI suspect AI will play an increasingly important role in helping us to recognize who painted what, and when,\u201d he said. \u201cAt the moment, however, the track record of AI attributions is patchy, to say the least. Probably just as important is the fact that the market is some way from accepting what the computer says, and prefers the judgment of academic research, the human eye, and technical analysis.\u201d<\/p>\n

Moiseev, for his part, admitted that, though he has faith in AI authentication technologies, the art world is not close to adopting it as a standalone solution. Hephaestus, he said, is focused on using its technology to make art a commodity of irrefutable provenance so its value can be extracted\u2014that is by working with banks and financial institutions to offer loans against the works.<\/p>\n

\u201cWe are trying to build an incentive structure,\u201d he said. \u201cOnce a painting has passed our protocol and has been confirmed as genuine, for example, you\u2019re dealing with a different object. There is serious value in having no fear of an artwork being inauthentic.\u201d<\/p>\n<\/div>\n<\/div>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

There\u2019s something dystopian about a tech company cofounder standing on stage and criticizing humans for being slow, expensive, and outdated in authenticating art. Why send a painting to some crusty old art expert\u2019s laboratory for subjective analysis when \u201cobjective\u201d artificial intelligence can do the job faster and more cheaply using just photos? That was the […]<\/p>\n","protected":false},"author":2,"featured_media":2211,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-2210","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nAI Is Trying to Take Over Art Authentication, but Longtime Experts Are Skeptical - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"There\u2019s something dystopian about a tech company cofounder standing on stage and criticizing humans for being slow, expensive, and outdated in authenticating art.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/ai-is-trying-to-take-over-art-authentication-but-longtime-experts-are-skeptical\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"AI Is Trying to Take Over Art Authentication, but Longtime Experts Are Skeptical - 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